Looking at Movies Chapter 7
Used in English 1130 at Langara with Blacklock.
Terms in this set (34)
(distancing effect) A psychological distance between audience and stage for which, according to German playwright Bertolt Brecht, every aspect of a theatrical production should strive by limiting the audience's identification with characters and events//remind audience of artificiality //little influence on mainstream filmmaking
An actor who holds a small speaking part
A soundproofed enclosure somewhat larger than a camera, in which the camera may be mounted to prevent its sounds from reaching the microphone//restricted movement
stick that a microphone is suspended on//keeps it outside camera's range
process of choosing and hiring actors for both leading and supporting roles//open call
A small but significant role often played by a famous actor
An actor's part that represents a distinctive character type (sometimes a stereotype): society leader, judge, doctor, diplomat, and so on.
emphasizes the interaction of actors, not the individual actor//a group of actors work together continuously in a single shot. Typically experienced in the theater, ensemble acting is used less in the movies because it requires the provision of rehearsal time that is usually denied to screen actors.
An actor who, usually, appears in a nonspeaking or crowd role and receives no screen credit
1. Actors' extemporization—that is, delivering lines based only loosely on the written script or without the preparation that comes with studying a script before rehearsing it. 2. "Playing through" a moment—that is, making up lines to keep scenes going when actors forget their written lines, stumble on lines, or have some other mishap.
(main, featured, leading), role that is a principal agent in helping move the plot forward, may appear in many scenes, sometimes receive screen credit preceding the title
Also known as simply the Method. A naturalistic acting style, loosely adapted from the ideas of Russian director Konstantin Stanislavsky by American directors Elia Kazan and Lee Strasberg, that encourages actors to speak, move, and gesture not in a traditional stage manner, but in the same way they would in their own lives. face & voice as tools. rely on conventions to indicate emotion. GOAL: have real emotional experience & thoughts in front of camera.
(supporting role), helps move the plot forward (and thus may be as important as a major role), but does not appear in as many scenes as the featured players do
A phenomenon, generally associated with Hollywood, comprising the actor and the characters played by that actor, an image created by the studio to coincide with the kind of roles associated with the actor, and a reflection of the social and cultural history of the period in which that image was created.
actors 7 yr contract. Reviewed every six months: if the actor had made progress in being assigned roles and demonstrating box-office appeal, the studio picked up the option to employ that actor for the next six months and gave the actor a raise; if not, the studio dropped the option and the actor was out of a job//did not allow the actor to move to another studio, stop work, renegotiate salary
filmed audition to see how an unknown actor looked under studio lighting and how they sounded in recording
An actor who looks reasonably like a particular movie star (or at least an actor playing a major role) in height, weight, coloring, and so on, and who substitutes for that actor during the tedious process of preparing setups or taking light readings
A system of acting, developed by Russian theater director Konstantin Stanislavsky in the late nineteenth century, that encourages students to strive for realism, both social and psychological, and to bring their past experiences and emotions to their roles. This system influenced the development of Method acting in the United States//had to be the character before playing the character. influenced the development of method acting
The casting of actors because of their looks or "type" rather than for their acting talent or experience.
A role even smaller than a cameo, reserved for a highly recognizable actor or personality
double for actors in scenes requiring special skills, hazardous actions
aspect of film over which directors have the least control
transition in late 20s
silent to sound film
4 criteria for acting
appropriateness, inherent thoughtfulness / emotionality, expressive coherence, wholeness / unity
does actor look/act the part?
ability of an actor to play different types of roles/express a broad array or emotions. range is often linked to physicality (Phillip S Hoffman, great range. leads to transparency)
in a __________ world, __________ performance feels coherent.
in a __________ world, __________ performance feels inappropriate.
INHERENT THOUGHTFULNESS / EMOTIONALITY
does the actor have a credible inner life? does the actor effectively convey unspoken thoughts / emotions?
achieved through combo of "appropriateness" and "inherent thoughtfulness or emotionality". appropriateness w/o effective conveyance of an inner life is "mimicry"/"impersonation", not acting. expressive coherence w/o appropriateness- inner life not connected to character, CONFUSING AND UNDEFINED.
character vs persona actor
persona: you expect an actor to play a certain type of character. (tom cruise, always arrogant, similar characters every time).
character actor: an actor who plays characters who are very different from the actor's off-screen real-life personality
actor repeatedly assigned to the same type of role, as a result of the appropriateness of their appearance or previous success in such roles. (sam elliot-cowboy. robin williams is NOT because he plays a variety of roles)
WHOLENESS / UNITY
is performance consistent throughout movie? a particular problem with screen acting NOT usually in theater (production challenges)
consistency and uniformity
consistency does not mean uniformity. emotion should change.