Shakespeare at the Cineplex: The Kenneth Branagh EraOhio University Press, 2003 - 254 páginas Rated ‘Outstanding’ in the 2004 edition of University Press Books Selected for Public and Secondary School Libraries Samuel Crowl's Shakespeare at the Cineplex: The Kenneth Branagh Era is the first thorough exploration of the fifteen major Shakespeare films released since the surprising success of Kenneth Branagh's Henry V (1989). Crowl presents the rich variety of these films in the “long decade: between the fall of the Berlin Wall and the terrorist attacks on September 11, 2001.” The productions range from Hollywood-saturated films such as Franco Zeffirelli's Hamlet and Michael Hoffman's A Midsummer Night's Dream to more modest, experimental offerings, such as Christine Edzard's As You Like It. Now available in paperback, Shakespeare at the Cineplex will be welcome reading for fans, students, and scholars of Shakespeare in performance. |
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Página 94
... Iago's rancid imagination , but Parker is unwilling to stay in tight close - up as Iago begins his mental machinations . He pulls his camera back to reveal Iago toying with black and white figures on a chessboard ( king , queen , knight ) ...
... Iago's rancid imagination , but Parker is unwilling to stay in tight close - up as Iago begins his mental machinations . He pulls his camera back to reveal Iago toying with black and white figures on a chessboard ( king , queen , knight ) ...
Página 99
... Iago's sexual ambivalence . That quiver returns when Branagh's Iago relates to Othello his invented tale of Cassio throwing his leg over his thigh and plucking up dream kisses , intended for Desdemona , that grew upon Iago's lips . When ...
... Iago's sexual ambivalence . That quiver returns when Branagh's Iago relates to Othello his invented tale of Cassio throwing his leg over his thigh and plucking up dream kisses , intended for Desdemona , that grew upon Iago's lips . When ...
Página 100
... Iago . Parker's screenplay cuts all of Othello's lines about his race and color , which indicate how thoroughly he has internalized Iago's racial and racist assumptions , but it does some radical rearranging of 3.3 and 4.1 to un ...
... Iago . Parker's screenplay cuts all of Othello's lines about his race and color , which indicate how thoroughly he has internalized Iago's racial and racist assumptions , but it does some radical rearranging of 3.3 and 4.1 to un ...
Índice
19892001 | 1 |
Branaghs | 25 |
Zeffirellis Hamlet | 47 |
Direitos de autor | |
10 outras secções não apresentadas
Outras edições - Ver tudo
Shakespeare at the Cineplex: The Kenneth Branagh Era Samuel Crowl Pré-visualização indisponível - 2003 |
Palavras e frases frequentes
Aaron actors audience Beatrice Benedick Branagh's film Branagh's Hamlet Branagh's Henry Branagh's Much Ado captured Cesario cinematic Claudius Claudius's Close's comedy contemporary Coursen create culture cuts decade Desdemona director Donaldson echo Edzard's father festive Fishburne Fishburne's Fortinbras frame genre Gertrude ghost H. R. Coursen Hamlet Hawke's History of Shakespeare Hoffman Hollywood Iago Iago's Ibid images imagination Jorgens Kenneth Branagh landscape language Loncraine Loncraine's Love's Labour's Lost lovers Luhrmann's film Malvolio McKellen Midsummer Night's Dream mirror move movie musical Noble's Nunn Olivier Olivier's Ophelia Orsino Othello performance Photofest play's Polonius postmodern provides relationship released Richard Richard III romantic Romeo and Juliet Rothwell Royal Shakespeare Company scene screenplay script sequence Shake Shakespeare films Shakespeare on Film Shakespeare on Screen Shakespeare's text Shakespearean material shot soliloquy song speare speare's stage production style Taymor's Titus theater theatrical tion Titus's Twelfth Night visual Welles's William Shakespeare's Romeo Zeffirelli's film Zeffirelli's Hamlet
Referências a este livro
The Cambridge Companion to Shakespeare and Popular Culture Robert Shaughnessy Pré-visualização limitada - 2007 |