Screening the Hollywood Rebels in 1950s Britain explores the relationship between classic American films about juvenile delinquency and British popular youth culture in the mid-twentieth century. The book examines the censorship, publicity and fandom surrounding such Hollywood films as The Wild One, Blackboard Jungle, Rebel Without a Cause, Rock Around the Clock and Jailhouse Rock alongside such British films as The Blue Lamp, Spare the Rod and Serious Charge. Intersecting with star studies and social and cultural history, this is the first book to re-vision the stardom surrounding three extraordinarily influential Hollywood stars: Marlon Brando, James Dean and Elvis Presley. By looking specifically at the meanings of these American stars to British fans, this analysis provides a logical and sustained narrative that explains how and why these Hollywood images fed into, and disrupted, British cultural life. Screening the Hollywood Rebels in 1950s Britain is based upon a wide range of sources including censorship records, both mainstream and trade newspapers and periodicals, archival accounts and memoirs, as well as the films themselves. The book is a timely intervention of film culture and focuses on key questions about screen violence and censorship, masculinity and transnational stardom, method acting and performance, Americanisation and popular post-war British culture. The book is essential reading for researchers, academics and students of film and social and cultural history, alongside general readers interested in the links between the media and popular youth culture in the 1950s.
Wild One, Brando was known for several
striking method performances, which became the benchmark for
realistic and credible acting. Brando had learned his dramatic craft
from Stella Adler in New York, whose approach to acting was based
on Konstantin Stanislavsky’s teachings. As suggested in my introduction, methodacting did not uniformly suit British tastes. The disparities between the British and American imaginary at this time are
partly explained by contrasting attitudes to Freudian theories. After
the Second World War, Freud’s practices were assimilated into
discretion but, equally, could be manipulated to
exert their control over material.
As shown in the previous chapter, the British censors reduced
idioms and slang used by American high school students in Blackboard
Jungle: they were overdubbed or deleted wherever possible. Now
their overriding concern was to dismantle James Dean’s methodacting, a signifier of excessive Americanness. That Dean’s volatile
dialogue and physical performance were considered a potential
stimulant to the young and unsophisticated resulted in liberal changes
to Inspector Fremick’s first scene
This book is about people willing to do the sorts of things that most others couldn't, shouldn't or wouldn't. While there are all sorts of reasons why people consume substances, the author notes that there are those who treat drug-taking like an Olympic sport, exploring their capacity to really push their bodies, and frankly, wanting to be the best at it. Extreme athletes, death-defiers and those who perform incredible stunts of endurance have been celebrated throughout history. The most successful athletes can compartmentalise, storing away worry and pain in a part of their brain so it does not interfere with their performance. The brain releases testosterone, for a boost of strength and confidence. In bondage, discipline, sadism and masochism (BDSM) play, the endogenous opioid system responds to the pain, releasing opioid peptides. It seems some of us are more wired than others to activate those ancient biological systems, be it through being caned in a dungeon during a lunchbreak or climbing a sheer rock wall at the weekend. Back in 1990, sociologist Stephen Lyng coined the term 'edgework', now frequently used in BDSM circles, as 'voluntary pursuit of activities that involve a high potential for death, physical injury, or spiritual harm'.
This book explores the development of Robert Lepage’s distinctive approach to stage direction in the early (1984–94) and middle (1995–2008) stages of his career, arguing that globalisation had a defining effect in shaping his aesthetic and professional trajectory. It combines examination of Lepage’s theatremaking techniques with discussion of his work’s effects on audiences, calling on Lepage’s own statements as well as existing scholarship and critical response. In addition to globalisation theory, the book draws on cinema studies, queer theory, and theories of affect and reception. As such, it offers an unprecedented conceptual framework, drawing together what has previously been a scattered field of research. Each of six chapters treats a particular aspect of globalisation, using this as a means to explore one or more of Lepage’s productions. These aspects include the relationship of the local (in Lepage’s case, his background in Québec) to the global; the place of individual experience within global late modernity; the effects of screen media on human perception; the particular affect of ‘feeling global’; the place of branding in contemporary creative systems; and the relationship of creative industries to neoliberal economies. Making theatre global: Robert Lepage’s original stage productions will be of interest to scholars of contemporary theatre, advanced-level undergraduates with an interest in the application of theoretical approaches to theatrical creation and reception, and arts lovers keen for new perspectives on one of the most talked-about theatre artists of the late twentieth and early twenty-first centuries.
inception of Hollywood’s star system, cinema
audiences have been interested in movie stars. These celebrity personae
have been assiduously developed and sustained through studio
publicity departments, film criticism and fan materials as well as
the films themselves. In the 1950s, a new type of methodacting
reimagined film performance with a searing psychological realism
and, as a result, reconfigured Hollywood stardom. Several ‘rebel’
films produced by Hollywood between 1953 and 1958 were the
first to explore post-war juvenile delinquency within the context of
object – must provide the proper occasion necessary for this evocation of aesthetic pleasure to occur. And, in fact, we often use familiar and similar concepts to describe the behavior of the actor and the player who are successful in reconciling their subjective experiences with those objects that evoke them. We might, for instance, refer to “methodacting” as regards the play; and we might refer to a “lusory attitude” as regards the game.
Just as methodacting internalizes the external requirements of script-based drama, a lusory attitude internalizes the
The performance of Basqueness by Carmelo Gómez and Silvia Munt
Strasberg and Stella Adler.2 Methodacting in American cinema was
popularised by the emotional, sensorial and psychological performances
of actors such as Marlon Brando and James Dean, but it was the angry
young men of 1970s American cinema who wielded more direct influence on Gómez’s generation. The spectacular examples on screen of a
simmering or fit-to-burst Al Pacino, Dustin Hoffman or Robert De Niro
prompted a psychological and physical commitment to a role that could
dominate a stage but be ill served by blocking, cutting and retaking single shots for a
performance-enhancing drugs and wind up in a livestreamed
fight. It’s a bit like methodacting, I suppose.
In a way, though, it was that last book, Woman of Substances,
that triggered the idea for Everything Harder Than Everyone Else.
While there are all sorts of reasons why people consume substances, I noted that there are those who treat drug-taking like
an Olympic sport, exploring their capacity to really push their
bodies, and frankly, wanting to be the best at it. Those people,
when they quit, might turn to a similarly annihilating pursuit –
Dean Allbritton, Alejandro Melero, and Tom Whittaker
acting school, and the acting methods
they were subsequently taught. Several acting techniques taught within
Approaching performance in Spanish film
Spain have been influenced and shaped by international practices and
methods. According to Elly Konijn (2005: 63), contemporary scholars of
performance studies tend to agree that there are three key approaches to
acting: Methodacting, the detachment approach and the self-expressive
approach. If, as Konijn suggests, each of these acting techniques have
occupied a prominent place in most Western film industries, then