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 10
... temporal and spatial attributes of the cinematic medium . Time and space work in the performing arts as a continuum , and for every instance of a new spatial dynamic , there is , of necessity , an assumption of the implicit temporal ...
... temporal and spatial attributes of the cinematic medium . Time and space work in the performing arts as a continuum , and for every instance of a new spatial dynamic , there is , of necessity , an assumption of the implicit temporal ...
Página 109
... temporal odyssey as fluid as the one of Iser's reader . What interests me specifically about this process is the multiple levels of interrup- tions that make up the temporal framework of the film ; in the imagination , each viewing ...
... temporal odyssey as fluid as the one of Iser's reader . What interests me specifically about this process is the multiple levels of interrup- tions that make up the temporal framework of the film ; in the imagination , each viewing ...
Página 111
... temporal field of the film . II While Welles repeats key visual patterns to realize the temporal multiplicity of Chimes , the fundamental paradigm of anticipation and retrospection holds for any art form that moves " through time ...
... temporal field of the film . II While Welles repeats key visual patterns to realize the temporal multiplicity of Chimes , the fundamental paradigm of anticipation and retrospection holds for any art form that moves " through time ...
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 |