...Manuel Ramos-Martínez This essay examines the political significance of Jean-Marie Straub and Danièle Huillet's work with actors in their cinema practice. Straub and Huillet's acting methodology is an essential aspect of their cinema and its struggle to undo militaristic, patriarchal, and...

... within the narrative itself. With the extracinematic publicity and critical texts appearing after this film, the actor's by then well-publicized aggressive tendencies are reworked as signs of the a actor's authenticity as he follows a path of supposed self-discovery. Crowe's recent film roles have...

...Peter Alilunas Alan Alda has an important legacy not only as an actor but also as a feminist activist. This article reexamines his star text from the perspective of his political work as a vocal and very public supporter of the Equal Rights Amendment in the 1970s, as well as explores why his name...

... manifest as unreadable noise, interventions on the print page that produce a technological feminine. Situated alongside ANT (actor-network theory), media theory, and cyborg feminism, the technological feminine gestures at the limits of these attempts to de–black box media, insisting on an irreducible noise...

... biographical performer, the entertainment industry may place actors and musicians in new contexts, distancing performers from the more challenging aspects of their biographies. In the case of Virtual 2Pac , this new practice appears particularly insidious, as the biographical Tupac Shakur's political activism...

...Matt Tierney This article conducts a critical narrative of the public lives and performances of the actor Sterling Hayden as a contribution to the theory of emotion. Cultural theories of feeling have frequently suspended their attention to the diachronies of story and history in favor of a...

... inclusion, expanding the definition of the subculture Tea so vividly represents in her memoir about the punk-dyke community of San Francisco's Mission District in the 1990s. The omnibus structure of the film, in which every chapter presents a disjunctive shift in the aesthetics and cast of actors, provides...

... two parts: the chic part and a popular cafe. Among the clients of the hotel are several minor technicians (who are part of a film or television crew shooting a huge production some fifty kilometers away). Among them is a Polish actor, serious and reserved. Me writes his...

... remote community. My method also uses film as a concep- 86  •  Camera Obscura tual model — the process of thinking film through film. Johnson has made a number of films, including several biographical documen- taries of Indigenous film actors, that document and/or narrate sub- jects whom she...

... assimilation indicates complete success), Asian American actors were seldom judged by their performing skill, let alone their performative strategy. Instead they were often seen as a mere index of a homogenous Orient. Consequently, Wong’s screen passing has remained unrec- ognized and occluded by...

... interests in art collecting and gourmet cooking. To my childish eyes, Price (the actor) represented educated, worldly, and sophisticated high culture — something my life in small-town west- ern Pennsylvania generally lacked. However, it was Price’s horror-movie characters that thrilled me...

... parts of motion picture actors. Body doubles occasionally perform stunt work, but the American film industry has defined and positioned the two occupations quite differently. Although body doubles often are constitutive of pivotal plot points...

... have shared with the notion of looking for voices; the two actors essentially perform a desire to see something unseeable, something formerly intangi- ble now newly materialized on a piece of film. One thing white producers and moviegoers were looking for in these new cinema voices was race. The...

... Reading between West and East (University of Minnesota Press, 1991 .) Danae Clark is Assistant Professor in the Communications Department at the University of Pittsburgh. She is finishing a book on actors’ labor in Hollywood (forthcoming, University of Texas Press) and beginning a book on...

... played through in its entirety. The shots were long, and of course we had to verify the place of the words in the shots. But we did it that way for other reasons as well: first of all, so that the meaning of the shot should be “there” for the actors (and for the camera) at the very...

... performance was com- pletely halted by “this outpouring of love,” with only a few lines of dialogue and a half verse of a song remaining in the show.1 Finally, after much grinning and stammering from the actors, Thompson picked up her cue, “Fellow Ozians,” and then shouted, “I love you, Idina Menzel...

...Steven Cohan Copyright © 1991 by The Johns Hopkins University Press 1991 WORKS CITED _____.“All About Eve: Kinsey Reports on American Women.” Newsweek 24 Aug. 1953 : 68 –71. Armstrong , George “Are Actors Sissies?” Photoplay Feb. 1953 : 52 –53, 97. Bentley , Eric...

..., this essay examines the community that the film created in and through a production process dictated by Mitchell’s realization that “for the actors to feel safe, they really should create the film [themselves9 One way of realizing such a shift would be to account in detail for that process...

... long shot taken from the stage of a crowded audience. The point of view this shot provides is ambiguous—we do not yet know what kind of play we are watching, who exactly is playing the scene, or where the actors stand, and Myrtle has not yet entered the stage. These three shots cannot be...

... crew was happy and competent we 140  •  Camera Obscura could go on shooting. So we had to pay to get experienced, cheer- ful crew . . . and we wanted good actors, many of whom were SAG actors. And great locations. My investor decided that if we could make a really good-­looking movie his...