Still in Movement: Shakespeare on ScreenIn 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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Page 8
... Kozintsev himself . Throughout his writing , Kozintsev expresses his gratitude for the guidance of these two great artists . Kozintsev's link with Meyerhold and Eisenstein is most apparent in the manner by which form is integrally ...
... Kozintsev himself . Throughout his writing , Kozintsev expresses his gratitude for the guidance of these two great artists . Kozintsev's link with Meyerhold and Eisenstein is most apparent in the manner by which form is integrally ...
Page 35
... Kozintsev's Lear : the inside dictates the form of the outside landscape . Kozintsev's depiction of Lear's kingdom gives evidence of the lies of the court , especially those of Lear himself . The King speaks of his land in terms of ...
... Kozintsev's Lear : the inside dictates the form of the outside landscape . Kozintsev's depiction of Lear's kingdom gives evidence of the lies of the court , especially those of Lear himself . The King speaks of his land in terms of ...
Page 113
... Kozintsev's camera focuses on a soldier reading the words to the peasants as a royal proclamation . The world listens attentively to the statement of the King — a world of people who , like the audience itself , crave answers to the ...
... Kozintsev's camera focuses on a soldier reading the words to the peasants as a royal proclamation . The world listens attentively to the statement of the King — a world of people who , like the audience itself , crave answers to the ...
Contents
Through the Machine | 3 |
Patterns of Viewing in Cinematic Space | 12 |
Dynamics of Miseenscène | 33 |
Copyright | |
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Common terms and phrases
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