"Frame My Face to All Occasions": Shakespeare's Richard III on ScreenBraumüller, 2005 - 243 pages “Film has kept turning to most of Shakespeare's work throughout the entire history of the medium. With a renewed boom of Shakespeare on screen in the 1990s, academic awareness of, and interest in this phenomenon has increased drastically and now faces an enormous range of different filmic references to Shakespeare and his work, all classified as 'Skakespearean film'. This book concentrates on one play, Richard III, and explores the possible variants and different types of Skakespearean film by surveying in what different ways and formats Richard III has appeared on screen. While the play has always enjoyed great popularity in performance, especially for its leading part, it is also very complex and has been considered difficult for its references to history, its political entanglements and its strong suggestions of a prevailing moral order of divine retribution. It is the objective of this study to find out how cinema and television as media designed for mass appeal deal with this play.“ -- author. |
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Page 18
... interpretation of , or approach to , a play , and filmic devices are used as means of artistic expression and form a part of that interpretation . In that sense , this category may include adaptations which Manvell refers to as ...
... interpretation of , or approach to , a play , and filmic devices are used as means of artistic expression and form a part of that interpretation . In that sense , this category may include adaptations which Manvell refers to as ...
Page 87
... interpretation in productions at the Old Vic ( 1944 ) and at the New Theatre ( 1945 ) in London , an interpretation he later immortalised on film ( 1955 ) 201 — in- ducing some to consider it definite . Especially English - language ...
... interpretation in productions at the Old Vic ( 1944 ) and at the New Theatre ( 1945 ) in London , an interpretation he later immortalised on film ( 1955 ) 201 — in- ducing some to consider it definite . Especially English - language ...
Page 193
... interpretation with the opening soliloquy , which he delivers dispassionately and without distinction . If ever a Richard III embodied the banality of evil , it must be Cook's . His portrayal of Richard is deliberately anti - Olivier ...
... interpretation with the opening soliloquy , which he delivers dispassionately and without distinction . If ever a Richard III embodied the banality of evil , it must be Cook's . His portrayal of Richard is deliberately anti - Olivier ...
Contents
SHAKESPEARE ON SCREEN | 22 |
Early Sound Film | 31 |
The Age of Televised Shakespeare | 41 |
Copyright | |
8 other sections not shown
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