Acting in the CinemaIn this richly detailed study, James Naremore focuses on the work of film acting, showing what players contribute to movies. Ranging from the earliest short subjects of Charles Chaplin to the contemporary features of Robert DeNiro, he develops a useful means of analyzing performance in the age of mechanical reproduction; at the same time, he reveals the ideological implications behind various approaches to acting, and suggests ways that behavior on the screen can be linked to the presentation of self in society. Naremore's discussion of such figures as Lillian Gish, Marlene Dietrich, James Cagney, and Cary Grant will interest the specialist and the general reader alike, helping to establish standards and methods for future writing about performers and their craft. |
Contents
| 3 | |
| 7 | |
What Is Acting? | 19 |
The Actor and the Audience | 25 |
Rhetoric and Expressive Technique | 32 |
Expressive Coherence and Performance within Performance | 66 |
Accessories | 81 |
Costume | 86 |
Marlene Dietrich in Morocco 1930 | 129 |
James Cagney in Angels with Dirty Faces 1938 | 155 |
Katharine Hepburn in Holiday 1938 | 172 |
Marlon Brando in On the Waterfront 1954 | 191 |
Gary Grant in North by North west 1959 | 211 |
Rear Window 1954 | 237 |
The King of Comedy 1983 | 260 |
Selected Bibliography | 285 |
Other editions - View all
Common terms and phrases
acting actorly actors arms audience Auto Race become behave behavior body Brando Brecht Cagney Cagney's camera Cary Grant celebrity Chaplin character cinema close-up comic contrast conventions costume described dialogue Dietrich director dramatic dress effect emotional everyday example expressive eyes face fictional film film's frame Gary Cooper gestures Gish gives glances Godard Griffith hand Hepburn Hitchcock Hollywood illusion James Stewart Jerry Johnny joke Katharine Hepburn King of Comedy Kuleshov Langford later Lillian Gish look makeup male mask Method acting move movement narrative naturalistic Niro North by Northwest offscreen pantomime performance person play players plot pose posture Pudovkin Pupkin realist Rear Window rhetoric role Rupert says scene screen seems sense sequence sexual shot slightly smile social sometimes speech stage stands Stanislavskian star Stella Dallas Sternberg Stewart Studio style suggest Susie technique theater theatrical Thelma Ritter True Heart Susie turns typical viewers voice walks woman