Framing Shakespeare on FilmThe aesthetics of frame theory form the basis of Framing Shakespeare on Film. This groundbreaking work expands on the discussion of film constructivists in its claim that the spectacle of Shakespeare on film is a problem-solving activity. Kathy Howlett demonstrates convincingly how viewers' expectations for understanding Shakespeare on film can be manipulated by the director's cinematic technique. Emphasizing that the successful film can transform Shakespeare's text while remaining rooted in Shakespearean conceptions, Howlett raises the question of how directors and audiences understand the genre of Shakespeare on film and reveals how the medium alters the patterns through which the audience views Shakespeare. |
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Page 101
... role . " 29 The film also tempts the viewer with choices that the spatial posi- tioning of characters offers as false or ambiguous cues . Branagh's personal notion of religion has some relevance to the opening scene's spatial artic ...
... role . " 29 The film also tempts the viewer with choices that the spatial posi- tioning of characters offers as false or ambiguous cues . Branagh's personal notion of religion has some relevance to the opening scene's spatial artic ...
Page 182
... roles he plays and the " real " ones that define his life . The two spaces of repre- sentation - the actor and his role - reveal the dual capacity of dramatic art to recognize simultaneously the material realities of “ this unworthy ...
... roles he plays and the " real " ones that define his life . The two spaces of repre- sentation - the actor and his role - reveal the dual capacity of dramatic art to recognize simultaneously the material realities of “ this unworthy ...
Page 183
... role as Hamlet . However , the woman who plays Ophelia falls back upon a self that is separate from the one relevantly projected in her Shakespearean role when she strikes Joe ( as Hamlet ) and hands the love letters back to him . Of ...
... role as Hamlet . However , the woman who plays Ophelia falls back upon a self that is separate from the one relevantly projected in her Shakespearean role when she strikes Joe ( as Hamlet ) and hands the love letters back to him . Of ...
Contents
Introduction | 1 |
oney as Joe Harper as Hamlet in A Midwinters Tale | 17 |
Chapter | 20 |
Copyright | |
8 other sections not shown
Common terms and phrases
action actors ambiguity appears audience becomes begins body boundaries Branagh calls camera Carpaccio's character Chimes at Midnight cinematic context conventions Courtesy creates critics cultural death desire discovers drama effect elements existence experience expression fact Falstaff female figure film's frame funeral gaze genre Hamlet Henry Henry's identity imagined king Lady landscape looking male masculine meaning memory Midwinter's Tale movement moves murder narrative objects observes Olivier's opening original Orson Othello painting past performance perspective physical play's pleasure political popular present Prince Private Idaho production reality relationship remains representation reveals rhetorical Richard ritual role samurai Sant's scene screen seems sense sexual Shakespeare's play shot social space spatial spectator stage story suggests tavern theater theatrical tion transformation truth University Press utopian Van Sant's viewer violence vision visual Welles's film Western York Zeffirelli's