Acting in the Cinema

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University of California Press, 1988 - Performing Arts - 307 pages
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In 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. In 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.
 

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Acting in the cinema

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Rather than establish the norms and conventions of film acting as the background for his discussion, Naremore focuses his analyses on a group of films that, he argues, self-consciously thrusts ... Read full review

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I cannot WAIT to read more of this. I mean, you just know so much about this. So much of it I’ve never even thought of. You sure did put a new twist on something that I’ve heard so much about. I don’t believe I’ve actually read anything that does this subject as good justice as you just did.
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Contents

Part One Performance in the Age of Mechanical
7
Rhetoric and Expressive Technique
34
Expressive Coherence and Performance within
68
Accessories
83
Lillian Gish in True Heart Susie 1919
99
Charles Chaplin in The Gold Rush 1925
114
Marlene Dietrich in Morocco 1930
131
James Cagney in Angels with Dirty Faces 1938
157
Marlon Brando in On the Waterfront 1954
193
Cary Grant in North by Northwest 1959
213
Part Three Film as a Performance Text
237
Rear Window 1954
239
The King of Comedy 1983
262
Selected Bibliography
287
Index
295
Copyright

Katharine Hepburn in Holiday 1938
174

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About the author (1988)

James Naremore is director of the film studies program at Indiana University.

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