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 16
... looks to Duncan's cham- bers . The spectator sees what the hero sees and assumes his point of view . We also share Macbeth's experience in a second , subtler way : as the picture goes in and out of focus we participate in the waves of ...
... looks to Duncan's cham- bers . The spectator sees what the hero sees and assumes his point of view . We also share Macbeth's experience in a second , subtler way : as the picture goes in and out of focus we participate in the waves of ...
Página 19
... look at us momentarily on " Deform'd , unfinish'd , sent before my time , " pivots , walks away again on " Why love ... looks directly at us for a moment , makes a quarter - turn and , in a profile shot ( looking back at us over his 9913 ...
... look at us momentarily on " Deform'd , unfinish'd , sent before my time , " pivots , walks away again on " Why love ... looks directly at us for a moment , makes a quarter - turn and , in a profile shot ( looking back at us over his 9913 ...
Página 96
... look directly into the camera to take us into his confidence . He ignores us . He seems now to have no use for us . It is only after King Richard rejects Buckingham that he resumes speaking directly to his audi- ence . Olivier points ...
... look directly into the camera to take us into his confidence . He ignores us . He seems now to have no use for us . It is only after King Richard rejects Buckingham that he resumes speaking directly to his audi- ence . Olivier points ...
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 |