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Artykuły w czasopismach na temat "Motion picture actors and acturesses"
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Wirtz, Bernd W., Marina Mermann i Peter Daiser. "Success factors of motion picture actors – an empirical analysis". Creative Industries Journal 9, nr 2 (2.07.2016): 162–80. http://dx.doi.org/10.1080/17510694.2016.1206359.
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Murphy, David G. "The Entrepreneurial Role of Organized Labour in the British Columbia Motion Picture Industry". Articles 52, nr 3 (12.04.2005): 531–52. http://dx.doi.org/10.7202/051185ar.
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Research into an industrial sector reflecting principles of the emergent "network" model of production indicates that organized labour can play a positive role in post-Fordist Systems of industrial governance. Within the dynamic motion picture industry of British Columbia (B. C), organized labour was the key organizational factor in the birth and rapid expansion of the agglomeration ofsmall, specialized film production firms which has become a competitor for the coveted title of second largest film centre, after Los Angeles, in North America. In this process, B.C. film unions have become the dominant "actors " in forging collaborative relations between local production companies, between the sector and the state, and between the district and other film centers, so critical to the success of the network model.
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Smith, Jeffery A. "Hollywood Theology: The Commodification of Religion in Twentieth-Century Films". Religion and American Culture: A Journal of Interpretation 11, nr 2 (2001): 191–231. http://dx.doi.org/10.1525/rac.2001.11.2.191.
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A motion picture is a product formed by the intricate inter-play of film industry forces and cultural expectations. Hollywood must attract audiences and audiences crave gratification or, perhaps, edification. Movies with religious themes can deal with momentous issues, but take the risk of affronting deeply held beliefs. Problems naturally arise when matters as sensitive and speculative as the activity of the Creator and the role of the created become entertainment marketed to mass audiences. Technicolor scenery, special effects, celebrity actors, spiced-up scripts, and other big-screen production values may seem disrespectful or may divert attention away from serious reflection. Critics of consumer society have pointed to the manipulation, superficiality, and commercialization found in mass media environments and film scholars have evaluated movies with religious topics, but questions remain about cinematic treatments of ultimate meaning. The motion picture industry's customers have a multitude of spiritual perspectives.
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Wirtz, Bernd W., Marina Mermann i Peter Daiser. "Competencies and success of motion picture actors: a resource-based and competence-based empirical analysis". Journal of Media Practice 17, nr 1 (2.01.2016): 98–116. http://dx.doi.org/10.1080/14682753.2016.1159452.
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Elberse, Anita. "The Power of Stars: Do Star Actors Drive the Success of Movies?" Journal of Marketing 71, nr 4 (październik 2007): 102–20. http://dx.doi.org/10.1509/jmkg.71.4.102.
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Is the involvement of stars critical to the success of motion pictures? Film studios, which regularly pay multimillion-dollar fees to stars, seem to be driven by that belief. This article sheds light on the returns on this investment using an event study that considers the impact of more than 1200 casting announcements on trading behavior in a simulated and real stock market setting. The author finds evidence that the involvement of stars affects movies' expected theatrical revenues and provides insight into the magnitude of this effect. For example, the estimates suggest that, on average, stars are worth approximately $3 million in theatrical revenues. In a cross-sectional analysis grounded in the literature on group dynamics, the author also examines the determinants of the magnitude of stars' impact on expected revenues. Among other things, the author shows that the stronger a cast already is, the greater is the impact of a newly recruited star with a track record of box office successes or with a strong artistic reputation. Finally, in an extension to the study, the author does not find that the involvement of stars in movies increases the valuation of film companies that release the movies, thus providing insufficient grounds to conclude that stars add more value than they capture. The author discusses implications for managers in the motion picture industry.
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Rødje, Kjetil. "Intra-Diegetic Cameras as Cinematic Actor Assemblages in Found Footage Horror Cinema". Film-Philosophy 21, nr 2 (czerwiec 2017): 206–22. http://dx.doi.org/10.3366/film.2017.0044.
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This article proposes a reconceptualization of the term “actor” within motion pictures and presents the argument that “acting” is a matter of distributed agency performed by heterogeneous assemblages. What constitutes an actor is what I will label as a “cinematic actor assemblage,” a term that comprises what is commonly known as human actors as well as material entities that play an active part in motion picture images. The use of intra-diegetic cameras in contemporary found footage horror films constitutes a particular case of such cinematic actor assemblages. Through a dynamic relational performance, cameras here take on roles as active agents with the potential to affect other elements within the images as well as the films’ audiences. In found footage horror the assemblage mode of operation creates suspense, since the vulnerability of the camera threatens the viewer's access to the depicted events. While human characters and individual entities making up the camera assemblage are disposable, the recording is not. Found footage horror crucially hinges upon the survival of the footage. I will further suggest that these films allow filmmakers to experiment with the acting capabilities of intra-diegetic cameras.
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Nepiypov, Vladyslav V. "HYPERREALISM IN DIGITAL CINEMA (BASED ON THE ANALYSIS OF LOVE, DEATH & ROBOTS ANTHOLOGY SERIES)". Art and Science of Television 17, nr 3 (2021): 73–94. http://dx.doi.org/10.30628/1994-9529-2021-17.3-73-94.
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The article is devoted to the aesthetic features of digital cinematography. Due to the widespread use of computer graphics in films, traditional methods of analyzing cinema are no longer enough. The fusion of graphic and photographic elements and the use of photorealistic graphics enable researchers to take a fresh look at the nature of film. Digital cinema, based on contemporary technologies, no longer builds on the photographic principles of filmmaking and presents a new form of realism and representation of reality on the screen. Objects created with the help of computer graphics can transform and go beyond the simulated real objects, while remaining photorealistic, unable to exist outside the framework of the screen and the particular film. Using classical film studies and philosophical works of Jean Baudrillard, Siegfried Krakauer, André Bazin, Christian Metz and the works of modern researchers of digital cinema such as Lev Manovich, Thomas Elsaesser and Malthe Hagener, the author analyzes the process of transition of digital objects from photorealistic to hyperrealistic ones, which today can be identified as real, while not existing in reality. This phenomenon is of undoubted interest for the academic study of new forms of realism in digital cinema. Based on the analysis of the Snow in the Desert episode from the Love, Death & Robots anthology series, the author traces the development of hyperrealism in digital cinema. Through state-of-the-art digital filmmaking technologies combining both graphic and photographic techniques—motion capture, digital cloning of actors, real-time fluid and environment modelling—we have a new kind of cinematography that is not limited to classical methods of filmmaking, but goes beyond cinema itself, merging with animation and video games. All these processes affect the film aesthetics and make it more malleable, free and less restricted by the classical understanding of motion picture.
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Rio Febriannur Rachman. "Greed in the Film "Parasite"". Jurnal Spektrum Komunikasi 8, nr 1 (26.06.2020): 10–21. http://dx.doi.org/10.37826/spektrum.v8i1.60.
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Penelitian ini mengupas tentang pesan moral yang berhubungan dengan ketamakan dalam film Parasite. Karya seni berbahasa Korea Selatan ini dipilih karena merupakan film terbaik di dunia versi Academy Awards atau Oscar 2020. Pada 2019 lalu, garapan Bong Joon-Ho ini meraih Palme d’Or dalam Festival Film Cannes ke-72. Sekaligus mendapat apresiasi berupa delapan menit standing ovation dari hadirin. Pada Januari 2020, karya yang berjudul asli Gisaengchung ini memenangkan Best Foreign Language Film di Golden Globe Awards dan Cast in a Motion Picture di Screen Actors Guild Award. Tak hanya itu, rekam jejak film ini menjadi lebih menarik karena meraih Best Film Not in the English Language dalam British Academy of Film and Television Arts 2020, beserta sederet penghargaan di ajang internasional lainnya. Sejumlah artikel membahas tentang aspek kesenjangan sosial yang ditunjukkan di film ini. Padahal, sebagai sebuah karya seni, pesan moral dalam sebuah produk sinematik bisa beragam dan dapat ditelaah dari beragam sudut pandang. Riset ini bersandar pada teori representasi yang merujuk pada konsep tamak dalam perspektif Islam dan Kristen, seperti tertera pada tafsir di kitab suci Al-Qur’an dan Injil. Metode yang digunakan adalah kualitatif dengan pendekatan analisis visual pada lingkup the site of image itself. Hasil dari penelitian ini, ketamakan tergambar pada sikap dari satu keluarga miskin yang memiliki peran utama dalam film Parasite.
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Kisil, N. "CHOREOGRAPHIC WORKS AS OBJECTS OF FORENSIC EXPERTISE: KEY FEATURES AND APPROACHES TO SOLVING EXPERT TASKS". Criminalistics and Forensics, nr 64 (7.05.2019): 791–803. http://dx.doi.org/10.33994/kndise.2019.64.74.
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A research aim was to investigate signs peculiar to choreographic works, as objects of copyright. Will consider, what elements of choreographic results can be attributed to maintenance, and also internal and external forms, and also to offer approach to the decision of set certain tasks. Identification of the main features of choreographic works has a special relevance for the methodological provision of forensic expert activity. It was established that the main tasks of the forensic expertise of choreographic works are: the definition of the object of copyright law in the object of research; definition in the object of the research or its part of signs of originality and creative nature; establishing the fact of reproduction of a choreographic work; establishing a method for its use or processing. The results of the conducted research indicate that the elements of the internal form of choreographic works may include the artistic image, composition, structure of the work. The elements of the external form – the choreographic work of the work (choreographic vocabulary of the work, style of speech), that is, the author’s own means and techniques of creating artistic images, with which plastic dance images are created. During realization of expertise it is expedient to investigate the next elements of choreographic language works: composition of motions, gestures, poses, mimicry; harmoniousness of motions and poses, plastic expressiveness and mimicry, rate and rhythm of motion, spatial picture; light and colour decisions; stage sceneries, suits, make-up and hair-dos of actors; individual style of motion (handwriting of motions) etc. At establishment of fact of the complete or partial use of choreographic work an expert on the stage of comparative research conducts the analysis of language elements of the investigated works, methods of their selection, use, mutual combination and correlation. The elements of maintenance and form of these works are thus analysed, in particular, features of expression of their internal and external form. In the process of research the special attention applies on facts that can testify to more early use by other authors of analogical choreographic elements. It also establishes the originality of the used choreographic vocabulary of the work, means and methods of creating artistic images. Key words: choreographic works, forms of work, expert practice, objects of copyright.
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Zhabskiy, M., i K. Tarasov. "Globalization of Cinematographic Communication". International Trends / Mezhdunarodnye protsessy 20, nr 3 (5.06.2023): 28–44. http://dx.doi.org/10.17994/it.2022.20.3.70.4.
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The article examines the globalization – in its Americanization format – of the international cinematic communication within the perspective of the cultural diversity issue. The globalization process is comprehended as a result of the historical succession of market formations: from free competition in American cinema to an oligopoly and on to a national and an international monopoly. During the period of polipoly, the trail for globalization was blazed by the grande dame of the cinématographe: France. The United States, where in 1908 the market share of French films equaled 70%, mounted a resolute challenge. Under consideration are three factors – institutional, geopolitical, and creative – of the loss by the French of their domination over the American and, then, their own market. To the soft power of American cinema, the French state responded with the quota stimulation for the exhibition of national films, motivating it, among other things, by the necessity of providing for the external and internal security of the state, by the guardianship of customs and national traditions. To the quotas as a means of mitigating the soft power of the United States did recourse some other countries too: larger ones, for economic considerations; smaller ones, for cultural. The globalizational might of the American film industry is explained through the rational choice of the main line for its stylistic development and the filmmakers’ masterfulness, as well as through the professionalism of managemental and marketing actors, investment from big capital, and through support from government in its push for the «cultural hegemony» of the United States. The major studios that emerged during the period of oligopoly (1909– 1929) competed with one another on the terms of a certain accord. With the means of competing by supercostly investments, far beyond the capabilities of smaller studios, the majors established for the domestic market a regime of national monopoly (1930–1946). On the world market the elected method of competition enabled the American film industry, in the second half of the 1940s, to gain the position of the international monopolist. An important role in the process was played by Motion Picture Export Association, established in 1945: a sort of «a diplomatic service» that functioned with permission from and under the support of the U.S. government. From its position of the global monopolist the American film industry strives not only to dominate in the intercultural cinematic communication, but, in this status and as a means of the popular geopolitics, to control it through lobbying and by exporting capital and goods. The transborder circulation of products by various national cinemas and cultural diversity of cinematography have largely fallen prey the globalization process. On the basis of vast factual research is recreated the state of the art for the imbalance in the intercultural film communication. When, in a socialfunctional respect, the importing of films mainly supplants their production in a certain country, the socium, by a large magnitude, is deprived of the chance to reproduce its culture and, accordingly, its identity with the means of depicting its own image and of mastering it. The making of national cinematic picture of the world and its integration into the communicative process becomes a topical task of providing for cultural diversity.
Rozprawy doktorskie na temat "Motion picture actors and acturesses"
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Choi, Wing-yee Kimburley. "Reading audiences : spectatorship and stars in Hong Kong cinema : the case of Chow Yun-fat /". Hong Kong : University of Hong Kong, 1998. http://sunzi.lib.hku.hk/hkuto/record.jsp?B19853397.
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Drake, Philip Justin. "Stardom after the star system economies of performance in contemporary Hollywood cinema /". Connect to e-thesis, 2002. http://theses.gla.ac.uk/942/.
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Thesis (Ph.D.) -- University of Glasgow, 2002.Ph.D. thesis submitted to the Department of Theatre, Film and Television Studies, University of Glasgow, 2002. Includes bibliographical references. Print version also available.
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Choi, Wing-yee Kimburley, i 蔡穎儀. "Reading audiences: spectatorship and stars inHong Kong cinema : the case of Chow Yun-fat". Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1998. http://hub.hku.hk/bib/B29913469.
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Carman, Emily Susan. "Independent stardom female stars and freelance labor in 1930s Hollywood /". Diss., Restricted to subscribing institutions, 2008. http://proquest.umi.com/pqdweb?did=1666151841&sid=33&Fmt=2&clientId=1564&RQT=309&VName=PQD.
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Shing, On-ki Angel. "The star as cultural icon : the case of Josephine Siao Fong Fong /". Hong Kong : University of Hong Kong, 2000. http://sunzi.lib.hku.hk/hkuto/record.jsp?B22199792.
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Dodd, Alan. "From stars to celebrities : Hollywood stardom in the age of celebrity culture". Thesis, University of Aberdeen, 2010. http://digitool.abdn.ac.uk:80/webclient/DeliveryManager?pid=167617.
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This thesis examines the changing nature of Hollywood stardom and how this is informed by an emergent celebrity culture. Through several case studies this study augments older forms of analysis with Bourdieu’s concept of capital to create a new model of stardom that can accommodate recent cultural developments. In chapter one four key forms of capital are identified. After contextualising this new model within the history of classic Hollywood and older academic approaches to stardom in chapter two, the analysis of Nicole Kidman’s star text in chapter three shows how her image has evolved to combine all forms of cultural capital and as such exemplifies an entirely new formulation of the Hollywood film star. Chapter four applies this analysis to the small screen, with the case studies of Michael J. Fox and Sarah Jessica Parker showing how some performers are able to accrue cultural capital by simultaneously working in film and television, establishing television as a legitimate site for Hollywood stardom and its associated capital. In chapter five a case study of Brand Beckham shows how the capital of contemporary celebrity can be effectively deployed in order to generate a similar allure to that of the classic Hollywood star and with it a similar level of Hollywood power. The final chapter examines the simultaneous unravelling of one brand and the creation of another in light of the increasing power of the fan within celebrity culture. A detailed study of Britney Spears’s presence on perezhilton.com highlights the involvement of the audience as producers of her image and demonstrates how new technologies can be used to create an entirely new form of fame for the gossip columnist, which in turn has been appropriated by the Hollywood system as the next site for legitimate fame.
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Lau, Wai-sim, i 劉慧嬋. "Chinese martial arts stardom in participatory cyberculture". Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2013. http://hub.hku.hk/bib/B50533824.
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The participatory cyberspace, epitomized by the concept of Web 2.0, has become a key venue of Chinese stardom in the post-cinema era.Web 2.0 invites its users to contribute to the content through an architecture of participation. Fans can search, poach, edit, and post filmic and publicity materials about stars, formulating seamless, collaborative reworkings of the star image and generating a new star-fan dynamic. At the crossroads of participatory cyberspace and cinema, transnational Chinese movie stars call our attention to the critical concern of Chineseness. In recent years, a number of Chinese movie stars have attained prominent presence in the global cinematic arena. These acting talents, who are either identified as martial arts performers or known for their performances in martial arts films, won global acclaim as a result of the worldwide reception and esteem for Hong Kong action films and Fifth Generation directors’ films from mainland China. As these stars begin to engineer personae stretching beyond their ethnic identities for the global setting, their stardom engenders discourses of ethnicity and cosmopolitanism.What does it mean to call these stars “Chinese” in the global cyber setting? How do their fans interact to reshape their star personae on the Web? How can one approach and understand “Chineseness” within cyber fan discourse? All these questions point to a central problem of how to conceptualize Chineseness in participatory cyberspace.
My agenda in this study is to investigate Chinese movie stardom as a web-based phenomenon by establishing a new theoretical framework for considering Chineseness in participatory cyberspace. I have created a set of four analytical matrixes, each examining a particular Chinese star through a specific fan-based practice on a specific participatory site: vidding Donnie Yen and critiquing Zhang Ziyi on YouTube; photo-sharing about Jackie Chan on Flickr; “friending” Jet Li on Facebook; and discussing Takeshi Kaneshiro on fan forums. Through close investigation of these five Chinese stars, I demonstrate that the cyber setting enables collaborative fan reworkings of star texts and multiple directionality of approaching Chineseness. Cyber fans produce intertextual, multi-faceted star personae, different from traditional film personae whose meanings are anchored in a rigid established representational framework. Through the relentless scrutiny, quotation, manipulation self-affiliation by fans enabled by cyber technology, Chineseness becomes an utterly illusive and indefinable entity, a new form of signification whose meaning is always changing. This unstable, hybrid Chineseness challenges the notion of a star’s given ethnicity, redefining the archetypal martial arts body in unpredictable, manifold and provocative terms for the cyber era.
With the aim of advancing the critical theorization of Chineseness, this study unfolds and analyzes the dynamics of the vital relationship between Chinese stardom, web technologies, and fan discourse. It also serves as a timely response to the challenges posed by cyber culture for the disciplines of cinema and cultural studies, in light of the proliferating yet inadequate current efforts in this field.published_or_final_version
Comparative Literature
Doctoral
Doctor of Philosophy
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Mosher, Jerry Dean. "Weighty ambitions fat actors and figurations in American cinema, 1910-1960 /". Diss., Restricted to subscribing institutions, 2007. http://proquest.umi.com/pqdweb?did=1495959291&sid=1&Fmt=2&clientId=1564&RQT=309&VName=PQD.
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Aich, Priyanka. "The construction and (re)presentation of Indian women in recent mainstream western cinema". Pullman, Wash. : Washington State University, 2009. http://www.dissertations.wsu.edu/Thesis/Fall2009/p_aich_112309.pdf.
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Thesis (M.A. in communication)--Washington State University, December 2009.Title from PDF title page (viewed on Feb. 12, 2010). "Edward R. Murrow College of Communication." Includes bibliographical references (p. 107-115).
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Yuen, Nancy Wang. "Performing authenticity how Hollywood working actors negotiate identity /". Diss., Restricted to subscribing institutions, 2008. http://proquest.umi.com/pqdweb?did=1692357331&sid=13&Fmt=2&clientId=1564&RQT=309&VName=PQD.
Pełny tekst źródłaKsiążki na temat "Motion picture actors and acturesses"
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Zhang, Caihong. Shen ti zheng zhi: Bai nian Zhongguo dian ying nü ming xing yan jiu. Beijing: Zhongguo guang bo dian shi chu ban she, 2011.
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O'Brien, Kevin. Actors. New York: St. Martin's Press, 1986.
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Nicholas, Angela. 99 film scenes for actors. New York: Avon Books, 1999.
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Nicholas, Angela. 99 film scenes for actors. New York: Avon Books, 1999.
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Nicholas, Angela. 99 film scenes for actors. New York: Avon Books, 1999.
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S, Quigley Eileen, red. International motion picture almanac. Wyd. 7. Groton, MA: Quigley, 2004.
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Suganuma, Masako. Sutā 55: Actressess actors directors. Tōkyō: Tsukuba Shobō, 1996.
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A, LuKanic Steven, red. Film actors guide. Los Angeles, Calif: Lone Eagle, 1991.
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Karton, Joshua G. M. Film scenes for actors, volume II. Toronto: Bantam Books, 1987.
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Karton, Joshua G. M. Film scenes for actors, volume II. Toronto: Bantam Books, 1987.
Znajdź pełny tekst źródłaCzęści książek na temat "Motion picture actors and acturesses"
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Wilson, Sondra Kathryn. "The Film Industry and the Negro". W In Search of Democracy, 375–78. Oxford University PressNew York, NY, 1999. http://dx.doi.org/10.1093/oso/9780195116335.003.0079.
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Abstract Since the early 1940s, the NAACP has taken issue over the fact that blacks were not being portrayed in motion pictures in the manner in which they occupy positions in life. In the following address under the auspices of the Association of Motion Picture Producers Roy Wilkins outlines the NAACP’s policy on black actors in film roles. This speech was given on October 25, 1957. I am grateful for the opportunity to discuss with you face to face, at long last, a matter about which there has been a great deal of misunderstanding. After much telephoning and writing back and forth, beginning, I believe, last March or April, you have been gracious enough to arrange this luncheon meeting. While there has been much talk of an N.A.A.C.P. policy on employment of Negro actors in film roles, and on the type of material involving Negroes and the so-called race question which has found its way into motion pictures, the truth of the matter is that there has never been a clear policy issued by the N.A.A.C.P.
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O’brien, Charles. "Dubbing in the early 1930s: An improbable policy". W The Translation of Films, 1900-1950, 177–90. British Academy, 2019. http://dx.doi.org/10.5871/bacad/9780197266434.003.0010.
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This chapter uses the case of dubbing practices in the early 1930s to consider the possibility that the impact of screen translation techniques on film aesthetics is more significant than has been recognised. The focus is on Hollywood’s unexpected adoption in 1931 of voice dubbing as its principal means of preparing films for the main foreign markets. Hollywood’s reliance on dubbing is contrasted with practices in the German film industry, its main rival for the world film market, where films for export were prepared in foreign-language versions rather than dubbed. Dubbing involved more than voice replacement to affect motion picture style in various ways. Trade press documentation is used to suggest that the dubbed American films of 1931 typically featured less speech; fewer close-ups of speaking actors; more reaction shots in dialogue scenes; more cuts overall; framings and props that concealed rather than displayed the actors’ moving lips; and other stylistic quirks.
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Erish, Andrew A. "1909–1913". W Vitagraph, 58–110. University Press of Kentucky, 2021. http://dx.doi.org/10.5810/kentucky/9780813181196.003.0004.
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Chapter Three charts Vitagraph's ascendency in becoming the world's leader in motion picture production, during which time the company earned one million dollars in annual net profit. This was derived exclusively from foreign earnings due to the mismanagement of the Patents Company's domestic distribution arm. Part of Vitagraph's popularity is attributed to the crediting and promotion of its actors via the creation of the first trade and fan magazines devoted exclusively to the movies. There are in-depth profiles of such leading players "Vitagraph Girl" Florence Turner, matinee idol Maurice Costello, and comedian John Bunny, who was widely regarded as the most recognizable man in the world. The significance of Vitagraph's Los Angeles studio in the production of popular Westerns is considered. The chapter also includes an analysis of the company's development of a sophisticated cinematography aesthetic to complement particular narratives, an approach that later came to be labeled "film noir".
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Powaski, Ronald E. "The Reagan Nuclear Buildup". W Return to Armageddon, 14–38. Oxford University PressNew York, NY, 2000. http://dx.doi.org/10.1093/oso/9780195103823.003.0002.
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Abstract In January 1981 Ronald Reagan, like the overwhelming majority of his Cold War predecessors, entered the White House with almost no background in national security affairs. Before entering the political arena in the early 1960s and then serving as governor of California from 1966 to 1974, he had been in movies and television. His only military experience consisted of making training and documentary films during World War II. Reagan’s knowledge of communism and the Soviet Union was also limited. It was based almost entirely on personal experience rather than study. In the late1940s, as president of the Screen Actors Guild, he fought what he believed was a communist effort to take over the motion picture industry. The experience made him deeply suspicious of communism and the Soviet Union, in particular. In 1983 he called the Soviet Union “the focus of evil in the modern world.”1
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Diffrient, David Scott. "Dead, But Still Breathing". W Body Genre, 137–68. University Press of Mississippi, 2023. http://dx.doi.org/10.14325/mississippi/9781496847966.003.0006.
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Breathing is an implicit, rarely remarked-upon bodily phenomenon in cinema. Indeed, one of the most undertheorized yet taken-for-granted aspects of the motion picture medium, which makes an ontological break from still photography by presenting viewers with the illusion of movement, is its capacity to forge an intersubjective bond between the living, breathing bodies of characters (as well as the actors who play them) and the embodied spectator whose own respiratory activity is as key to phenomenological engagement or sensual perception as seeing and hearing are. Building upon the work of Davina Quinlivan, this chapter explores some of the ways that breath can paradoxically sever a viewer’s link to that apparatus and draw her or his attention to the fictionality of a narrative. This is particularly true in horror films, where actors are frequently asked to perform “fake deaths” and the themes of mortality, physical trauma, and supernatural survival figure prominently. Those themes are lent visual texture not only through graphic representations of the body’s destruction and the taking of one’s “last breath,” but also in the sexually suggestive way that women’s breasts (or heaving chests) are lingered on by filmmakers whose predilection for “base” material is echoed in their narratives’ gravitation toward basements and other underground settings.
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Regev, Ronny. "Bargaining". W Working in Hollywood, 165–94. University of North Carolina Press, 2018. http://dx.doi.org/10.5149/northcarolina/9781469636504.003.0007.
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The sixth chapter recounts the history of Hollywood collective bargaining. On a day-to-day basis, the American motion picture industry relied on its ability to balance a modern, rationalized production operation with a more unstructured creative process. However, in times of crisis, when the harmony was interrupted, the creative element was often surrendered. During the 1930s, the presidency of FDR, his New Deal policies, and the empowerment of organized labor throughout the U.S. had a significant influence on Hollywood. The chapter focuses on the rise of the Screen Writers Guild, the Screen Actors Guild, and the Screen Directors Guild, their struggles, the way they chose to pursue them, and the attitude embraced towards them by studio management. However, as is shown, while they borrowed tactics from industrial unions and appealed to the National Labor Relations Board, Hollywood creative employees aligned with traditional industrial labor causes only as long as it served their immediate goals.
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McDonough, Christopher M. "Quod Scripsi Scripsi". W Pontius Pilate on Screen, 13–26. Edinburgh University Press, 2020. http://dx.doi.org/10.3366/edinburgh/9781474446884.003.0002.
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This is not a book about Pontius Pilate. Not really. It is a book, instead, about what Pilate means, and has meant, on film and television. While this means looking to the religious and historical significance of the Roman prefect, there are a host of other issues I hope to unpack in this volume. Among these matters is the political context in which any given film was produced, as well as the “office politics” which often require archival exploration to uncover. In the yellowing memoranda and hand-written notes as well as the email records of newer films, one sees just how much behind-the-scenes collaboration goes into the making of any motion picture production. Casting is considered, but also the “star theory” that media theorist Richard Dyer discusses at length. In addition, I have looked for insight from the directors, writers, and producers of the films here under study, but above all, have tried to find out what the actors themselves had to convey about the subject. The Christian apologist Tertullian once famously asked, “What has Athens to do with Jerusalem?” This book explores and amplifies that question. “And what has Washington, London, or Hollywood to do with all of them?”