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E-grāmata: Screen Acting: A Cognitive Approach

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  • Formāts: EPUB+DRM
  • Izdošanas datums: 10-Aug-2022
  • Izdevniecība: Edinburgh University Press
  • Valoda: eng
  • ISBN-13: 9781474484169
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Screen Acting: A Cognitive ApproachPalielināt
  • Formāts: EPUB+DRM
  • Izdošanas datums: 10-Aug-2022
  • Izdevniecība: Edinburgh University Press
  • Valoda: eng
  • ISBN-13: 9781474484169
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Takes a cognitive approach to screen acting



This book approaches film and television acting from an actor’s perspective rather than that of an audience member, and therefore theorizes how screen acting works as a process that engages an actor’s memory, imagination, emotions, and physical body in the creation of a character. It argues that film actors strive to perform profound empathetic connections with their characters and fellow actors, and then put themselves out there through performing to make those connections clear to the eventual audience. It combines interviews with working professional film and television actors, key insights and methods from Film, Television, and Theatre Studies, and theories of imagination and embodiment to show that screen actors are more than just "the moving parts" of the mise-en-scene.

List of Figures
vii
Acknowledgments ix
Introduction: The Missing Parts 1(8)
1 The Moving Parts
9(19)
Cognitive Theater Studies and Acting
10(11)
Television Studies and Acting
21(7)
2 All By Our Selves: Empathy and Acting
28(21)
Situational and Selfless Selfhood
29(3)
Empathy
32(13)
The Project Ahead: Screen Actors as Solicitors of Empathy
45(4)
3 The Actor's Three Empathetic Connections
49(36)
Intrasubjective Empathy
51(12)
Intersubjective Empathy
63(11)
Performative Empathy
74(6)
Conclusion: "Camera rolling ... and, action!"
80(5)
4 Acting Culture and Audition Preparation
85(24)
Practice, Constraint, and Affordance
85(3)
"It's nice work if you can get it...": Auditions and Precarity
88(7)
Audition Logistics and Empathy
95(14)
5 Empathetic Work Prior to Shooting
109(24)
From Guesswork to Scaffolding
109(1)
A Note on Terminology
110(1)
"Bottom-up Script Analysis": Extrapolating Specific Memories into Emotional Common Denominators
111(6)
"Top-down Script Analysis": Imagination, Abstraction, Archetype
117(8)
Cayonne's Minotaur: Balancing Memory and Imagination to Find the Character's Body Schema
125(6)
Conclusion: Arriving on Set
131(2)
6 Empathy on Set
133(38)
Actors and Production Culture: Inductive, Ecumenical, and Self-effacing Practices on Set
133(5)
The Actor and the Camera: Habits, Techniques, and Technology
138(7)
The Other Actor: Creative Labor and Intersubjective Empathy on Set
145(13)
Real Fake Tears, and Talking to Tennis Balls: Incorporating Production Conditions into Acting Choices
158(8)
Conclusion
166(5)
7 Conclusion: "Ready for my Close-up"
171(17)
Histories of Force and Eloquence
172(10)
Collective Cognition and Production Studies
182(3)
Sympathy for Kuleshov: (Re-)Introducing Acting to Film Form
185(3)
Acting Studies and Resets
188(5)
Bibliography 193(10)
Index 203
Dan Leberg, Lecturer, Amsterdam University College and the University of Groningen.
Biežāk uzdotie jautājumi par e-grāmatām Biežāk uzdotie jautājumi par e-grāmatām
Permanent link: https://www.kriso.lv/db/97814744841696e.html
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