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 3
... emotion in the 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 ...
... emotion in the 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 ...
Pagina 6
... emotions more intense.15 However, this was still a long way from the time when music came from an unseen pit. The musicians who accompa- nied the action with their instruments stood in an upper gallery that the spectators could see ...
... emotions more intense.15 However, this was still a long way from the time when music came from an unseen pit. The musicians who accompa- nied the action with their instruments stood in an upper gallery that the spectators could see ...
Pagina 8
... emotion and realism. To achieve it, he exploited all the possibilities of stage machinery. He introduced visual and sound devices that made special effects more and more convincing. Para- doxically, it was through devices ever more ...
... emotion and realism. To achieve it, he exploited all the possibilities of stage machinery. He introduced visual and sound devices that made special effects more and more convincing. Para- doxically, it was through devices ever more ...
Pagina 10
... emotion during the dialogues. Yet, in contrast to the Restoration and eighteenth- century stages, the musicians could no longer be seen by the audience. The pit music they produced did not belong to the world of the play. By convention ...
... emotion during the dialogues. Yet, in contrast to the Restoration and eighteenth- century stages, the musicians could no longer be seen by the audience. The pit music they produced did not belong to the world of the play. By convention ...
Pagina 17
Je hebt de weergavelimiet voor dit boek bereikt.
Je hebt de weergavelimiet voor dit boek bereikt.
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 |
Overige edities - Alles bekijken
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