In this richly detailed study, James Naremore focuses on the work of film acting, showing what players contribute to movies. Ranging from the earliest short subjects of Charles Chaplin to the contemporary features of Robert DeNiro, he develops a useful means of analyzing performance in the age of mechanical reproduction; at the same time, he reveals the ideological implications...(展开全部)

How can a voice whose source is never seen--such as Hal in 2001: A Space Odyssey or the mother of Norman Bates in Psycho--have such a powerful hold on an audience? When does "synchronized sound" fail to link bodies to their voices, and how do such great stylists of sound film as Jacques Tati, Kenji Mizoguchi, and Marguerite Duras deploy the power of the voice? In this brillia...(展开全部)

How can a voice whose source is never seen--such as Hal in 2001: A Space Odyssey or the mother of Norman Bates in Psycho--have such a powerful hold on an audience? When does "synchronized sound" fail to link bodies to their voices, and how do such great stylists of sound film as Jacques Tati, Kenji Mizoguchi, and Marguerite Duras deploy the power of the voice? In this brillia...(展开全部)

Proposing a radical vision of cinema's queer globalism, Karl Schoonover and Rosalind Galt explore how queer filmmaking intersects with international sexual cultures, geopolitics, and aesthetics to disrupt dominant modes of world making. Whether in its exploration of queer cinematic temporality, the paradox of the queer popular, or the deviant ecologies of the queer pastoral, Sc...(展开全部)

著者 迈克尔·霍华德（Michael Howard，1923—2019），演员、戏剧导演、表演教师，70多年来一直是美国戏剧界的顶梁柱之一。20世纪40年代在纽约的邻里剧院跟随桑福德·迈斯纳学习，50年代在李·斯特拉斯伯格的私人课堂和演员工作室学习，表演生涯中曾与克利福德·奥德茨和乌塔·哈根等杰出剧作家、导演和演员合作，后转向导演和教学。他是亚特兰大联盟剧院的首任艺术总监，曾在茱莉亚学院和耶鲁大学戏剧学院任教。1953年在纽约创办了迈克尔·霍华德表演工作室，执教50余年，获得了广泛的国际认可。 译者 张越，男，80后，工学学士，戏剧与影视学硕士，喜欢电影和戏剧。现居北京。

著者 迈克尔·霍华德（Michael Howard，1923—2019），演员、戏剧导演、表演教师，70多年来一直是美国戏剧界的顶梁柱之一。20世纪40年代在纽约的邻里剧院跟随桑福德·迈斯纳学习，50年代在李·斯特拉斯伯格的私人课堂和演员工作室学习，表演生涯中曾与克利福德·奥德茨和乌塔·哈根等杰出剧作家、导演和演员合作，后转向导演和教学。他是亚特兰大联盟剧院的首任艺术总监，曾在茱莉亚学院和耶鲁大学戏剧学院任教。1953年在纽约创办了迈克尔·霍华德表演工作室，执教50余年，获得了广泛的国际认可。 译者 张越，男，80后，工学学士，戏剧与影视学硕士，喜欢电影和戏剧。现居北京。

How can a voice whose source is never seen& mdash;such as Hal in 2001: A Space Odyssey or the mother of Norman Bates in Psycho& mdash;have such a powerful hold on an audience? When does "synchronized sound" fail to link bodies to their voices, and how do such great stylists of sound film as Jacques Tati, Kenji Mizoguchi, and Marguerite Duras deploy the power of the voice? In ...(展开全部)

In Vulgar Beauty Mila Zuo offers a new theorization of cinematic feminine beauty by showing how mediated encounters with Chinese film and popular culture stars produce feelings of Chinese-ness. To illustrate this, Zuo uses the vulgar as an analytic to trace how racial, gendered, and cultural identity is imagined and produced through affect. She frames the vulgar as a characteri...(展开全部)

In Vulgar Beauty Mila Zuo offers a new theorization of cinematic feminine beauty by showing how mediated encounters with Chinese film and popular culture stars produce feelings of Chinese-ness. To illustrate this, Zuo uses the vulgar as an analytic to trace how racial, gendered, and cultural identity is imagined and produced through affect. She frames the vulgar as a characteri...(展开全部)