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Few screen icons have provoked as much commentary, speculation and adulation as the 'she' of this plaudit, Catherine Deneuve. This book begins with a brief overview of Deneuve's career, followed by a critical survey of the field of theoretical star studies, highlighting its potential and limitations for European, and particularly French, film scholarship. It argues the need for the single-star case study as a model for understanding the multiple signifying elements of transnational stardom. Her first role, at the age of 13, was a brief appearance as a schoolgirl in André Hunebelle's Collégiennes/The Twilight Girls. It was in 1965 that Roman Polanski would cast Catherine Deneuve in Repulsion, described by one critic as a 'one-woman show' in a role that would effectively create a persona which would resonate throughout her future film career. The darker shades of the Deneuve persona are in even greater evidence in Tristana. Demy's Donkey Skin is arguably an equal source of the tale's iconic status in France today, and largely because of Deneuve. The book also investigates films of the 1970s; their role in shaping her star persona and the ways in which they position Deneuve in relation to French political culture. The book considers exactly why directors gravitate towards Deneuve when trying to evoke or represent forms of female homosexual activity on film, and to consider exactly what such directors actually make Deneuve do and mean once they have her performing these particular forms of lesbian relation.
actor who is not a star; played by an actor who
is a star but who does not possess a Parisienne iconographical profile;
played by an actor who is a star and who also possesses a Parisienne
iconographical profile. This chapter focuses on the Parisienne iconographical profiles of Bardot, Moreau, Karina and Gainsbourg. Certain
studies have treated the star personae of Bardot, Moreau and Karina in
a more general sense (Austin; Bazgan; Betz; Conway; Holmes; Leahy;
Schwartz; Sellier; Vincendeau, ‘Brigitte Bardot’, ‘The Star Reborn’,
Brigitte Bardot). This chapter builds
socially constructed delimitation between sane and
insane–sexually active and sexually repressed, etc., as ‘types
of person’ that one might be, results in us having to see the
assumptions and behaviours of the ‘ordinary’ world as alien,
deformed and dehumanised if we are to accord humanity to Carol. This
is the logical outcome of such binary thinking.
A star (text) is born (constructed)
In his seminal study
Appreciation (2005), while James Naremore’s Acting in the
Cinema (1988), though following the ‘star’ route, is also significant for its summation of various theories of acting and performance. However, many of these works are in part compromised by
an absence of background contextualisation. More recently, Ken
Miller’s More Than Fifteen Minutes of Fame (2013), while avoiding
the starstudies perspective, focuses instead on the relationship
between screen performances (including television and the internet alongside film) and audiences, largely ignoring the question of
The Bank Job (2008) – a
crime/action thriller based loosely on the Baker Street bank robbery
of September 1971, written by Dick Clement and Ian La Frenais, and
directed by Roger Donaldson for Lionsgate Films UK – is perhaps best
described as a middling popular success for its star Jason Statham.
Released in the United Kingdom on 28 February, it took £951,013 in
A study of the evolution of colonial
science is perhaps as relevant and instructive as the study of
colonialism itself. Both moved together, hand in hand, and had a close
cause-and-effect relationship. They did not emerge all of a sudden, and
certainly not because a certain part of the world ‘became
possessed suddenly of a strange spirit of adventure’, as a Western
Frida Kahlo is probably the best known
Latin American artist and a great deal has been written about her cult
status, which began to emerge in the United States in the 1980s and has
continued to the present day. 1
There have also been a number of studies of the film Frida (2000),
directed by Julie Taymor and starring Salma Hayek. 2 However, the role of music in the film has not
been the subject
Previous studies of screen performance have tended to fix upon star actors, directors, or programme makers, or they have concentrated upon particular training and acting styles. Moving outside of these confines, this book provides an interdisciplinary account of performance in film and television and examines a much neglected area in people's understanding of how popular genres and performance intersect on screen. The advent of star studies certainly challenged the traditional notion of the director as the single or most important creative force in a film. Genre theory emerged as an academic area in the 1960s and 1970s, partly as a reaction to the auteurism of the period and partly as a way of addressing popular cinematic forms. Television studies have also developed catalogues of genres, some specific to the medium and some that refer to familiar cinematic genres. The book describes certain acting patterns in the classic noirs Maltese Falcon, The Big Sleep, Out of the Past and the neo-noirs Chinatown. British television drama in the 1970s had a special interest in the genre of horror. There is no film genre to which performance is as crucial as it is to the biopic. To explore comedy performance is to acknowledge that there is something that defines a performance as 'comic'. The book also examines drama-documentary, the western, science fiction, comedy performance in 'spoof news' programmes and the television 'sit com' and popular Bollywood films.
Stage women, 1900–50 explores the many ways in which women conceptualised, constructed and participated in networks of professional practice in the theatre and performance industries between 1900 and 1950. A timely volume full of original research, the book explores women’s complex negotiations of their agency over both their labour and public representation, and their use of personal and professional networks to sustain their careers. Including a series of case studies that explore a range of well-known and lesser-known women working in theatre, film and popular performance of the period. The volume is divided into two connected parts. ‘Female theatre workers in the social and theatrical realm’ looks at the relationship between women’s work – on- and offstage – and autobiography, activism, technique, touring, education and the law. Part II, ‘Women and popular performance’, focuses on the careers of individual artists, once household names, including Lily Brayton, Ellen Terry, radio star Mabel Constanduros, and Oscar-winning film star Margaret Rutherford. Overall, the book provides new and vibrant cultural histories of women’s work in the theatre and performance industries of the period.