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Η παρακάτω πρόταση αναφέρεται στον πορτογάλο σκηνοθέτη Manoel Oliveira και τις επιρροές του από το θέατρο:
"In other films, Oliveira adapted plays written by himself or by other Portuguese dramatists. All his work displays a sumptuous mise-en-scène, often acknowledging theatricality through direct address to the camera or tableau shots incorporating prosceniums, backdrops, and curtains."
Βρήκα το εξής (λίγο μακροσκελές, δυστυχώς):
"The key distinction between early cinema and the subsequent transitional and classical cinemas is that the early filmmakers tended to preserve the spatial and temporal unity of what film scholars call the pro-filmic event, that is, the action which takes place in front of the camera. Until roughly 1907, filmmakers concerned themselves primarily with the individual shot, preserving the spatial aspects of the pro-filmic event rather than using cinematic intervention to create temporal relations or story causality. They set the camera far enough from the action to show the entire length of the human body as well as the spaces above the head and below the feet, kept in stationary except for occasional reframings to follow the action, particularly in exterior shots, and fairly infrequently intervened through such devices as editing, lighting or camera angles. This long-shot style is often referred to as tableau shot or a proscenium arch shot, the latter appellation stemming from the supposed ressemblance to the perspective an audience member would have from the centre front row of a theatre."
(Από το site: Από το: http://books.google.gr/books?id=bBj...X&oi=book_result&resnum=4&ct=result#PPA339,M1)
"In other films, Oliveira adapted plays written by himself or by other Portuguese dramatists. All his work displays a sumptuous mise-en-scène, often acknowledging theatricality through direct address to the camera or tableau shots incorporating prosceniums, backdrops, and curtains."
Βρήκα το εξής (λίγο μακροσκελές, δυστυχώς):
"The key distinction between early cinema and the subsequent transitional and classical cinemas is that the early filmmakers tended to preserve the spatial and temporal unity of what film scholars call the pro-filmic event, that is, the action which takes place in front of the camera. Until roughly 1907, filmmakers concerned themselves primarily with the individual shot, preserving the spatial aspects of the pro-filmic event rather than using cinematic intervention to create temporal relations or story causality. They set the camera far enough from the action to show the entire length of the human body as well as the spaces above the head and below the feet, kept in stationary except for occasional reframings to follow the action, particularly in exterior shots, and fairly infrequently intervened through such devices as editing, lighting or camera angles. This long-shot style is often referred to as tableau shot or a proscenium arch shot, the latter appellation stemming from the supposed ressemblance to the perspective an audience member would have from the centre front row of a theatre."
(Από το site: Από το: http://books.google.gr/books?id=bBj...X&oi=book_result&resnum=4&ct=result#PPA339,M1)
