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. Film acting in later periods – including our own – is equally codified, even if its relative economy in the deployment of both body and voice may make it more difficult to perceive its conventions. Most recent performance in English-speaking cinema is broadly naturalistic , aiming to align itself not with the artifice of some theatrical modes but with observed human behaviour; nevertheless, actors in this tradition, from Marlon Brando in A Streetcar Named Desire (1951; see Figure 3 ) to Imelda Staunton in Vera Drake (2004) and Gary Oldman in Tinker Tailor
important element of your worldview and, more specifically, of your film criticism? Explore how cinema has framed a particular class and its relations with other social fractions. You might, for example, assess a selection of film representations of the English working class produced during the past three decades that extends from Terence Davies’s Distant Voices, Still Lives (1988) to recent work directed by Clio Barnard, and that includes such titles as Raining Stones (1993), Brassed Off (1996), The Full Monty, Billy Elliot (2000), Vera Drake, Four