Framing Shakespeare on FilmOhio University Press, 2000 - 255 стор. The aesthetics of frame theory form the basis of Framing Shakespeare on Film. This groundbreaking work expands on the discussion of film constructivists in its claim that the spectacle of Shakespeare on film is a problem-solving activity. Kathy Howlett demonstrates convincingly how viewers' expectations for understanding Shakespeare on film can be manipulated by the director's cinematic technique. Emphasizing that the successful film can transform Shakespeare's text while remaining rooted in Shakespearean conceptions, Howlett raises the question of how directors and audiences understand the genre of Shakespeare on film and reveals how the medium alters the patterns through which the audience views Shakespeare. |
З цієї книги
Результати 1-3 із 55
Сторінка 43
... representation of the hero's journey . The emphatic pelvic thrusts of both scenes ( one indicating the mother's trou- bling sexuality , the other her death throes ) , are composed the same way , with Close in close - up and medium shot ...
... representation of the hero's journey . The emphatic pelvic thrusts of both scenes ( one indicating the mother's trou- bling sexuality , the other her death throes ) , are composed the same way , with Close in close - up and medium shot ...
Сторінка 118
... representation of the object that instigated such extreme emotion more interesting than the quietly subversive woman who has disappeared within Kurosawa's own discourse . Her behavior , as he tells us , is un- Japanese , and thereby ...
... representation of the object that instigated such extreme emotion more interesting than the quietly subversive woman who has disappeared within Kurosawa's own discourse . Her behavior , as he tells us , is un- Japanese , and thereby ...
Сторінка 133
... representation as historical present . Loncraine's Richard III makes vivid the problem of representation , in which fragmentation and alienation make unintelligible historical events as recent as the rise of fascism and a Nazi past . As ...
... representation as historical present . Loncraine's Richard III makes vivid the problem of representation , in which fragmentation and alienation make unintelligible historical events as recent as the rise of fascism and a Nazi past . As ...
Зміст
Introduction | 1 |
oney as Joe Harper as Hamlet in A Midwinters Tale | 17 |
Chapter | 20 |
Авторські права | |
8 інших розділів не відображаються
Загальні терміни та фрази
action actors ambiguity appears audience becomes begins body boundaries Branagh calls camera Carpaccio's character Chimes at Midnight cinematic context conventions Courtesy creates critics cultural death desire discovers drama effect elements existence experience expression fact Falstaff female figure film's frame funeral gaze genre Hamlet Henry Henry's identity imagined king Lady landscape looking male masculine meaning memory Midwinter's Tale movement moves murder narrative objects observes Olivier's opening original Orson Othello painting past performance perspective physical play's pleasure political popular present Prince Private Idaho production reality relationship remains representation reveals rhetorical Richard ritual role samurai Sant's scene screen seems sense sexual Shakespeare's play shot social space spatial spectator stage story suggests tavern theater theatrical tion transformation truth University Press utopian Van Sant's viewer violence vision visual Welles's film Western York Zeffirelli's
Посилання на книгу
Almost Shakespeare: Reinventing His Works for Cinema and Television James R. Keller,Leslie Stratyner Обмежений попередній перегляд - 2014 |
"Frame My Face to All Occasions": Shakespeare's Richard III on Screen Saskia Kossak Перегляд фрагмента - 2005 |