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 7
... movements , as they had to apologize each time that they bumped into a spectator . Theatrical illusion was thus compromised for a few seconds several times during a performance . However , the audience , tied to the tradition , resisted ...
... movements , as they had to apologize each time that they bumped into a spectator . Theatrical illusion was thus compromised for a few seconds several times during a performance . However , the audience , tied to the tradition , resisted ...
Pagina 9
... movements, giv- ing the feeling that the characters were walking or running.28 This mecha- nism foreshadowed the cinematic device of the lateral tracking shot in which the camera follows the displacing action. This move from verbal ...
... movements, giv- ing the feeling that the characters were walking or running.28 This mecha- nism foreshadowed the cinematic device of the lateral tracking shot in which the camera follows the displacing action. This move from verbal ...
Pagina 10
... movement that can be dated more or less accurately depending on the country where it took place, but the notion also covers a general aesthetic tendency in literature and arts that has survived well beyond the time of the movement ...
... movement that can be dated more or less accurately depending on the country where it took place, but the notion also covers a general aesthetic tendency in literature and arts that has survived well beyond the time of the movement ...
Pagina 12
... movement from a verbal to a visual point of view. The aim of the new medium was not to communicate Shakespeare's language but to tell the stories of the plays by including scenes either non- existent or only described in the original ...
... movement from a verbal to a visual point of view. The aim of the new medium was not to communicate Shakespeare's language but to tell the stories of the plays by including scenes either non- existent or only described in the original ...
Pagina 13
... movements: the displacement of the characters – the only move that can also be found on stage – the movements of the camera, and the succession of shots within the film. The point is no longer the representation of reality alone, but ...
... movements: the displacement of the characters – the only move that can also be found on stage – the movements of the camera, and the succession of shots within the film. The point is no longer the representation of reality alone, but ...
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