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Acting in the Cinema.
In this richly detailed study, James Naremore focuses on the work of film acting, showing what players contribute to movies. Ranging from the earliest short subjects of Charles Chaplin to the contemporary features of Robert DeNiro, he develops a useful means of analyzing performance in the age of me...
| Clasificación: | Libro Electrónico |
|---|---|
| Autor principal: | |
| Formato: | Electrónico eBook |
| Idioma: | Inglés |
| Publicado: |
CA :
University of California Press,
1988.
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| Temas: | |
| Acceso en línea: | Texto completo |
MARC
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| 100 | 1 | |a Naremore, James. | |
| 245 | 1 | 0 | |a Acting in the Cinema. |
| 260 | |a CA : |b University of California Press, |c 1988. | ||
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| 505 | 0 | |a Cover; Contents; Acknowledgments; 1 Introduction; Part One: Performance in the Age of Mechanical Reproduction; 2 Protocols; The Performance Frame; What Is Acting?; The Actor and the Audience; 3 Rhetoric and Expressive Technique; 4 Expressive Coherence and Performance within Performance; 5 Accessories; Expressive Objects; Costume; Makeup; Part Two: Star Performances; 6 Lillian Gish in True Heart Susie (1919); 7 Charles Chaplin in The Gold Rush (1925); 8 Marlene Dietrich in Morocco (1930); 9 James Cagney in Angels with Dirty Faces (1938); 10 Katharine Hepburn in Holiday (1938). | |
| 505 | 8 | |a 11 Marlon Brando in On the Waterfront (1954)12 Cary Grant in North by North west (1959); Part Three: Film as a Performance Text; 13 Rear Window (1954); 14 The King of Comedy (1983); Selected Bibliography; Index; A; B; C; D; E; F; G; H; I; J; K; L; M; N; O; P; R; S; T; U; V; W; Y; Z. | |
| 520 | |a In this richly detailed study, James Naremore focuses on the work of film acting, showing what players contribute to movies. Ranging from the earliest short subjects of Charles Chaplin to the contemporary features of Robert DeNiro, he develops a useful means of analyzing performance in the age of mechanical reproduction; at the same time, he reveals the ideological implications behind various approaches to acting, and suggests ways that behavior on the screen can be linked to the presentation of self in society. Naremore's discussion of such figures as Lillian Gish, Marlene Dietrich, James Cagn. | ||
| 588 | 0 | |a Print version record. | |
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| 650 | 0 | |a Motion picture acting. | |
| 650 | 0 | |a Motion pictures |z United States. | |
| 650 | 6 | |a Art de l'acteur au cinéma. | |
| 650 | 6 | |a Cinéma |z États-Unis. | |
| 650 | 7 | |a PERFORMING ARTS |x Acting & Auditioning. |2 bisacsh | |
| 650 | 7 | |a PERFORMING ARTS |x Film & Video |x General. |2 bisacsh | |
| 650 | 7 | |a Motion picture acting. |2 fast |0 (OCoLC)fst01027093 | |
| 650 | 7 | |a Motion pictures. |2 fast |0 (OCoLC)fst01027285 | |
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| 776 | 0 | 8 | |i Print version: |a Naremore, James. |t Acting in the Cinema. |d CA : University of California Press, ©1988 |z 9780520062283 |
| 856 | 4 | 0 | |u https://jstor.uam.elogim.com/stable/10.1525/j.ctt1pns6x |z Texto completo |
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