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 4
... moves, mandates how. A comparison between cinema and the Elizabethan stage reveals minor common points and major differences . In the cinema , as in the Renaissance theatre , scenes move on with great rapidity and fluidity . A film ...
... moves, mandates how. A comparison between cinema and the Elizabethan stage reveals minor common points and major differences . In the cinema , as in the Renaissance theatre , scenes move on with great rapidity and fluidity . A film ...
Pagina 5
Sarah Hatchuel. frontal viewpoint, and, through editing and camera moves, mandates how the action will be seen.11 The Restoration stage, or the generalization of the decorated set In 1660, with the Restoration, English theatres reopened ...
Sarah Hatchuel. frontal viewpoint, and, through editing and camera moves, mandates how the action will be seen.11 The Restoration stage, or the generalization of the decorated set In 1660, with the Restoration, English theatres reopened ...
Pagina 7
... move away from the audience and insert themselves into more and more realistic scenery . This trend intensified in the middle of the century when actor - manager David Garrick wished to establish a com- plete separation between the ...
... move away from the audience and insert themselves into more and more realistic scenery . This trend intensified in the middle of the century when actor - manager David Garrick wished to establish a com- plete separation between the ...
Pagina 9
... move from verbal poetry to literal illustration was clearly seen in actor–manager Charles Kean's spec- tacular, realistic, historical productions.29 Kean strongly believed in the educational virtues of his productions. To guarantee the ...
... move from verbal poetry to literal illustration was clearly seen in actor–manager Charles Kean's spec- tacular, realistic, historical productions.29 Kean strongly believed in the educational virtues of his productions. To guarantee the ...
Pagina 13
... 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 the way of representing this reality. What is at stake is ...
... 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 the way of representing this reality. What is at stake is ...
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