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 14
... figure of Macbeth , a voodoo doll in their hands . When the witches name him Thane of Cawdor , they place an amulet around the neck of the figure ; when they prophesy that he will be “ king hereafter , " they place the spiky crown of ...
... figure of Macbeth , a voodoo doll in their hands . When the witches name him Thane of Cawdor , they place an amulet around the neck of the figure ; when they prophesy that he will be “ king hereafter , " they place the spiky crown of ...
Page 17
... figures . In his thorough study of the evolution of the medieval vice , Bernard Spivack sees Richard and Iago as the Shakespearean characters who repre- sent the figure in its maturest form.10 Indeed , as Spivack's work makes evident ...
... figures . In his thorough study of the evolution of the medieval vice , Bernard Spivack sees Richard and Iago as the Shakespearean characters who repre- sent the figure in its maturest form.10 Indeed , as Spivack's work makes evident ...
Page 20
... figure , though morally reprehensible , is so intelligent and so compel- ling a character . II The above examples of Richard and Macbeth provide an opportunity to explore the nature of the spectator's response to an individual ...
... figure , though morally reprehensible , is so intelligent and so compel- ling a character . II The above examples of Richard and Macbeth provide an opportunity to explore the nature of the spectator's response to an individual ...
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
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