The Reel Shakespeare: Alternative Cinema and TheoryLisa S. Starks, Courtney Lehmann Fairleigh Dickinson Univ Press, 2002 - 298 páginas This collection models an approach to Shakespeare and cinema that is concerned with the other side of Shakespeare's Hollywood celebrity, taking the reader on a practical and theoretical tour through important, non-mainstream films and the oppositional messages they convey. The collection includes essays on early silent adaptations of 'Hamlet', Greenway's 'Prospero's Books', Godard's 'King Lear', Hall's 'A Midsummer Night's Dream', Taymor's 'Titus', Polanski's 'Macbeth', Welles 'Chimes at Midnight', and Van Sant's 'My Own Private Idaho'. |
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Página 7
... Shake- spearean films , which generated interest in both our collections ; and to John Omlor , for his support and help throughout the production of this book . Introduction : Images of the " Reel " : Shakespeare 7 Acknowledgments.
... Shake- spearean films , which generated interest in both our collections ; and to John Omlor , for his support and help throughout the production of this book . Introduction : Images of the " Reel " : Shakespeare 7 Acknowledgments.
Página 13
... production , from photography and re- corded sound to the technological hyperreproduction of the image , tracing its migration and evolution from the dark room to the dark theater and , finally , to the blinding glare of the computer ...
... production , from photography and re- corded sound to the technological hyperreproduction of the image , tracing its migration and evolution from the dark room to the dark theater and , finally , to the blinding glare of the computer ...
Página 16
... production and the limitations of language itself " and thus " utilizes disjunctions of voice and gaze in order to explore and elaborate upon the ideological ruptures within Shakespeare's text . " In a complementary essay , Lia M ...
... production and the limitations of language itself " and thus " utilizes disjunctions of voice and gaze in order to explore and elaborate upon the ideological ruptures within Shakespeare's text . " In a complementary essay , Lia M ...
Página 18
... production as Welles does , Van Sant's film rigorously exploits it , exploring the aesthetic potential that lies at their convergence . For better or for worse , then , this connection leads to others , for as Hewlett concludes , in My ...
... production as Welles does , Van Sant's film rigorously exploits it , exploring the aesthetic potential that lies at their convergence . For better or for worse , then , this connection leads to others , for as Hewlett concludes , in My ...
Página 22
... 7 min . Madacy Music Group , 1994 . Videocassette . Titus . Directed by Julie Taymor . 2 hr . 53 min . Fox Searchlight / Clear Blue Sky Productions , 1999. DVD . Part I : Art of Film : Shakespeare and Early 22 INTRODUCTION.
... 7 min . Madacy Music Group , 1994 . Videocassette . Titus . Directed by Julie Taymor . 2 hr . 53 min . Fox Searchlight / Clear Blue Sky Productions , 1999. DVD . Part I : Art of Film : Shakespeare and Early 22 INTRODUCTION.
Índice
25 | |
43 | |
Voice and Gaze in JeanLuc Godards 𝑲𝒊𝒏𝒈 𝑳𝒆𝒂𝒓 | 59 |
The Incorporation of Word as Image in Peter Greenaways 𝑷𝒓𝒐𝒔𝒑𝒆𝒓𝒐𝒔 𝑩𝒐𝒐𝒌𝒔 | 95 |
Powers of Horror in Julie Taymors 𝑇𝒊𝒕𝒖𝒔 | 121 |
Mediating Witchcraft in Polanski and Shakespeare | 143 |
Orson Welless 𝑪𝒉𝒊𝒎𝒆𝒔 𝒂𝒕 𝑴𝒊𝒅𝒏𝒊𝒈𝒉𝒕 and Gus Van Sants 𝑴𝒚 𝑶𝒘𝒏 𝑷𝒓𝒊𝒗𝒂𝒕𝒆 𝑰𝒅𝒂𝒉𝒐 | 165 |
Close Encounters in the Shakespearean Classroom | 191 |
Teaching against Shakespeares Author Function | 212 |
A Selective Bibliography of Criticism | 229 |
Notes on Contributors | 288 |
Index | 291 |
Outras edições - Ver tudo
The Reel Shakespeare: Alternative Cinema and Theory Lisa S. Starks,Courtney Lehmann Visualização de excertos - 2002 |
The Reel Shakespeare: Alternative Cinema and Theory Lisa S. Starks,Courtney Lehmann Pré-visualização indisponível - 2002 |
Palavras e frases frequentes
abject audience author function body Branagh's Henry Burt Cambridge camera characters Chimes at Midnight cinema Classroom close-up Cordelia Coursen critics cultural death desire Donaldson Early Modern edited Falstaff Falstaff's tavern Film and Television Film Newsletter film's gender Godard Greenaway Greenaway's grotesque Hall's Hamlet hear History Hollywood homoerotic homosexuality horror film hysteria hysterical Iago's Ibid Julie Taymor Kenneth Branagh Kenneth Branagh's King Lear Learo Literature/Film Quarterly London Macbeth male Manson Midsummer Night's Dream mirror monstrous-feminine movie murders narrative Oberon Oliver Parker Olivier Orson Othello Performance Peter Petruchio Pluggy's Polanski's Macbeth popular Princeton Private Idaho production Prospero's Books Psychoanalysis reality Renaissance representation Rothwell Routledge scene Sellars sexual Shakespeare Bulletin Shakespeare on Film Shakespeare on Screen Shakespeare Quarterly Shakespeare's play shot Shrew Slavoj Žižek stage suggests symbolic tavern world Taymor Teaching Shakespeare theatrical tion Titania utopian viewer visual voice-over Welles's film Witchcraft witches York Zeffirelli Žižek
Passagens conhecidas
Página 108 - No sweet aspersion shall the heavens let fall To make this contract grow ; but barren hate, Sour-eyed disdain and discord shall bestrew The union of your bed with weeds so loathly That you shall hate it both : therefore take heed, As Hymen's lamps shall light you.
Página 66 - A man may see how this world goes with no eyes. Look with thine ears : see how yond justice rails upon yond simple thief. Hark, in thine ear: change places; and, handy-dandy, which is the justice, which is the thief?
Página 26 - To be, or not to be; that is the bare bodkin That makes calamity of so long life; For who would fardels bear, till Birnam Wood do come to Dunsinane, But that the fear of something after death Murders the innocent sleep, Great nature's second course, And makes us rather sling the arrows of outrageous fortune Than fly to others that we know not of.
Página 215 - We know now that a text is not a line of words releasing a single 'theological
Página 52 - What I want is a strange conjunction with you - ' he said quietly; 'not meeting and mingling - you are quite right - but an equilibrium, a pure balance of two single beings - as the stars balance each other.
Página 85 - I'd use them so That heaven's vault should crack. — She's gone for ever ! — I know when one is dead, and when one lives ; She's dead as earth. — Lend me a looking-glass ; If that her breath will mist or stain the stone, Why, then she lives.
Página 9 - And so art is everywhere, since artifice is at the very heart of reality . And so art is dead, not only because its critical transcendence is gone, but because reality itself, entirely impregnated by an aesthetic which is inseparable from its own structure, has been confused with its own image.
Página 82 - The eye of man hath not heard, the ear of man hath not seen, man's hand is not able to taste, his tongue to conceive, nor his heart to report what my dream was!
Página 82 - Now we see but a poor reflection as in a mirror; then we shall see face to face. Now I know in part; then I shall know fully, even as I am fully known.
Referências a este livro
Selling Shakespeare to Hollywood: The Marketing of Filmed Shakespeare ... Emma French Pré-visualização limitada - 2006 |
Selling Shakespeare to Hollywood: The Marketing of Filmed Shakespeare ... Emma French Visualização de excertos - 2006 |