Still in Movement: Shakespeare on ScreenOxford University Press, 1991 - 171 oldal In Still in Movement, Buchman explores the ways in which Shakespeare's plays function as products of cinematic technique and the ways in which the films organize the material of the drama to activate a particular imaginative response. To that end, he focuses on key moments in the films of Laurence Olivier (Henry V, Hamlet, and Richard III), Orson Welles (Macbeth, Othello, and Chimes at Midnight), Grigory Kozintav (Hamlet and King Lear), Roman Polanski (Macbeth) and Peter Brook (King Lear). He examines how these films clarify the process according to spatial and temporal structures of the medium. Buchman's approach is unique in the area of Shakespeare on film; he covers specific topics and addresses questions pertinent to those topics not through individual essays on any one film, play, or filmmaker, but through a comparative treatment of key sequences from a number of different films. |
Részletek a könyvből
1 - 3 találat összesen 21 találatból.
15. oldal
... share . Thus , though we are invited to identify with Macbeth through the aural field , we are simultaneously alien- ated from that identification because of our failure to see the imaginary weapon he speaks of . What we hear and what ...
... share . Thus , though we are invited to identify with Macbeth through the aural field , we are simultaneously alien- ated from that identification because of our failure to see the imaginary weapon he speaks of . What we hear and what ...
16. oldal
... share this point of view the picture again goes in and out of focus . We are now “ inside ” Macbeth . The speech ... share his experience . This happens in two distinct ways . First , and most obvi- ously , we share Macbeth's perspective ...
... share this point of view the picture again goes in and out of focus . We are now “ inside ” Macbeth . The speech ... share his experience . This happens in two distinct ways . First , and most obvi- ously , we share Macbeth's perspective ...
21. oldal
... share Macbeth's vision and see an empty table - except for the ghost of Banquo sitting at the far end . A reaction shot of the terrified Macbeth follows . The director cuts back to the ghost , now with blood running down its face . The ...
... share Macbeth's vision and see an empty table - except for the ghost of Banquo sitting at the far end . A reaction shot of the terrified Macbeth follows . The director cuts back to the ghost , now with blood running down its face . The ...
Tartalomjegyzék
Through the Machine | 3 |
Patterns of Viewing in Cinematic Space | 12 |
Dynamics of Miseenscène | 33 |
Copyright | |
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Gyakori szavak és kifejezések
activity actor alienation articulate audience aural field battle battle of Shrewsbury Brook camera Cassio castle chaos character Chimes at Midnight cinematic space Claudius Claudius's close-up context Cordelia create dagger Desdemona director drama dynamic elements Elsinore experience face Falstaff figure filmic and theatrical filmic space filmmaker focus Ghost Gloucester Gloucester's Goneril Grigory Kozintsev Hamlet Henry hero hero's human Iago Iago's imaginative inside isolate juxtaposition King Lear Kozintsev lago Laurence Olivier Lear's long shot low-angle shot Macbeth medium mise-en-scène move movement murder Olivier Olivier's Ophelia Orson Orson Welles's Othello Peter Brook Polanski political production relationship Richard Richard III scene screen sense sequence shadow Shakespeare films Shakespeare on Film Shakespeare Our Contemporary Shakespeare's plays simultaneous action soliloquy soundtrack spatial field speaks speare's specific spectator speech stage storm technique temporal tension theater theatrical space tion tragedy University Press viewer visual voice-over witches words York