Shakespeare, from Stage to ScreenCambridge University Press, 12 օգս, 2004 թ. 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. |
From inside the book
Արդյունքներ 57–ի 1-ից 5-ը:
Էջ 1
... realism ' before moving any further . In literature , theatre and cinema , two meanings of realism co- exist . One concerns the content of the work , i.e. the subject matter . In this case , the realist play , film or text aims at ...
... realism ' before moving any further . In literature , theatre and cinema , two meanings of realism co- exist . One concerns the content of the work , i.e. the subject matter . In this case , the realist play , film or text aims at ...
Էջ 2
... realistic, credible presentation.2 For Vardac, the stage aesthetic inaugurated at the Restoration, then asserted by Garrick and Irving, would have anticipated cinema techniques. According to Ben Brewster and Lea Jacobs, authors of the ...
... realistic, credible presentation.2 For Vardac, the stage aesthetic inaugurated at the Restoration, then asserted by Garrick and Irving, would have anticipated cinema techniques. According to Ben Brewster and Lea Jacobs, authors of the ...
Էջ 3
Sarah Hatchuel. suggested verbally . This absence of a realistic frame avoided the need to change sets between scenes ... realism , sponges filled with vinegar and hidden under the armpit to simulate wounds , the use of water and ...
Sarah Hatchuel. suggested verbally . This absence of a realistic frame avoided the need to change sets between scenes ... realism , sponges filled with vinegar and hidden under the armpit to simulate wounds , the use of water and ...
Էջ 4
... realistic illusion resided in the very proximity of the participants . According to Gurr , ' The players ... lacked ... realism it can reach . Moreover , while the architecture of Elizabethan theatres allowed the spectators to see ...
... realistic illusion resided in the very proximity of the participants . According to Gurr , ' The players ... lacked ... realism it can reach . Moreover , while the architecture of Elizabethan theatres allowed the spectators to see ...
Էջ 5
... realistic representa- tion of the action. Metatheatrical effects were still as numerous as they were before. Theatres had a very small capacity and the front stage still thrust out into the auditorium, as in the Elizabethan time. Each ...
... realistic representa- tion of the action. Metatheatrical effects were still as numerous as they were before. Theatres had a very small capacity and the front stage still thrust out into the auditorium, as in the Elizabethan time. Each ...
Բովանդակություն
| 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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Common terms and phrases
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