Laurence OlivierTwayne Publishers, 1979 - 190 Seiten |
Im Buch
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Seite 64
... realistic , literal set- tings of the preceding adaptations . What he felt was needed was a kind of compromise between theatrical abstraction and stylization on the one hand and cinematic mimesis on the other . Working closely with his ...
... realistic , literal set- tings of the preceding adaptations . What he felt was needed was a kind of compromise between theatrical abstraction and stylization on the one hand and cinematic mimesis on the other . Working closely with his ...
Seite 67
... itself , which is the visual and dramatic climax of the material , is spectacularly realistic . After this sequence , the film returns to the Book of Hours settings and then concludes , as it began , with the realistically detailed.
... itself , which is the visual and dramatic climax of the material , is spectacularly realistic . After this sequence , the film returns to the Book of Hours settings and then concludes , as it began , with the realistically detailed.
Seite 68
... realistic presentation of Agincourt itself . The mixture of conven- tion and realism , of abstract stylization and physical reality , of thea- ter and film , is audacious and yet the wild conjunction of visual styles enhances the play ...
... realistic presentation of Agincourt itself . The mixture of conven- tion and realism , of abstract stylization and physical reality , of thea- ter and film , is audacious and yet the wild conjunction of visual styles enhances the play ...
Inhalt
About the Author | 6 |
A Life in the Theater | 19 |
Early Films | 37 |
Urheberrecht | |
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