Still in Movement: Shakespeare on ScreenOxford University Press, 1991 - 171 páginas 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. |
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Página 41
... battle slowly gaining momentum . The horses on both sides begin to move through the fog . Infantry advance slowly . Gradually everything seems to speed up , the horses galloping while the shrieks of battle cries echo through the land ...
... battle slowly gaining momentum . The horses on both sides begin to move through the fog . Infantry advance slowly . Gradually everything seems to speed up , the horses galloping while the shrieks of battle cries echo through the land ...
Página 42
... battle . Court intrigue and politics find expression in the battle of the outside , take form in the outside , just as Lear's madness finds articulation in an external space of action . The playful games of tavern are a foreshadowing of ...
... battle . Court intrigue and politics find expression in the battle of the outside , take form in the outside , just as Lear's madness finds articulation in an external space of action . The playful games of tavern are a foreshadowing of ...
Página 91
... battle sequence ensues , we eventually realize that we are no longer in the artificial world of phase two , but have entered an expansive space of cinematic movement . In a manner echoed by Welles in his treatment of the battle of ...
... battle sequence ensues , we eventually realize that we are no longer in the artificial world of phase two , but have entered an expansive space of cinematic movement . In a manner echoed by Welles in his treatment of the battle of ...
Índice
Through the Machine | 3 |
Patterns of Viewing in Cinematic Space | 12 |
Dynamics of Miseenscène | 33 |
Direitos de autor | |
8 outras secções não apresentadas
Palavras e frases frequentes
action activity alienation appear audience battle becomes begins Brook calls camera castle chapter character cinematic close close-up context continues contrast create critical cuts Desdemona direct director drama dynamic elements enters experience exposes expression face Falstaff figure film filmic filmmaker finally focus follows forces function Ghost gives Hamlet hand hear Henry hero human Iago imaginative inside isolate King King Lear Kozintsev Lear Lear's look Macbeth medium mind moment moments move movement multiple murder nature observe offers Olivier Olivier's opening operates Orson Othello performance perspective picture play political present production realize relationship Richard scene screen sense sequence shadow Shakespeare shot shows simultaneous soliloquy sound space spatial field speaks specific spectator speech stage stand storm subjective suggests takes technique temporal tension theater theatrical tion tragedy University Press visual voice-over Welles's witness York
Referências a este livro
Shakespeare On Film: Contemporary Critical Essays Robert Shaughnessy Pré-visualização indisponível - 1998 |