: the advancements of camera technology, the commodification of acting, the significance of the shift from stage to screen, the shift from recorded motion pictures as pure display to film narrative, and that from silent film technology to sound. A survey of the content and full runs of forty film-​fan magazines from 1917 to 1936 makes it evident that historicising or theorising film acting and performance by studying the film alone provides a wholly inadequate picture of the richness and diversity of the discourse that surrounded film acting. One aim of this chapter

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Abstract only
Genre and performance in Shahrukh Khan’s post-millennial films

by the demands of genre mixing are those put in front of the cameras. As Pamela Robertson Wojcik argues, ‘modes of performance differ sufficiently among melodrama, the Western, comedy, film noir, and the musical to enable genre theorists to characterize acting styles as a defining feature of genre’, and yet, she goes on, ‘for the most part, genre theorists have attended more to visual style, narrative structure, thematic

in Genre and performance

18 Ultras 1 The ultras’ performance Shortly before kick-off at the UEFA Europa League match between Legia Warsaw of Poland and FK Aktobe of Kazakhstan in 2014, the home fans displayed a giant frieze that extended across the height of both tiers of the Zyleta stand of the stadium. The image was a lampoon of the logo of UEFA. In the centre of the UEFA insignia was an illustration of an obese pig, dressed in a shirt bestowed with euro currency symbols. In his trotters, the pig was holding a piece of paper inscribed with ‘6 < 1’. Underneath this altered UEFA logo

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Space, memory, and material devotion

3 Performance and the parish: space, memory, and material devotion Introduction For wealthy laywomen of the late Middle Ages, bequests tied to the liturgy offered a compelling way to venerate the deceased. Yet religious patronage also served as a vehicle for the assertion of ongoing personal presence, especially when connected with performances that allowed women to announce and memorialise themselves within the material contexts that they inhabited. In this chapter, I further expand the spectrum of female performance by looking at the ways that individual women

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Revindicating Spanish actors and acting in and through Cine de barrio

appreciation of performance in film. This discussion will provide the framework to then probe two major issues: the specific nature of the relationship between actors and their audiences; and the way in which this is forged through a myriad of forms not always clearly visible to critics working outside of Spain. My contention is that the programme forges a meaningful and sustained discourse on performance in the national cinema, while also undertaking an archaeological task of rediscovering the kind of popular films rarely included in retrospectives or film festivals

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‘Performing’ la crisis

15 Los amantes pasajeros/​I’m So Excited! (2013): ‘performing’ la crisis Maria M. Delgado In 2013, Almodóvar released Los amantes pasajeros/​I’m So Excited!, his nineteenth feature-​length film. The film was not judged kindly by Spanish critics. Almodóvar was criticised for the misfiring comic tone of the film, an overwrought performance register and a plot that seemed to suggest the filmmaker had lost touch with ‘reality’. El País’s lead film critic Carlos Boyero dismissed Los amantes pasajeros as ‘una de las películas más tontas que he visto en mucho tiempo

in Performance and Spanish film

, in his autobiography, Luis García Berlanga remembers how working with Argentinian actors was one of the most difficult experiences he had in the country: ‘El primer escollo importante fue el reparto. Aquellos actores eran buenos –​Rodolfo Beban, Ana María Campoy –​pero no eran mi gente. Ya no era un film de Berlanga… perdía esa condición esperpéntica que mis personajes necesitan … los diálogos que en boca de López Vázquez, Julia Caba o 112 Performance and Spanish film Elvira Quintillá habrían sonado a pura delicia, perdían su gracia y fuerza con otro tipo de

in Performance and Spanish film

. When they rehearse it, they’re rehearsing it right before the scene is shot. It’s intensely high pressure. It’s non-stop’ (20 January 2002, Pearson and Messenger Davies). Theatre actors have months or at least weeks to rehearse and build their characters. Film actors rehearse before shooting and can perfect their performance in retakes. Television actors have minimal rehearsal and need to get the shot right on the first take

in Genre and performance

performance art struggling for its own identity, especially in the first years of sound film, and, for many theorists, the anti-cinema par excellence. ‘Pas d’épousailles du théâtre et du cinématographe’, wrote Robert Bresson in his journal of the 1950s, ‘sans extermination des deux’ 1 (Bresson 1975 : 21); but Bresson’s theatre is a pasteboard affair, an easy scapegoat for a frozen, actorly style of cinema

in Jacques Rivette

11 Futurist performance, 1910–1916 Günter Berghaus Futurist performance Introduction In 1983, I was asked to contribute an essay to a Festschrift honouring the achievements of my colleague William Edward Yuill. I considered writing something on Dada performance (Bill, whom I directed on several occasions, could be a Dada actor in more than one respect!) and threw myself with gusto into the documents related to the Cabaret Voltaire. When I discovered that both Hugo Ball and Tristan Tzara had conducted a correspondence with the Italian Futurists, it seemed

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