Reframing Screen PerformanceUniversity of Michigan Press, 11.02.2010 г. - 310 страници "A significant contribution to the literature on screen performance studies, Reframing Screen Performance brings the study of film acting up to date. It should be of interest to those within cinema studies as well as general readers." Reframing Screen Performance is a groundbreaking study of film acting that challenges the long held belief that great cinematic performances are created in the editing room. Surveying the changing attitudes and practices of film acting---from the silent films of Charlie Chaplin to the rise of Lee Strasberg's Actor's Studio in the 1950s to the eclecticism found in contemporary cinema---this volume argues that screen acting is a vital component of film and that it can be understood in the same way as theatrical performance. This richly illustrated volume shows how and why the evocative details of actors' voices, gestures, expressions, and actions are as significant as filmic narrative and audiovisual design. The book features in-depth studies of performances by Anjelica Huston, John Cusack, and Julianne Moore (among others) alongside subtle analyses of directors like Robert Altman and Akira Kurosawa, Sally Potter and Orson Welles. The book bridges the disparate fields of cinema studies and theater studies as it persuasively demonstrates the how theater theory can be illuminate the screen actor's craft. Reframing Screen Performance brings the study of film acting into the twenty-first century and is an essential text for actors, directors, cinema studies scholars, and cinephiles eager to know more about the building blocks of memorable screen performance. Cynthia Baron is Associate Professor of Film Studies at Bowling Green State University and co-editor of More Than a Method: Trends and Traditions in Contemporary Film Performance. Sharon Carnicke is Professor of Theater and Slavic Studies and Associate Dean of Theater at the University of Southern California and author of Stanislavsky in Focus. |
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... actors ' performances shape our impressions . But a complete hearing is needed . Why ? Because the simple , straightforward proposal that actors ' gestures and expressions are on a par with other filmic elements challenges the ...
... acting in individual films need not involve any claim about the techniques the actors themselves might have used . Instead , examining performances in light of terms borrowed from script analysis , for example , helps a viewer identify ...
... acting . In most cases , they give seri- ous consideration to screen actors ' work only when the films themselves have sufficient cultural cachet . For example , performances by Kate Winslet and Leonardo DiCaprio in the special ...
... acting involves a thor- ough look at the dynamic , mutual interactions among the many elements within shots , scenes , and films . While ... actors ' observable performance choices . Through this alternative frame , the light Introduction 5.
... acting . For example , Bert O. States compares a film actor to an “ aerialist who works with a net . ” 3 Believing that actors are protected by the net of cinema technology , he argues that film audiences are also protected from the ...
Съдържание
1 | |
9 | |
PERFORmANCE ELEmENTS CINEmATIC CONvENTIONS | 87 |
TERmS AND CONCEPTS FROm THE CRAFT OF ACTING | 163 |
Conclusion | 232 |
Case Study of Romeo and Juliet | 239 |
Bibliography | 277 |
Index | 291 |