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 132
... Prince is his call for an easing of the control of Fortune in human affairs . If one exercises the highest Machiavellian virtue of prudence , one can learn to take control of much of one's destiny . Iago emerges as a figure who works ...
... Prince is his call for an easing of the control of Fortune in human affairs . If one exercises the highest Machiavellian virtue of prudence , one can learn to take control of much of one's destiny . Iago emerges as a figure who works ...
Page 155
... Prince's Dog , " in his The Dyer's Hand ( New York : Random House , 1948 ) . 17. An entire group of critics on ... Prince Hal is not a figure who demonstrates Machiavellian prudence in his exercise of power ; he develops throughout the ...
... Prince's Dog , " in his The Dyer's Hand ( New York : Random House , 1948 ) . 17. An entire group of critics on ... Prince Hal is not a figure who demonstrates Machiavellian prudence in his exercise of power ; he develops throughout the ...
Page 166
... Prince of Shreds and Patches . " In Focus on Shakespearean Films . Ed . Charles W. Eckert . Englewood Cliffs , N.J .: Prentice - Hall , 1972 . McBride , Joseph . Orson Welles : Actor and Director . New York : Jove Publications , 1977 ...
... Prince of Shreds and Patches . " In Focus on Shakespearean Films . Ed . Charles W. Eckert . Englewood Cliffs , N.J .: Prentice - Hall , 1972 . McBride , Joseph . Orson Welles : Actor and Director . New York : Jove Publications , 1977 ...
Contents
Through the Machine | 3 |
Patterns of Viewing in Cinematic Space | 12 |
Dynamics of Miseenscène | 33 |
Copyright | |
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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