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 14
... hear a man's words but do not see him speaking . We simply observe him " in thought . " Moreover , though we hear his words , and though we see the pain he registers on his face at this moment , we do not actually see the dagger ...
... hear a man's words but do not see him speaking . We simply observe him " in thought . " Moreover , though we hear his words , and though we see the pain he registers on his face at this moment , we do not actually see the dagger ...
Página 120
... hear ( also complicating the “ shading in " process of what is to come ) , one recognizes the viewing process as an imaginative dynamic of temporality . Hamlet's frustration with himself , his recognition of the significance of the ...
... hear ( also complicating the “ shading in " process of what is to come ) , one recognizes the viewing process as an imaginative dynamic of temporality . Hamlet's frustration with himself , his recognition of the significance of the ...
Página 142
... hear frenzied electronic music sustained on the soundtrack . Sud- denly , with no preparation , we are with Othello on top of a watchtower . Our sense of space and time is completely disoriented . The following shot is a low - angle ...
... hear frenzied electronic music sustained on the soundtrack . Sud- denly , with no preparation , we are with Othello on top of a watchtower . Our sense of space and time is completely disoriented . The following shot is a low - angle ...
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
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
Referências a este livro
Shakespeare On Film: Contemporary Critical Essays Robert Shaughnessy Pré-visualização indisponível - 1998 |