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
... mode of presentation, far from film realism. At the end of the sixteenth century and the start of the seven- teenth, Elizabethan popular plays were performed on an open-air stage, during the day, in a circular or polygonal construction ...
... mode of presentation, far from film realism. At the end of the sixteenth century and the start of the seven- teenth, Elizabethan popular plays were performed on an open-air stage, during the day, in a circular or polygonal construction ...
Pagina 3
... mode of presentation , Elizabethan 4 See Cécile De Banke , Shakespeare Stage Production Then and Now ( London : Hutchinson , 1954 ) , pp . 79-80 . 5 See J. L. Styan , The English Stage : A History of Drama and Performance ( Cambridge ...
... mode of presentation , Elizabethan 4 See Cécile De Banke , Shakespeare Stage Production Then and Now ( London : Hutchinson , 1954 ) , pp . 79-80 . 5 See J. L. Styan , The English Stage : A History of Drama and Performance ( Cambridge ...
Pagina 6
... mode of realism. Yet, by introducing the first decorated elements, the Restoration stage was at the root of a trend that would continue during the centuries to come. The stage, which was above all a place of verbal enunciation, became a ...
... mode of realism. Yet, by introducing the first decorated elements, the Restoration stage was at the root of a trend that would continue during the centuries to come. The stage, which was above all a place of verbal enunciation, became a ...
Pagina 8
Sarah Hatchuel. emphasized the impressions of surprise and realism, and worked in the mode of waiting and expectation. At the time, the curtain became the material sign of the separation between stage and auditorium, stimulating ...
Sarah Hatchuel. emphasized the impressions of surprise and realism, and worked in the mode of waiting and expectation. At the time, the curtain became the material sign of the separation between stage and auditorium, stimulating ...
Pagina 12
... mode of presentation, into another medium. Appearing at the end of the nineteenth century, cinema seemed to have superseded the realistic trend of nineteenth-century theatre productions, fulfilling the need of the public for naturalism ...
... mode of presentation, into another medium. Appearing at the end of the nineteenth century, cinema seemed to have superseded the realistic trend of nineteenth-century theatre productions, fulfilling the need of the public for naturalism ...
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