Shakespeare, Foreshadowing the Filmmaker (notice n° 165103)
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|---|---|
| fixed length control field | 01333cam a2200157 4500500 |
| 005 - DATE AND TIME OF LATEST TRANSACTION | |
| control field | 20250112033728.0 |
| 041 ## - LANGUAGE CODE | |
| Language code of text/sound track or separate title | fre |
| 042 ## - AUTHENTICATION CODE | |
| Authentication code | dc |
| 100 10 - MAIN ENTRY--PERSONAL NAME | |
| Personal name | Suhamy, Henri |
| Relator term | author |
| 245 00 - TITLE STATEMENT | |
| Title | Shakespeare, Foreshadowing the Filmmaker |
| 260 ## - PUBLICATION, DISTRIBUTION, ETC. | |
| Date of publication, distribution, etc. | 2002.<br/> |
| 500 ## - GENERAL NOTE | |
| General note | 57 |
| 520 ## - SUMMARY, ETC. | |
| Summary, etc. | That Shakespeare’s works have often provided adaptations for the screen does not prove that by nature they foreshadow the art of film, since most novelists and many dramatists have undergone the same treatment. Yet one may wonder why some of his plays have become real films. This may be due to some of their technical and artistic features. Indeed these plays constitute concatenations of sequences, organized by devices akin to montage. Space and time are handled in a way which seems already cinematographic. Movement is essential to Shakespeare’s dramaturgy. The presence of animals, of all kinds of objects, the importance of the environment, of materiality and violence, seem to call for cinematographic instruments. So far comedy seems less congenial to the screen than tragedies or histories, but Shakespeare’s cinematographic career has not come to an end. |
| 786 0# - DATA SOURCE ENTRY | |
| Note | Études anglaises | Volume 55 | 2 | 2002-04-01 | p. 201-214 | 0014-195X |
| 856 41 - ELECTRONIC LOCATION AND ACCESS | |
| Uniform Resource Identifier | <a href="https://shs.cairn.info/journal-etudes-anglaises-2002-2-page-201?lang=en">https://shs.cairn.info/journal-etudes-anglaises-2002-2-page-201?lang=en</a> |
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