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 2
... frame avoided. 2 See Nicholas Vardac, Stage to Screen (Cambridge, MA: Harvard University Press, 1949), p. xx: 'The necessity for greater pictorial realism in the arts of theatre appears as the logical impetus to the invention of cinema ...
... frame avoided. 2 See Nicholas Vardac, Stage to Screen (Cambridge, MA: Harvard University Press, 1949), p. xx: 'The necessity for greater pictorial realism in the arts of theatre appears as the logical impetus to the invention of cinema ...
Pagina 3
Sarah Hatchuel. suggested verbally . This absence of a realistic frame avoided the need to change sets between scenes . Acting was , therefore , continuous , and the scenes of Elizabethan plays followed one after the other with fluid ...
Sarah Hatchuel. suggested verbally . This absence of a realistic frame avoided the need to change sets between scenes . Acting was , therefore , continuous , and the scenes of Elizabethan plays followed one after the other with fluid ...
Pagina 4
... frame establishes . " The physical reality of per- formance was , in fact , much too patent to create the illusion of simulated reality . - Elizabethan drama , therefore , played with the spectators and their per- manent awareness of ...
... frame establishes . " The physical reality of per- formance was , in fact , much too patent to create the illusion of simulated reality . - Elizabethan drama , therefore , played with the spectators and their per- manent awareness of ...
Pagina 9
... of Charles Kean (Cambridge University Press, 1998), p. 53. 30 See Richard Southern, 'The Picture-Frame Proscenium of 1880', Theatre A historical and aesthetic approach 9 The nineteenth-century stage, or the era of romantic realism.
... of Charles Kean (Cambridge University Press, 1998), p. 53. 30 See Richard Southern, 'The Picture-Frame Proscenium of 1880', Theatre A historical and aesthetic approach 9 The nineteenth-century stage, or the era of romantic realism.
Pagina 10
... frame, making it resemble a huge animated picture.30 Productions included extensive instrumental music to intensify emotion during the dialogues. Yet, in contrast to the Restoration and eighteenth- century stages, the musicians could no ...
... frame, making it resemble a huge animated picture.30 Productions included extensive instrumental music to intensify emotion during the dialogues. Yet, in contrast to the Restoration and eighteenth- century stages, the musicians could no ...
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