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Virginia Wright Wexman
John G. Cawelti
Abstract: Performance has always held a prominent place in popular art forms, and now, in the Twentieth Century, we have the means to
study it. We still, however, lack appropriate critical approaches.
Maurice Yacowar
Abstract: Altman's use of an actor may be prompted by the director's personal response to the performer's image or nature or by his
awareness of the performer's associations from other films or from real life. His purpose is continually to upset or to challenge
his viewer's habitual responses.
Virginia Wright Wexman
Abstract: One of the experimental acting techniques currently popular in contemporary cinema, improvisation achieves its greatest potential
when it is brought into a dynamic relationship with more conventional modes of aesthetic discourse. "Celine and Julie Go Boating"
and "Nashville" present contrasting examples of films that use improvisation in a self-conscious way with varying success.
Charles Affron
Abstract: The oscillation between the reality-effect and the fiction-effect in film becomes a source of affect when we see "how" performers
express their feelings in the service of their performance and as a reflection of their lives. Lana Turner in "Ziegfeld Girl"
and in Douglas Sirk's "Imitation Of Life" is a model for these ambiguities of performance.
Jane Gaines
Abstract: The spectacle of the showgirl and the active spectator seems to have been a central convention in pictures made during the
Second World War. An itemization of the conventionalized culture units of this image and an examination of the way they are
cinematically arranged in the spectacle shows the way in which it resolved the opposite expectations that the soldier be both
continent and virile.
Virginia Wright Wexman, Liv Ullmann
Abstract: The well-known actress discusses her approach to the craft of acting and her working relationship with Ingmar Bergman.
Gretchen Bisplinghoff