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
... audience , and used focusing processes that had certain similarities to film narrative techniques . Several stages , both historical and in terms of aesthetics , took place in the transition between the plays per- formed on the ...
... audience , and used focusing processes that had certain similarities to film narrative techniques . Several stages , both historical and in terms of aesthetics , took place in the transition between the plays per- formed on the ...
Pagina 2
... audience to go beyond the limitations of the stage and to create the battlefield in their mind's eye. Shakespeare's plays were, indeed, written for a very particular mode of presentation, far from film realism. At the end of the ...
... audience to go beyond the limitations of the stage and to create the battlefield in their mind's eye. Shakespeare's plays were, indeed, written for a very particular mode of presentation, far from film realism. At the end of the ...
Pagina 3
... audience than to reveal the supposed feelings of the character ( s ) on stage after listening to the music or the song . In his 1992 book , The Shakespeare Stage , Andrew Gurr advances , as the only concessions to realism , sponges ...
... audience than to reveal the supposed feelings of the character ( s ) on stage after listening to the music or the song . In his 1992 book , The Shakespeare Stage , Andrew Gurr advances , as the only concessions to realism , sponges ...
Pagina 4
... audience . The difficulty of creating realistic illusion resided in the very proximity of the participants . According to Gurr , ' The players ... lacked the facilities for presenting the pictorial aspects of illu- sion because they ...
... audience . The difficulty of creating realistic illusion resided in the very proximity of the participants . According to Gurr , ' The players ... lacked the facilities for presenting the pictorial aspects of illu- sion because they ...
Pagina 5
... audience, essentially composed of aristocrats. The theatres were private, indoor and lit by candles. The stage curtain, which was not present during Shakespeare's time, was introduced, but it was not used to create illusion. It was ...
... audience, essentially composed of aristocrats. The theatres were private, indoor and lit by candles. The stage curtain, which was not present during Shakespeare's time, was introduced, but it was not used to create illusion. It was ...
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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Veelvoorkomende woorden en zinsdelen
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