Shakespeare, from Stage to ScreenCambridge University Press, 12 aug 2004 How is a Shakespearean play transformed when it is directed for the screen? In this 2004 book, Sarah Hatchuel uses literary criticism, narratology, performance history, psychoanalysis and semiotics to analyse how the plays are fundamentally altered in their screen versions. She identifies distinct strategies chosen by film directors to appropriate the plays. Instead of providing just play-by-play or film-by-film analyses, the book addresses the main issues of theatre/film aesthetics, making such theories and concepts accessible before applying them to practical cases. Her book also offers guidelines for the study of sequences in Shakespearean adaptations and includes examples from all the major films from the 1899 King John, through the adaptations by Olivier, Welles and Branagh, to Taymor's 2000 Titus and beyond. This book is aimed at scholars, teachers and students of Shakespeare and film studies, providing a clear and logical apparatus with which to examine Shakespearean screen adaptations. |
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Pagina 1
... ( London : Routledge , 2001 ) , pp . 88–116 . I According to Nicholas Vardac, author of the seminal 1949 work CHAPTER 1 Shakespeare, from stage to screen: a historical and aesthetic approach THE HISTORY OF SHAKESPEARE PRODUCTIONS.
... ( London : Routledge , 2001 ) , pp . 88–116 . I According to Nicholas Vardac, author of the seminal 1949 work CHAPTER 1 Shakespeare, from stage to screen: a historical and aesthetic approach THE HISTORY OF SHAKESPEARE PRODUCTIONS.
Pagina 2
... According to Ben Brewster and Lea Jacobs, authors of the 1997 book, Theatre to Cinema, the processes used by cinema would not have been anticipated. The new medium would have simply borrowed certain techniques which were popular in the ...
... According to Ben Brewster and Lea Jacobs, authors of the 1997 book, Theatre to Cinema, the processes used by cinema would not have been anticipated. The new medium would have simply borrowed certain techniques which were popular in the ...
Pagina 3
... According to Gurr , the large majority of Elizabethan plays were performed on a stage that was entirely bare , a challenge that called for the playwright's maximum linguistical skills.8 — However , parallel to the public theatres ...
... According to Gurr , the large majority of Elizabethan plays were performed on a stage that was entirely bare , a challenge that called for the playwright's maximum linguistical skills.8 — However , parallel to the public theatres ...
Pagina 4
... According to Gurr , ' The players ... lacked the facilities for presenting the pictorial aspects of illu- sion because they were appearing in three dimensions , not the two that the proscenium - arch picture - frame establishes . " The ...
... According to Gurr , ' The players ... lacked the facilities for presenting the pictorial aspects of illu- sion because they were appearing in three dimensions , not the two that the proscenium - arch picture - frame establishes . " The ...
Pagina 6
... according to the natural laws of perspective, and merged into a distant point on the horizon. The presentation of plays, therefore, began to strive to transcend the physical limits imposed by the stage, creating imaginary spaces. As ...
... according to the natural laws of perspective, and merged into a distant point on the horizon. The presentation of plays, therefore, began to strive to transcend the physical limits imposed by the stage, creating imaginary spaces. As ...
Inhoudsopgave
1 | |
CHAPTER 2 From theatre showing to cinema telling | 33 |
towards a real world | 66 |
from metatheatre to metacinema? | 94 |
the example of Hamlet | 127 |
CHAPTER 6 Case studies | 152 |
Bibliography | 177 |
Index | 186 |
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action actors aesthetic alienating Almereyda André Antony audience Baz Luhrmann Cambridge University Press camera moves camerawork characters cinema Claudius close-ups construction create devices dialogues diegesis diegetic discourse dramatic editing effects Elizabethan emotional emphasizes enunciation extradiegetic music fiction film directors filmic flashback focuses frame Franco Zeffirelli French gaze genre Ghost Hamlet Henry high-angle shot Hollywood Iago Ibid identification illusion images inserts interpolations Juliet Katherine Kenneth Branagh King Kozintsev Laurence Olivier London low-angle shot Luhrmann metacinematic metafilmic metaphorical Midsummer Night’s Dream mirror monologue movements movie narration narrative Oliver Parker Olivier's Ophelia original play Othello Paris performance present production realistic reflect reveal Richard Richard III Richard Loncraine romantic Romeo scene screen adaptations screenplay semiotic sequence Shakespeare adaptations Shakespeare films Shakespeare on Film Shakespeare on Screen Shakespeare text Shakespeare’s plays showing slow-motion soliloquy space spectators speech stage story subtext Taymor technique theatre theatrical Titus trans viewers viewpoint visual words Zeffirelli