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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.

Marlon Brando and The Wild One ban in the UK
Anna Ariadne Knight

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, method acting 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

in Screening the Hollywood rebels in 1950s Britain
James Dean and Rebel Without a Cause
Anna Ariadne Knight

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 method acting, 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

in Screening the Hollywood rebels in 1950s Britain
Why some of us push our bodies to extremes
Author: Jenny Valentish

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'.

Author: Karen Fricker

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.

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Anna Ariadne Knight

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 method acting 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 an

in Screening the Hollywood rebels in 1950s Britain
David Myers

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 “method acting” as regards the play; and we might refer to a “lusory attitude” as regards the game. Just as method acting internalizes the external requirements of script-based drama, a lusory attitude internalizes the

in Games are not
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The performance of Basqueness by Carmelo Gómez and Silvia Munt
Rob Stone

Lee Strasberg and Stella Adler.2 Method acting 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

in Performance and Spanish film
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Jenny Valentish

with performance-enhancing drugs and wind up in a livestreamed fight. It’s a bit like method acting, 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 – such as

in Everything harder than everyone else
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Approaching performance in Spanish film
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 3 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: Method acting, 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

in Performance and Spanish film