Academic literature on the topic 'Actor / actress'
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Journal articles on the topic "Actor / actress"
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Granzer, Susanne Valerie. "'The Shadow of One’s Own Head' or The Spectacle of Creativity." Performance Philosophy 3, no. 3 (2017): 685. http://dx.doi.org/10.21476/pp.2017.33151.
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When acting, the actor/actress experiences a complex regime of signs in his/her body, mind, mood and gender. These signs are both disturbing and promising. On the one hand, the act of creativity makes a wound obvious which has been incarnated within man. It tells him/her that he/she is not the sole actor of his/her actions. On the other hand, precisely this way acting on stage becomes an event. The act of this event reveals a way of be-coming in which one acts while at the same time being passive, in which the actor/actress is both agent and patient of his/her own performance. This complex artistic experience catapults actors/actresses into an open passage, into an in-between where they are liberated from the illusion of being the sole actors of their performances. One might even say that by this turn an actor/actress experiences a change, an “anthropological mutation” (Agamben). Or, to have it differently: the artist suffers a kind of “death of the subject”.It is remarkable that this loss of the predominance of subjectivity is a crucial aspect of acting which may affect the audience in a particularly intensive way. Why? Perhaps because it updates an extremely intimate connection between audience and actors/actresses which vicariously reflects the in-between of life and death. A passage by which life presents itself as itself? Life – by its plane of immanence?
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Hankey, Julie. "Body Language, the Idea of the Actress, and Some Nineteenth-Century Actress-Heroines." New Theatre Quarterly 8, no. 31 (1992): 226–40. http://dx.doi.org/10.1017/s0266464x00006850.
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The actor, as a reminder of personal mutability, has always provoked the condemnation of absolutist philosophers and churchmen. Historically, this anti-theatrical prejudice has pressed even harder on the actress, for in her case ‘personal’ connotes sexual mutability. In Victorian times, when purity was enjoined on Woman for Man's sake as well as her own, the actress's situation was further complicated. In the following article, Julie Hankey examines the treatment of actress-characters in certain novels of the nineteenth century – Wilkie Collin's No Name, Geraldine Jewsbury's The Half-Sisters, George Eliot's Daniel Deronda, and Henry James's The Tragic Muse, among others – exploring in particular their peculiarly physical system of representation, a system which reproduced the social and moral attitudes of the day on a more visceral level of irrational prejudice. Irrespective of their artistry or sympathies, authors were remarkably consistent in their use of the same relatively narrow but at the same time powerful range of signals – dress, pose, interiors, gardens, flowers, and so on – clearly confident that by this means the actress could be adequately expressed. Julie Hankey is presently co-editor of the ‘Plays and Performance’ series, now published by Cambridge University Press, and has herself prepared the individual volumes on Richard III and Othello.
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Wu, Chong, Zhenan Feng, Jiangbin Zheng, and Houwang Zhang. "Common Laws Driving the Success in Show Business." Computational Intelligence and Neuroscience 2020 (July 10, 2020): 1–10. http://dx.doi.org/10.1155/2020/8842221.
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In this paper, we want to find out whether gender bias will affect the success and whether there are some common laws driving the success in show business. We design an experiment, set the gender and productivity of an actor or actress in a certain period as the independent variables, and introduce deep learning techniques to do the prediction of success, extract the latent features, and understand the data we use. Three models have been trained: the first one is trained by the data of an actor, the second one is trained by the data of an actress, and the third one is trained by the mixed data. Three benchmark models are constructed with the same conditions. The experiment results show that our models are more general and accurate than benchmarks. An interesting finding is that the models trained by the data of an actor/actress only achieve similar performance on the data of another gender without performance loss. It shows that the gender bias is weakly related to success. Through the visualization of the feature maps in the embedding space, we see that prediction models have learned some common laws although they are trained by different data. Using the above findings, a more general and accurate model to predict the success in show business can be built.
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Copeliovitch, Andrea. "The Actor, the Pilgrim and the Fieldpath." Human and Social Studies 4, no. 3 (2015): 123–36. http://dx.doi.org/10.1515/hssr-2015-0028.
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Abstract This article aims to cast a glance on some questions relevant for theatre, with an emphasis on the actor’s point of view, not in order to investigate the acting practice but to develop a reflection. Theatre is a marginal art; an actor’s action is a displacement action, out of the centre, searching, moving. Also, the actor is always a foreigner, a strange stranger. We follow these questions while going through the fieldpath, with direct reference to Martin Heidegger’s text “Der Feldweg” (1949). As an actress, I try to understand it by walking my own path.
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Brooks, William, and P. J. Yarrow. "A Note on La Champmeslé and Mlle Desmares." Theatre Research International 19, no. 1 (1994): 67. http://dx.doi.org/10.1017/s0307883300018824.
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In our article ‘Neglected evidence about the actor Michel Baron (1653–1729)’, which appeared in Theatre Research International, 18, 3 (1993), 173–76, we quoted a letter from Madame to Baron Von Hading (foot of p. 174). Madame refers to the actress Mlle Desmares, a prominent member of the French company in the early eighteenth century. The first part of the quotation was as follows:He did not think of it after the death of the king, but la Desmares [an actress of the Comédie-Française], perceiving that no one was going to see them any more, came to the conclusion that they would fare better if Baron were back in the company, and she persuaded him.The king died in 1715, and the incident described occurred in, or shortly before, 1720.After the proofs were corrected and returned, an error crept in which dismayed us greatly. Our parenthesis, ‘an actress of the Comedie-Française’ was replaced by another: ‘better known as la Champmesle’. We did not sanction this amendment, and it is wrong. So much so, in fact, that it looks like carelessness and ignorance on our part, the apprehension of which may tell against acceptance of our findings and objective critical appreciation of our conclusions. We are therefore most grateful to the Editor for allowing us to insert this correction, which we believe to be important.The actress known as La Champmeslé, Marie Desmares, died in 1698. She was the wife of the actor Champmeslé, whose name she took, and she was probably the greatest actress of her generation; she was also the celebrated mistress of Racine.
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Bartolucci, Anne D., and Amos Zeichner. "Sex, Hypermasculinity, and Hyperfemininity in Perception of Social Cues in Neutral Interactions." Psychological Reports 92, no. 1 (2003): 75–83. http://dx.doi.org/10.2466/pr0.2003.92.1.75.
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Sexual coercion is a prevalent problem on U.S. college campuses. One potential avenue by which it may occur is the misinterpretation of social cues, and such misperception may be mediated by extreme sex role adherence, i.e., hypermasculinity and hyperfemininity. 62 undergraduate students viewed a film of a neutral interaction between a college-aged man and woman. Subsequently, participants indicated which behaviors they remembered the opposite-sex actor performing, offered a prediction as to the outcome of the scenario and what they would do had they been in a similar situation, and then completed either the Hypermasculinity Inventory or the Hyperfemininity Scale. Scores on the former correlated negatively with recall accuracy, and men indicated that they were more likely to date and have sex with the actress than women reported being likely to date or have sex with the actor. Women reported a high perceived likelihood of dating the actor coupled with the expectation that he would have sex with the actress. Likewise, women expected to be sexually coerced by the actor had they been in a similar situation. Social implications of these findings and possible research are discussed.
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Rant, Tjaša. "A Slovenian Actress of Russian Origin – Maria Nablotskaya." Monitor ISH 17, no. 1 (2015): 79–101. http://dx.doi.org/10.33700/1580-7118.17.1.79-101(2015).
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Russian actress Maria Nikolaevna Borislavska, better known as Maria Nablotskaya, was carried by love and an emigration wave to Ljubljana in 1922, where she became a member of Ljubljana’s Drama Theatre after her very first performance. With the help of her second husband, actor and director Boris Putyata, she transferred the knowledge acquired in Russian imperial theatres to the Slovenian territory, where she further developed her talent. Her acting was modern and direct, and her most outstanding roles were those of psychologically realistic tragic and tragicomic female characters. Her humorous gift, on the other hand, was given free scope in European Renaissance comedies. The purpose of this text is to present the career of Maria Nablotskaya from its promising, affluent, carefree beginnings to the great actress’s final years spent in a cramped room, as well as to outline her rich legacy to the Slovenian theatre.
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Rozik, Eli. "The Corporeality of the Actor's Body: The Boundaries of Theatre and the Limitations of Semiotic Methodology." Theatre Research International 24, no. 2 (1999): 198–211. http://dx.doi.org/10.1017/s0307883300020824.
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In recent years, it has been widely suggested that the bodily presence of the actor (and actress) on stage marks the limits and limitations of the semiotic approach to theatre and determines the need for a more complex methodology of research.
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Yakubova, Natalia. "Behind the Scenes: Theatre Women Write to Literary Men." New Theatre Quarterly 32, no. 3 (2016): 210–30. http://dx.doi.org/10.1017/s0266464x16000208.
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In this article Natalia Yakubova explores the interactions between theatre and literature as between an actress on one side and a man of letters on the other. The interactions discussed here came at a particular historical moment, when the transition from an actor-centred to a director-centred hierarchy was taking place, and the article deals with the letters written by actresses to the men who were playwrights and/or theoreticians of the new theatre: Eleonora Duse writing to Gabriele D’Annunzio, Vera Komissarzhevskaya to Valery Bryusov, Irena Solska to Jerzy Żuławski, and Gertrud Eysoldt to Hugo von Hofmannsthal. In each case study, attention is paid to the characteristics of the relationships between a given actress and a particular writer, their attitudes towards theatre reform, the way in which the actresses evaluated the literary status of their letter writing, and, significantly, the stylistic features of their writing. Natalia Yakubova is a senior researcher of the State Institute of Art Studies in Moscow, and was Marie Curie Fellow at the Institute of Literary Studies of the Polish Academy of Sciences between 2013 and 2015. She is author of O Witkacym (2010) and Teatr epokhi peremen v Polshe, Vengrii i Rossii 1990-ye–2010-ye (2014), and has published numerous articles in Russia, Poland, the USA, and Canada, among other countries.
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Kim, Jin Soo. "Traditions of Korean Folk Performances in the Contemporary Monodrama." Observatory of Culture, no. 4 (October 28, 2015): 46–51. http://dx.doi.org/10.25281/2072-3156-2015-0-4-46-51.
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He increasing interest to the one-actor theatre in Korea is caused by the existence of the pansori, a ballade performed by narrator to the accompaniment of a drum, in the Korean folk tradition. Nowadays, the Korean folk performance tradition is widely used by directors in contemporary monodramas. The article analyzes two performances: “The Byeoksok Fairy” (director - Sohn Jin chaek, actress - Kim Sung nuy) by Bae Sam Sik, a well-known Korean dramatist, which uses the traditions of the Korean folk performance madan nori; and the “Mother Courage and Her Children” (director - Nam In woo, actress - Yi Ja ram) by Bertolt Brecht, staged in the pansory style.
Dissertations / Theses on the topic "Actor / actress"
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Asiedu, Emelia Pinamang. "My acting process: getting out of my own way." Thesis, University of Iowa, 2018. https://ir.uiowa.edu/etd/3247.
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My thesis paper will address why I act and different aspects of my work as an actor. Acting training is a constant process and it is the job of the actor to keep up a regular routine that keeps one from going out of practice. I will discuss what I personally do regularly to stay in training. I will also discuss the process I go through to prepare myself to perform in acting roles. Though my approach to developing each new character is different, there are some aspects of my approach that remain constant.
This paper will also describe the kinds of stories I am interested in telling. Though actors are equipped to tell a wide variety of stories from many different perspectives, I, as a Ghanaian female artist of color, am drawn to specific kinds of projects that relate to my life experiences. These are the stories that I feel compelled to tell.
I believe my work is not just an occupation but rather encompasses the way I choose to live my life. So I will also discuss the ways in which I think my acting work is relevant in the world at large. I will include the ways in which I feel my work has had an impact in my environment, as well as how I hope to use my acting a vehicle to influence change in the future.
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Provost, Rebecca. ""Don't Tread On Me": Reading The Dialectical Nature of Laura Linney's On Screen Performance Process." Scholarly Repository, 2008. http://scholarlyrepository.miami.edu/oa_theses/180.
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Laura Linney has an extensive education and experience in performance, which has influenced her to create a well-defined methodology when she approaches new roles. She uses a dialectical approach to performance. This approach has two parts as she outlined in a personal interview: phase one is her research, education, understanding of the script, and previous experiences working together to create a character, while phase two is her release of control over the character and the opportunity for the text (film or otherwise) and role to take on their own distinct personalities. This means that Linney eventually gives up agency over her characters in order for them to be effective and successful in the whole of a film. In effect, her characters are created by numerous influences within and outside her range of control. My intentions in this article are to prove that this dialectical methodology is prominent within all aspects of Laura Linney?s performances. In fact, I suggest that her utilization of this technique is what makes her a dynamic, effective, and unique actress. The dialectical nature of her performance techniques can be observed most effectively in specific breakthrough moments within her films. These moments exist most prominently in Linney?s films that are rooted in close character analysis like You Can Count On Me, The Savages, and the HBO mini-series John Adams. Close textual analyses of these scenes show a dramatic hiatus from the standard performance that she has used to help build a character. They show distinct differences between characters, which reinforces my point that each role is not only mandated by Linney?s creative power over her acting, but also a complete release of this control. They highlight how Linney allows herself to be directed and molded to develop deep, complex characters that work organically within the greater text of the film.
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Brown, Arielle B., and Arielle B. Brown. "The Effects of Politics and Media on America: Creating the Role of Lainie Wells in Lee Blessing's Two Rooms." ScholarWorks@UNO, 2016. http://scholarworks.uno.edu/td/2130.
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Two Rooms, by Lee Blessings, was selected for performance at the University of New Orleans during the fall of 2015. I studied and portrayed the role of Lainie Wells as my thesis project. The purpose of my thesis was to research a character physically, psychologically, and emotionally as an actress and create a character through the eyes of Lainie Wells.
The following is a brief breakdown of the structure of my written thesis: biography of Lee Blessing, hostage families and their mental state as it relates to the Iranian hostage crisis, mass media effects on Syria, The Hunt for Bin Laden, the rehearsal process, and a scored script including all actions and objectives; a review of my work, my own conclusions based on my process and character arc, photographs of my performance, a professional headshot along with my resume to highlight the significance to my work as an artist.
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Marguier, Florence. "Maria Casarès : Recherches et métamorphoses d'une comédienne." Thesis, Paris 3, 2011. http://www.theses.fr/2011PA030144.
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Notre approche concernant Maria Casarès est une découverte de son art où sa propre recherche tient une place importante. Elle est en effet une des figures de proue du théâtre de la deuxième moitié du XXème siècle qui poursuit sa route jusqu'à devenir une Figure du théâtre français. D'elle, on garde les visages de la Mort d'Orphée de Cocteau ou de la femme fatale des Dames du Bois de Boulogne de Bresson, sa participation au T.N.P. Et pourtant ceci ne constitue qu'une étape dans une trajectoire où la comédienne va s'enrichir à chaque fois de ses propres découvertes. Au delà de son image de monstre sacré, on se rend compte que Maria Casarès est d'abord une comédienne qui se crée une manière propre d'aborder la scène. Par son art authentique, elle possède une poétique de l'acteur. Celle-ci la situe dans un cheminement nomade où elle traverse les courants du théâtre, dans une quête à la fois artistique et identitaire. C'est cette trajectoire qu'elle partage avec des metteurs en scène complices, de Marcel Herrand à Jorge Lavelli, en passant par Jean Vilar, Bernard Sobel, Bruno Bayen, Patrice Chéreau, Denis Llorca, Jean Gillibert, Maurice Béjart entre autres<br>Our approach to Maria Casarès is a discovery of her art where her own research has an important place. She is effectively one of the figureheads in the theatre of the second half of the 20th century. Because of her, we remember the faces in "La mort d'Orphée" by Cocteau, or la femme fatale in "Les dames du Bois de Boulogne" by Bresson, her participation at the T.N.P. Even so, these are only steps in a future where the actress will enrich her knowledge by her own discoveries. Beyond her reputation as a master in the art of theatre we realise that Maria Casarès is above all an actress who invented her personal way to approach the stage. With her authentic art she possessed the poetics of an actor. This is her nomadic road, where she navigates through theatre in a search which is at the same time identity and art. On this path she shares her search with her director friends, Marcel Herrand and Jorge Lavelli. Also with Jean Vilar, Bernard Sobel, Bruno Bayen, Patrice Chéreau, Denis Llorca, Jean Gillibert, Maurice Béjart and others
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Ait, Aattou-Behrend Emma. "Luchino Visconti et l'adaptation cinématographique d'œuvres littéraires : fondements de l'imaginaire et fatalité." Thesis, Strasbourg, 2020. https://publication-theses.unistra.fr/restreint/theses_doctorat/2020/Ait_Aattou_Behrend_Emma_2020_520.pdf.
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En Italie, le cinéma prend vraiment son essor peu avant la Première Guerre Mondiale. Cette nouvelle industrie y connaît un élan considérable grâce à la multiplication des salles obscures. Néoréalisme serait né entre le Toni de Jean Renoir et l’Ossessione de Luchino Visconti. Et c’est autour des adaptations cinématographiques d’ouvrages littéraires de Visconti que notre étude s’attache, au gré des focalisations, inspirations et transpositions du réalisateur milanais. Ainsi, l’œuvre colossale du comte de Lonate Pozzolo se mue en banque de données à la source inépuisable<br>In Italy, cinema evolved rapidly right before World War I. This new art also grew up thanks to the multiplication of movies theaters. Neo-realism might be born between Jean Renoir's Toni and Luchino Visconti's Ossessione. And this study is about the film adaptation of literary works of Visconti, following the focalizations, inspirations and transpositions of the director from Milan. This way, by analysing his incredible work of art, we will be able to observe how rich the Earl of Lonate Pozzolo's films are
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Bode, Lisa Merle Theatre Film & Dance UNSW. "From shadow citizens to teflon stars : cultural responses to the digital actor." Awarded by:University of New South Wales. Theatre, Film and Dance, 2005. http://handle.unsw.edu.au/1959.4/20593.
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This thesis examines an intermittent uncanniness that emerges in cultural responses to new image technologies, most recently in some impressions of the digital actor. The history of image technologies is punctuated by moments of fleeting strangeness: from Maxim Gorky's reading of the cinematographic image in terms of 'cursed grey shadows', to recent renderings of the computer-generated cast of Final Fantasy: The Spirits Within as silicon-skinned mannequins. It is not merely the image's unfamiliar and new aesthetics that render it uncanny. Rather, the image is received within a cultural framework where its perceived strangeness speaks allegorically of what it means to be human at that historical moment. In various ways Walter Benjamin, Anson Rabinbach and N. Katherine Hayles have claimed that the notion and the experience of 'being human' is continuously transformed through processes related to different stages of modernity including rational thought, industrialisation, urbanisation, media and technology. In elaborating this argument, each of the four chapters is organized around the elucidation of a particular motif: 'dummy', 'siren', 'doppelg??nger' and 'resurrection'. These motifs circulate through discourses on different categories of digital actor, from those conceived without physical referents to those that are created as digital likenesses of living or dead celebrities. These cultural responses suggest that even while writers on the digital actor are speculating about the future, they are engaging with ideas about life, death and identity that are very old and very ambivalent.
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Bowman, Barbara A. "How Do Actors and Actresses Age?: Self-Monitoring and Aging." UNF Digital Commons, 1995. http://digitalcommons.unf.edu/etd/92.
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This study investigates the relationship between life events, self-monitoring, and aging. This relationship is explored in the following five areas: religious practices, social networks, intergenerational relationships, retirement, and leisure. It was hypothesized that, compared to low self-monitors, high self-monitors would (a) spend less time in private devotional activities as they age, (b) feel a heavier impact from the reduction in the quantity of social networks, (c) have more distant intergenerational ties, (d) adjust to forced retirement more quickly, and ( e) be less satisfied with leisure time as they age. The 120 volunteer participants ranged in age from 51 through 93. The Self-Monitoring Scale (Snyder, 1974) and the Impact of Events Inventory were administered in structured individual interviews. Findings support the hypothesis that high self-monitors will experience more impact from the reduction in the quantity of social networks as they age. However, the results fail to support the other four hypotheses. Possible alternative explanations for these findings are explored. An appeal is made for future research on the topic of self-monitoring and aging.
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Yuen, Nancy Wang. "Performing authenticity how Hollywood working actors negotiate identity /." Diss., Restricted to subscribing institutions, 2008. http://proquest.umi.com/pqdweb?did=1692357331&sid=13&Fmt=2&clientId=1564&RQT=309&VName=PQD.
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Shing, On-ki Angel. "The star as cultural icon : the case of Josephine Siao Fong Fong /." Hong Kong : University of Hong Kong, 2000. http://sunzi.lib.hku.hk/hkuto/record.jsp?B22199792.
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Dodd, Alan. "From stars to celebrities : Hollywood stardom in the age of celebrity culture." Thesis, University of Aberdeen, 2010. http://digitool.abdn.ac.uk:80/webclient/DeliveryManager?pid=167617.
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This thesis examines the changing nature of Hollywood stardom and how this is informed by an emergent celebrity culture. Through several case studies this study augments older forms of analysis with Bourdieu’s concept of capital to create a new model of stardom that can accommodate recent cultural developments. In chapter one four key forms of capital are identified. After contextualising this new model within the history of classic Hollywood and older academic approaches to stardom in chapter two, the analysis of Nicole Kidman’s star text in chapter three shows how her image has evolved to combine all forms of cultural capital and as such exemplifies an entirely new formulation of the Hollywood film star. Chapter four applies this analysis to the small screen, with the case studies of Michael J. Fox and Sarah Jessica Parker showing how some performers are able to accrue cultural capital by simultaneously working in film and television, establishing television as a legitimate site for Hollywood stardom and its associated capital. In chapter five a case study of Brand Beckham shows how the capital of contemporary celebrity can be effectively deployed in order to generate a similar allure to that of the classic Hollywood star and with it a similar level of Hollywood power. The final chapter examines the simultaneous unravelling of one brand and the creation of another in light of the increasing power of the fan within celebrity culture. A detailed study of Britney Spears’s presence on perezhilton.com highlights the involvement of the audience as producers of her image and demonstrates how new technologies can be used to create an entirely new form of fame for the gossip columnist, which in turn has been appropriated by the Hollywood system as the next site for legitimate fame.
Books on the topic "Actor / actress"
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Peary, Danny. Alternate Oscars: One critic's defiant choices for best picture, actor and actress : from 1927 to the present. Simon & Schuster, 1993.
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Peary, Danny. Alternate Oscars: One critic's defiant choices for best picture, actor, and actress from 1927 to the present. Delta, 1993.
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Brown, Peter H. Oscar dearest: Six decades of scandal, politics, and greed behind Hollywood's academy awards, 1927-1986. Perennial Library, 1987.
Find full textBook chapters on the topic "Actor / actress"
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Callahan, Dan. "Blackmail." In The Camera Lies. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780197515327.003.0004.
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Hitchcock’s first talking film, Blackmail (1929), presented the Master with a dilemma when it came to the performance of his lead actress, Anny Ondra. Blackmail had been shot first as a silent film, but when it was decided to do a sound version, Ondra’s thick Czech accent was judged unacceptable because she was playing the part of a working-class London girl. Hitchcock did not want to replace Ondra, and so he got the young British actress Joan Barry to read the lines for her off-camera as Ondra mimed to them. The result is often awkward, of course, but it also says something about the difference between what an actor is like as an image and what an actor is like when they speak.
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Lewis, Jon. "Introduction." In Hard-Boiled Hollywood. University of California Press, 2017. http://dx.doi.org/10.1525/california/9780520284319.003.0001.
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On February 8, 1962, the movie actress Lana Turner fainted at a Hollywood party. It was her birthday—her forty-second.<sup>1</sup> She was rushed to the emergency room at Hollywood Presbyterian Hospital, where she made the most of her entrance, dramatically clinging to the arms of two of her party guests, the actor Eddie Albert (Turner’s current co-star in Daniel’s Mann’s ...
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"11. THE LINE BETWEEN REALITY AND STAGING: ACTOR MARTINEZ, ACTRESS, AND THE WITNESS." In Rewriting Indie Cinema. Columbia University Press, 2019. http://dx.doi.org/10.7312/murp19196-013.
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Callahan, Dan. "The Mountain Eagle and The Lodger." In The Camera Lies. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780197515327.003.0002.
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Hitchcock’s lost second film is represented by various stills where we can see how he carefully deglamorized his star Nita Naldi, who was a star from America. In his third film, The Lodger (1926), which made his reputation, Hitchcock carefully handles the queer matinee idol Ivor Novello, experimenting with ways of shooting him that emphasize his sex appeal and his strange way of moving. This film also features one of the first “Hitchcock blondes,” as played by an actress simply known as June. There is also a discussion of gayness in Hitchcock films and what it can mean to have a gay actor in a straight part and a straight actor in a gay part.
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Callahan, Dan. "Strangers on a Train, I Confess." In The Camera Lies. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780197515327.003.0012.
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On the first day of shooting, Hitchcock referred to Strangers on a Train (1951) as “my real first film,” and the Master drew a charismatic, shoot-the-works performance from Robert Walker, who was cast against type as the colorful psychopath Bruno Anthony. But then Hitchcock was annoyed by the extensively labored-over Method acting of Montgomery Clift in I Confess (1952), a case of an actor doing too much, albeit very expressively, underneath a surface that keeps cracking because of lack of control. He also had to use the breathy Anne Baxter when he would have preferred the Swedish actress Anita Bjork.
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Bocarnea, M. "Celebrity-Persona Parasocial Interaction Scale." In Handbook of Research on Electronic Surveys and Measurements. IGI Global, 2007. http://dx.doi.org/10.4018/978-1-59140-792-8.ch039.
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The celebrity-persona parasocial interaction scale (CPPI) is designed to measure how media consumers form parasocial relationships with celebrities or popular fictional characters. A parasocial relationship is defined as an imaginary interpersonal relationship between a media consumer and a media persona (Horton & Wohl, 1956). Persona can be real people, such as actors, athletes, and performing artists; or they can be fictional characters, such as Susan in the television serial Desperate Housewives, a character played by actress Teri Hatcher, or Indiana Jones, a character in the film, Raiders of the Lost Ark, played by actor Harrison Ford. The CPPI is derived from several other published parasocial action scales, including Rubin, Perse & Powell (1985), Cole & Leets (1999), and Auter & Palmgreen (2000). While most parasocial interaction scales are designed to measure the strength of parasocial relationships that develop through television viewing, the CPPI is particularly targeted to celebrities whose exposure far exceeds television programs alone.
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Ahmed, Omar. "Poetic Fatalism." In Studying Indian Cinema. Liverpool University Press, 2015. http://dx.doi.org/10.3828/liverpool/9781906733681.003.0004.
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This chapter evaluates Guru Dutt's Kaagaz Ke Phool (Paper Flowers, 1959). A hymn to the golden age of the studio system, actor/director Guru Dutt's greatest achievement was dismissed on its initial release. One of the first Indian films to be shot in cinemascope, the melancholic story of an alcoholic film-maker (Guru Dutt) and the actress he discovers (Waheeda Rehman) makes for a poetic critique of the film-making process. The chapter focuses on the director's status as one of Indian cinema's pre-eminent auteurs, thematic dimensions, and ground-breaking technical aspects. It also looks at the role of lyricist Kaifi Azmi, gender representations, and the unmistakable brand of poetic fatalism that has come to define much of Dutt's cinema.
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Glancy, Mark. "Chapter 27." In Cary Grant, the Making of a Hollywood Legend. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190053130.003.0028.
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By the time Cary Grant and Betsy Drake announced their separation in 1958, Grant had followed Drake’s lead by embarking on an intensive form of psychotherapy using the hallucinogenic drug LSD. In clinically supervised sessions, he took the drug, which was not yet illegal, and explored his unconscious mind. This, he maintained, allowed him to peer into his past and overcome the childhood memories and experiences that haunted him. He revealed this to a prominent journalist, Joe Hyams, and then vehemently denied the story when it made headlines across the country. Yet the story did not dent his popularity with audiences. Operation Petticoat (1959), directed by Blake Edwards, became his biggest box-office success. Its humour is dated now, but it is still notable as the film that paired Grant with Tony Curtis, the actor who imitated him so memorably in Some Like It Hot (1959). The Grass is Greener (1960), directed by Stanley Donen, tried to repeat the success of the sophisticated comedy-romance Indiscreet (1958), but fell short of that mark. The screwball comedy A Touch of Mink (1962) paired Grant with Doris Day, the most popular screen actress of the period. They did not enjoy working together, but the film’s star power ensured that it was a hit. These successes, together with Grant’s lucrative contract with Universal-International Pictures, led the trade weekly Variety to declare that he was the “richest actor” and “most astute businessman” working in Hollywood.
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Wang, Yiman. "Acoustic Ladies." In Vamping the Stage. University of Hawai'i Press, 2017. http://dx.doi.org/10.21313/hawaii/9780824869861.003.0002.
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July 1935, a British newspaper reported, “China’s own most famous actress, Miss Butterfly Wu, of Shanghai, shook hands yesterday with Hollywood’s most famous Chinese star, Miss Anna May Wong,” at a reception in honor of both Wu and Mei Lan-fang, “China’s leading stage actor.” All three performers became involved in filmmaking as it was emerging into a new dominant entertainment industry. Interestingly, if Mei needed to foreground the visual choreography at the expense of his vocal performance in 1920 when some of his repertoire pieces were filmed as silent shorts, Wong and Wu played a key role in ushering in the talkie era with their singing voice. This chapter explores how the two instances of female singing voice were triangulated and intermediated with Mei Lanfang’s female impersonation derived from Peking Opera on the one hand, and on the other hand, remediated through new filming and recording technologies at the cusp the sound era. It thus unpacks the cultural phenomenon of the emerging female singing voice, using it as a lens to examine the reconfiguration of gendered performance and performative gender identity in relation to colonial modernity and cosmopolitanism, national identity and international aspirations.
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Glancy, Mark. "Chapter 15." In Cary Grant, the Making of a Hollywood Legend. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190053130.003.0016.
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In 1938 and 1939, Cary Grant enjoyed a close, romantic relationship with the actress Phyllis Brooks. They travelled together through Europe in the summer of 1939 and they very nearly married on their return to the USA. Brooks’ mother, however, disliked Grant, and this proved fatal to their relationship. Professionally, Grant continued to branch out as an actor, making the tough aviation drama Only Angels Have Wings (1939). Howard Hawks directed Grant alongside co-stars Jean Arthur and Rita Hayworth, both of whom found the director difficult to work with. Grant branched out further by making the melodramatic “woman’s film” In Name Only (1939) with co-star Carole Lombard. These films were well received by critics and the public, but his next film, His Girl Friday (1940), was a much more significant hit. In this quintessential screwball comedy, director Howard Hawks encouraged Grant and co-star Rosalind Russell to adlib lines, speaking over one another to build a frenzied comic atmosphere. Although critical reviews were mixed in 1940, the film’s reputation has grown over the years, and His Girl Friday now stands among his very best films.
Conference papers on the topic "Actor / actress"
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Satoh, Shiníchi. "Towards actor/actress identification in drama videos." In the seventh ACM international conference. ACM Press, 1999. http://dx.doi.org/10.1145/319878.319899.
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Satoh, Shin'ichi. "an actor/actress annotation system for drama videos." In the seventh ACM international conference. ACM Press, 1999. http://dx.doi.org/10.1145/319878.319939.
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Žofčák, Jakub. "DETERMINING FACTORS OF CZECH FILM ATTENDANCE IN THE YEARS 2003–2017." In 4th International Scientific Conference – EMAN 2020 – Economics and Management: How to Cope With Disrupted Times. Association of Economists and Managers of the Balkans, Belgrade, Serbia, 2020. http://dx.doi.org/10.31410/eman.2020.295.
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The paper analyzes the determining factors affecting Czech film attendance in the years 2003–2017 and places this topic into the context of the information asymmetry faced by film-goers. Using the regression (OLS) model and a unique population-level dataset (415 observations), the hypothesis of a positive relationship between film attendance and audience rating is confirmed. The increase in audience ratings by Czech-Slovak Film Database website’s users by one percentage point is, ceteris paribus, associated with an increase in attendance by 1.8%. Factors which have proven to determine film attendance also include: specific genres; film sequels; casting of a popular actor, actress or director; the personality of the director Zdeněk Troška; the Czech Lion Awards; and a premiere in certain years. In the decision-making process of a viewer who faces information asymmetry one can rely on these determinants as economic signals and on viewer ratings as information from an intermediary.
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Lee, Ai-Ni, Kuan-Ying Chen, and Cheng-Te Li. "ActRec: A Word Embedding-based Approach to Recommend Movie Actors to Match Role Descriptions." In 2020 IEEE/ACM International Conference on Advances in Social Networks Analysis and Mining (ASONAM). IEEE, 2020. http://dx.doi.org/10.1109/asonam49781.2020.9381452.
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