scholarly journals Hamlet no cinema: as adaptações fílmicas de Laurence Olivier (1948) e Franco Zeffirelli (1990)DOI:10.5007/2175-7917.2011v16n2p69

2011 ◽  
Vol 16 (2) ◽  
Author(s):  
Rogério Tomaz
Keyword(s):  
Franco Zeffirelli

Citizen Ken: Branagh, Shakespeare, and the movies

2021 ◽  
pp. 018476782199998
Author(s):  
Samuel Crowl
Keyword(s):  
Orson Welles ◽  
Kenneth Branagh ◽  
Franco Zeffirelli ◽  
Hollywood Movie

As Kenneth Branagh turns sixty, he finds himself honoured by the English theatrical world as the restored heir to its tradition of the actor-manager, having created a theatre and film career unlike any other. He is an actor-manager-film director who builds on the tradition he inherits from Laurence Olivier, Orson Welles, and Franco Zeffirelli even as he revises it. This overview of his career reveals that he can do small and tidy, but his cinematic imagination first feasts on Hollywood movie genres – noir thrillers, murder mysteries, Disney classics, Superhero fantasies, spy films, musicals, and bio-pics – then feeds his lasting legacy to Shakespeare on film.

scholarly journals Duch Hamleta na szklanym ekranie

2016 ◽  
pp. 155-166
Author(s):  
Agnieszka Kwiatkowska
Keyword(s):  
Franco Zeffirelli

Każda ekranizacja, adaptacja filmowa lub wystawienie na scenie zawiera w sobie elementy interpretacji dzieła literackiego i determinuje określony sposób jego odczytania. Artykuł prezentuje to na przykładzie ekranizacji i adaptacji Hamleta Szekspira. W tekście przywołano dzieła filmowe takich twórców jak Laurence Olivier, Alan Dent, Akira Kurosawa, John Gielgud, Bill Colleran, Grigori Kozincew i Franco Zeffirelli. Ze szczególną uwagą omówiona została postać ojca Hamleta, różnorodnie przedstawiania w kolejnych ekranizacjach szekspirowskiego dramatu.

scholarly journals tragedy tailored to the spirit of the times – Romeo and Juliet as interpreted by Franco Zeffirelli and Baz Luhrmann

2019 ◽  
Vol 26 (35) ◽  
pp. 219-229
Author(s):  
Anna Śliwińska
Keyword(s):  
Screen Time ◽  
The Other ◽  
Film Adaptations ◽  
Clear Indication ◽  
Romeo And Juliet ◽  
Technical Device ◽  
Baz Luhrmann ◽  
Ambivalent Attitude ◽  
Franco Zeffirelli ◽  
The Times

This article discusses two film adaptations of Romeo and Juliet, i.e. one directed by Franco Zeffirelli and the other by Baz Luhrmann. It covers the following aspects: the structure of both the drama and its two film adaptations, the characters’ creation, the choice of setting and screen time, and the function of tragedy. Shakespeare’s language is characterised by unparalleled wit and powers of observation, and the final form of his plays is a clear indication of his ambivalent attitude towards tradition and the rigid structure of the drama. By breaking with convention, favouring an episodic structure, and blending tragedy with comedy, Shakespeare always takes risks, in a similar vain to the two directors who decided to make film adaptations based on his plays. Each technical device the adaptors selected could have turned out to be a wonderful novelty or a total disaster. The strength of both Zeffirelli’s and Luhrman’s adaptations is their emphasis on love and youth, which thanks to their directorial skill is perfectly in tune with the spirit of their respective times.

Sixty years a celebrity auteur: Franco Zeffirelli

2012 ◽  
Vol 3 (2) ◽  
pp. 138-149
Author(s):  
Mary P. Wood
Keyword(s):  
Franco Zeffirelli

scholarly journals The Art of Opera: Variability of Artistic Languages of Screen Forms

2014 ◽  
Vol 6 (4) ◽  
pp. 72-83
Author(s):  
Alexandra Vadimovna Mesyanzhinova
Keyword(s):  
Feature Film ◽  
Movie Theaters ◽  
Metropolitan Opera ◽  
Digital Format ◽  
Multimedia Technologies ◽  
Live Broadcast ◽  
The Spectator ◽  
Franco Zeffirelli ◽  
La Traviata

Specifics of an artistic language of screen forms of opera and its variations (movies, TV performances, live broadcasts in movie theatres) could be explicated successfully using a case study of different interpretations of the same work. The article retrospectively illustrates variability of an artistic language of the operatic screen forms using a case study of screen adaptations of Giuseppe Verdi's La Traviata (1853). The article analyzes a film-opera by Franco Zeffirelli (1982), a film-opera by Mario Lanfranchi (1968), TV-broadcast of Adrian Marthalers staging of La Traviata at Zurich Central station (2008), and the live broadcast in movie theaters of Willy Deckers production at the Metropolitan Opera (2012). The author presumes that the format of an opera-film through interacting with the audience primarily on emotional and symbolic levels appears as static. TV live broadcasts of opera productions, which have replaced filmed opera, convey the completeness and stasis of what is happening on screen thus allowing the viewer to feel the spontaneity of theatrical action and actually ushering the spectator into the space of each frame. Live broadcasts of opera performances in movie theatres create a unique symbiosis of arts: a live, devoid of stasis and predetermination, feature film emerges. Nowadays, when theatres are increasingly offering live broadcasts of their performances in Internet, it is possible to state that the operatic art is not just oriented towards the screen arts but is searching new opportunities to adapt itself to the screen format, and can no longer exist independently off the screen. All this affects the artistic language of screen and theatrical forms of the operatic art. Although the operatic art interacts well with the multimedia technologies, the issues of interpretation and transformation of the artistic forms, which arise when recordings of elapsed performances are converted to digital format and viewed on modern devices, require a very delicate approach. Tablet computers and other media devices, which are able to reproduce nearly every recording, in a certain sense, allow customization of the technical and aesthetic forms of an art piece according to the users preferences, thus introducing personalized artistic accents of a viewer.

Franco Zeffirelli

2015 ◽  
Author(s):  
Tom Matheson ◽  
Russell Jackson ◽  
Robert Smallwood
Keyword(s):  
Franco Zeffirelli
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