{"product_id":"moment-of-action-riddles-of-cinematic-performance-hardback-9780813564968","title":"Moment of Action; Riddles of Cinematic Performance (Hardback) 9780813564968","description":"\u003cfont face=\"Georgia\"\u003e\r\n\u003cp\u003e\u003cfont size=\"6\"\u003eMoment of Action\u003c\/font\u003e\u003cbr\u003e\r\n\u003cfont size=\"5\"\u003eRiddles of Cinematic Performance\u003c\/font\u003e\u003c\/p\u003e\r\n\r\n\r\n\r\n\r\n\u003cp\u003e\u003cfont size=\"4\"\u003eMurray Pomerance (Author)\u003c\/font\u003e\u003c\/p\u003e\r\n\r\n\u003cp\u003e\u003cfont size=\"3\"\u003e9780813564968\u003c\/font\u003e\u003c\/p\u003e\r\n\r\n\u003cp\u003e\u003cfont size=\"3\"\u003eHardback, published 9 May 2016\u003c\/font\u003e\u003c\/p\u003e\r\n\r\n\u003cp\u003e\u003cfont size=\"3\"\u003e204 pages, 6 photographs\u003cbr\u003e22.9 x 15.2 x 1.8 cm, 0.426 kg\u003c\/font\u003e\u003c\/p\u003e\r\n\r\n\r\n\r\n\u003cp align=\"justify\"\u003e\u003cem\u003e\u003cfont size=\"3\"\u003e\u003cdiv\u003e\"The versatile critic and scholar Murray Pomerance analyzes the complexities, casts light on the enigmas, and celebrates the excitements of screen performance with insight, appreciation, and panache.\"\u003c\/div\u003e - David Sterritt (author of The Cinema of Clint Eastwood: Chronicles of America) \u003cdiv\u003e\"Is acting a cinematic element, inseparable from direction, cinematography, special effects, and design? This book by the prodigious, prolific Pomerance will change how you think about screen acting.\"\u003c\/div\u003e - Dennis Bingham (Indiana University-Purdue University Indianapolis) \u003cdiv\u003e\"\u003ci\u003eMoment of Action \u003c\/i\u003emagnifies every aspect of the art and craft of filmmaking. Murray Pomerance is a scholar and keen observer, whose passion for the subject is very impressive.\"\u003c\/div\u003e - Elliott Gould (Academy Award-nominated actor) \u003cdiv\u003e\"The versatile critic and scholar Murray Pomerance analyzes the complexities, casts light on the enigmas, and celebrates the excitements of screen performance with insight, appreciation, and panache.\"\u003c\/div\u003e - David Sterritt (author of The Cinema of Clint Eastwood: Chronicles of America) \u003cdiv\u003e\"Is acting a cinematic element, inseparable from direction, cinematography, special effects, and design? This book by the prodigious, prolific Pomerance will change how you think about screen acting.\"\u003c\/div\u003e - Dennis Bingham (Indiana University-Purdue University Indianapolis) \u003cdiv\u003e\"\u003ci\u003eMoment of Action \u003c\/i\u003emagnifies every aspect of the art and craft of filmmaking. Murray Pomerance is a scholar and keen observer, whose passion for the subject is very impressive.\"\u003c\/div\u003e - Elliott Gould (Academy Award-nominated actor)\u003c\/font\u003e\u003c\/em\u003e\u003c\/p\u003e\r\n\r\n\u003cp align=\"justify\"\u003e\u003cstrong\u003e\u003cfont size=\"3\"\u003e\u003cdiv\u003e\n\u003cdiv\u003eThere are hundreds of biographies of filmstars and dozens of scholarly works on acting in general. But what about the ephemeral yet indelible moments when, for a brief scene or even just a single shot, an actor’s performance triggers a visceral response in the viewer? \u003c\/div\u003e\n\u003cdiv\u003e \u003c\/div\u003e\n\u003cdiv\u003e\n\u003ci\u003eMoment of Action\u003c\/i\u003e delves into the mysteries of screen performance, revealing both the acting techniques and the technical apparatuses that coalesce in an instant of cinematic alchemy to create movie gold. Considering a range of acting styles while examining films as varied as \u003ci\u003eBringing Up Baby\u003c\/i\u003e, \u003ci\u003ePsycho\u003c\/i\u003e, \u003ci\u003eThe Red Shoes\u003c\/i\u003e, \u003ci\u003eGodzilla\u003c\/i\u003e, and \u003ci\u003eThe Bourne Identity\u003c\/i\u003e, Murray Pomerance traces the common dynamics that work to structure the complex relationship between the act of cinematic performance and its eventual perception.  \u003c\/div\u003e\n\u003cdiv\u003e \u003c\/div\u003e\n\u003cdiv\u003eMining the spaces where subjective and objective analyses merge, Pomerance offers both a deeply personal account of film viewership and a detailed examination of the intuitive gestures, orchestrated movements, and backstage maneuvers that go into creating those phenomenal moments onscreen. \u003ci\u003eMoment of Action\u003c\/i\u003e takes us on an innovative exploration of the nexus at which the actor’s keen skills spark and kindle the audience’s receptive energies.\u003c\/div\u003e\n\u003cdiv\u003e \u003c\/div\u003e\n\u003c\/div\u003e\u003c\/font\u003e\u003c\/strong\u003e\u003c\/p\u003e\r\n\r\n\u003cp\u003e\u003cfont size=\"3\"\u003e\u003cdiv\u003e\n\u003cdiv\u003eAcknowledgments\u003c\/div\u003e\n\u003cdiv\u003ePreamble: Saw the Air\u003c\/div\u003e\n\u003cdiv\u003e            Thinking about actors and their allure\u003cbr\u003e Natalie Wood in \u003ci\u003eRebel Without a Cause\u003c\/i\u003e\u003cbr\u003e viewers’\u003cbr\u003e love of acting\u003cbr\u003e momentary performance\u003cbr\u003e acting, action, and activity\u003cbr\u003e acting, evidence, and biography\u003cbr\u003e Linda Darnell\u003cbr\u003e casting and gatekeeping.\u003c\/div\u003e\n\u003cdiv\u003e1                Fantastic Performance\u003c\/div\u003e\n\u003cdiv\u003eThinking about acting style and culture\u003cbr\u003e innocent and scientific watching, and “\u003cbr\u003efalling in”\u003cbr\u003e\u003cbr\u003e \u003ci\u003eThe Edge of Tomorrow\u003c\/i\u003e\u003cbr\u003e \u003ci\u003eThe Last Laugh\u003c\/i\u003e\u003cbr\u003e \u003ci\u003eWith Blood on My Hands\u003c\/i\u003e: \u003ci\u003ePusher II\u003c\/i\u003e\u003cbr\u003e predictive performance and John Wayne\u003cbr\u003e transcendent performance and Katharine Hepburn\u003cbr\u003e \u003ci\u003eBringing Up Baby\u003c\/i\u003e\u003cbr\u003e \u003ci\u003eNow, Voyager\u003c\/i\u003e\u003cbr\u003e \u003ci\u003eEl Dorado\u003c\/i\u003e.\u003c\/div\u003e\n\u003cdiv\u003e2                Beaux Gestes\u003c\/div\u003e\n\u003cdiv\u003e            Thinking about language and gesture\u003cbr\u003e \u003ci\u003eThe Disorderly Orderly\u003c\/i\u003e\u003cbr\u003e Anthony Perkins in \u003ci\u003ePsycho\u003c\/i\u003e\u003cbr\u003e Jeff Goldblum in \u003ci\u003eLe Weekend\u003c\/i\u003e\u003cbr\u003e \u003ci\u003eTouch of Evil\u003c\/i\u003e\u003cbr\u003e the flower of the gest\u003cbr\u003e Ralph Richardson and Christophe Lambert in \u003ci\u003eGreystoke: The Legend of Tarzan\u003c\/i\u003e, \u003ci\u003eLord of the Apes\u003c\/i\u003e\u003cbr\u003e effects gesture\u003cbr\u003e \u003ci\u003eLife of Pi\u003c\/i\u003e and keyframing\u003cbr\u003e animated performance and puppetry\u003cbr\u003e \u003ci\u003eBlithe Spirit\u003c\/i\u003e\u003cbr\u003e Robert Walker in \u003ci\u003eMy Son John\u003c\/i\u003e\u003cbr\u003e \u003ci\u003eThe Stepford Wives\u003c\/i\u003e\u003cbr\u003e The MusÉ\u003cbr\u003ee GrÉ\u003cbr\u003evin\u003cbr\u003e Jacques de Vaucanson’\u003cbr\u003es duck\u003cbr\u003e \u003ci\u003eThe Thief of Bagdad\u003c\/i\u003e\u003cbr\u003e Charlton Heston and Gary Cooper in \u003ci\u003eThe Wreck of the Mary Deare\u003c\/i\u003e\u003cbr\u003e cinematic gesture and \u003ci\u003eThe King of Comedy\u003c\/i\u003e\u003cbr\u003e \u003ci\u003eThe Thin Man\u003c\/i\u003e\u003cbr\u003e \u003ci\u003eCool Hand Luke\u003c\/i\u003e\u003cbr\u003e \u003ci\u003eThe Red Shoes\u003c\/i\u003e\u003cbr\u003e hands and handfulness\u003cbr\u003e actors under direction\u003cbr\u003e John Frankenheimer, Burt Lancaster, and \u003ci\u003eThe Train\u003c\/i\u003e\u003cbr\u003e \u003ci\u003eAntony and Cleopatra\u003c\/i\u003e\u003cbr\u003e Hitchcock, gesture, and “\u003cbr\u003ecattle”\u003cbr\u003e\u003cbr\u003e Kim Novak, \u003ci\u003eVertigo\u003c\/i\u003e, and vertiginous gesture.\u003c\/div\u003e\n\u003cdiv\u003e3                Curtains\u003c\/div\u003e\n\u003cdiv\u003e            Thinking about the actor’\u003cbr\u003es multiple selves\u003cbr\u003e Vivian Sobchack and the actor’\u003cbr\u003es four bodies\u003cbr\u003e performance amplification\u003cbr\u003e Alec Guinness and preparation\u003cbr\u003e rehearsal and “\u003cbr\u003edownkeying”\u003cbr\u003e\u003cbr\u003e curtain calls\u003cbr\u003e \u003ci\u003eWhose Life Is It Anyway?\u003c\/i\u003e\u003cbr\u003e \u003ci\u003eMurder on the Orient Express\u003c\/i\u003e\u003cbr\u003e \u003ci\u003eCitizen Kane\u003c\/i\u003e\u003cbr\u003e \u003ci\u003eThe Magnificent Ambersons\u003c\/i\u003e\u003cbr\u003e \u003ci\u003eThe Bad Seed\u003c\/i\u003e\u003cbr\u003e “\u003cbr\u003ebehind-the-scenes”\u003cbr\u003e musicals\u003cbr\u003e theatrical exhibition spaces\u003cbr\u003e credit-roll “\u003cbr\u003egoofing”\u003cbr\u003e\u003cbr\u003e Peter O’\u003cbr\u003eToole and Winona Ryder offscreen\u003cbr\u003e \u003ci\u003eBirdman\u003c\/i\u003e\u003cbr\u003e fans and fan logic\u003cbr\u003e actor-in-the-street stories\u003cbr\u003e acting audiences\u003cbr\u003e the Academy Awards.\u003c\/div\u003e\n\u003cdiv\u003e4                “\u003cbr\u003eIt’\u003cbr\u003es Not a Man, It’\u003cbr\u003es a Place!”\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e            Thinking about setting and the actor’\u003cbr\u003es labor\u003cbr\u003e workplaces under capitalism and factory design\u003cbr\u003e the sound stage environment\u003cbr\u003e \u003ci\u003eRope\u003c\/i\u003e\u003cbr\u003e acting and make-up\u003cbr\u003e Technicolor\u003cbr\u003e \u003ci\u003eMy Dinner with AndrÉ\u003cbr\u003e\u003c\/i\u003e\u003cbr\u003e Ian Carmichael\u003cbr\u003e Ingrid Bergman and \u003ci\u003eUnder Capricorn\u003c\/i\u003e\u003cbr\u003e \u003ci\u003eThe Wizard of Oz\u003c\/i\u003e\u003cbr\u003e Grey Gardens\u003cbr\u003e Simon Callow and \u003ci\u003eA Room with a View\u003c\/i\u003e\u003cbr\u003e Charles Laughton in \u003ci\u003eThe Hunchback of Notre Dame\u003c\/i\u003e\u003cbr\u003e Boris Karloff\u003cbr\u003e \u003ci\u003e2001: A Space Odyssey\u003c\/i\u003e\u003cbr\u003e Haruo Nakajima, Godzilla, and body division\u003cbr\u003e \u003ci\u003eBillion Dollar Brain\u003c\/i\u003e\u003cbr\u003e \u003ci\u003eThe French Lieutenant’\u003cbr\u003es Woman\u003c\/i\u003e\u003cbr\u003e \u003ci\u003eChinatown\u003c\/i\u003e\u003cbr\u003e Fred Astaire dancing with Ginger Rogers\u003cbr\u003e the sound boom\u003cbr\u003e the “\u003cbr\u003ecaffeination schedule”\u003cbr\u003e\u003cbr\u003e acting, editing, and lighting\u003cbr\u003e predetermined focus\u003cbr\u003e \u003ci\u003eSuddenly, Last Summer\u003c\/i\u003e\u003cbr\u003e \u003ci\u003eThe Hands of Orlac\u003c\/i\u003e\u003cbr\u003e \u003ci\u003eThe Man Who Shot Liberty Valance\u003c\/i\u003e\u003cbr\u003e “\u003cbr\u003eInstructions for John Howell”\u003cbr\u003e\u003cbr\u003e panoptical setting\u003cbr\u003e Laurence Olivier in \u003ci\u003eSleuth\u003c\/i\u003e\u003cbr\u003e setting and characters\u003cbr\u003e Bette Davis in \u003ci\u003eThe Letter\u003c\/i\u003e\u003cbr\u003e the character “\u003cbr\u003eat home”\u003cbr\u003e in \u003ci\u003eMarnie\u003c\/i\u003e\u003cbr\u003e “\u003cbr\u003ehypothetical”\u003cbr\u003e performance, Sandra Bullock, and \u003ci\u003eGravity\u003c\/i\u003e\u003cbr\u003e Andy Serkis\u003cbr\u003e the actor’\u003cbr\u003es mirror\u003cbr\u003e animation vocalizing\u003cbr\u003e \u003ci\u003eThe Member of the Wedding\u003c\/i\u003e.\u003c\/div\u003e\n\u003cdiv\u003e5                Acting Intimate\u003c\/div\u003e\n\u003cdiv\u003e            Thinking about actors’\u003cbr\u003e trade secrecy\u003cbr\u003e Philip Seymour Hoffman in \u003ci\u003eBoogie Nights\u003c\/i\u003e\u003cbr\u003e Anthony Hopkins and Hannibal Lecter\u003cbr\u003e Colin Farrell and truth-telling\u003cbr\u003e Joaquin Phoenix in \u003ci\u003eThe Master\u003c\/i\u003e\u003cbr\u003e zombie performance\u003cbr\u003e George Herbert Mead\u003cbr\u003e \u003ci\u003eHud\u003c\/i\u003e\u003cbr\u003e \u003ci\u003eBob \u0026amp;\u003cbr\u003e Carol \u0026amp;\u003cbr\u003e Ted \u0026amp;\u003cbr\u003e Alice\u003c\/i\u003e\u003cbr\u003e onscreen urination and bleeding\u003cbr\u003e Leonardo DiCaprio in \u003ci\u003eDjango Unchained\u003c\/i\u003e\u003cbr\u003e the actor’\u003cbr\u003es voice\u003cbr\u003e acting and musculature\u003cbr\u003e the actor’\u003cbr\u003es touch\u003cbr\u003e interpersonal contact and audience exclusion\u003cbr\u003e \u003ci\u003eThe Bourne Identity\u003c\/i\u003e\u003cbr\u003e anxious interiors\u003cbr\u003e Peter Lorre in \u003ci\u003eCasablanca\u003c\/i\u003e, \u003ci\u003eThe Maltese Falcon\u003c\/i\u003e, and \u003ci\u003eHotel Berlin\u003c\/i\u003e\u003cbr\u003e Richard Burton in \u003ci\u003eThe Spy Who Came In from the Cold\u003c\/i\u003e\u003cbr\u003e the “\u003cbr\u003eDoctrine of Natural Expression”\u003cbr\u003e\u003cbr\u003e anti-intellectualism, the portrayal of genius, and Jesse Eisenberg\u003cbr\u003e acting the “\u003cbr\u003eamnesiac”\u003cbr\u003e\u003cbr\u003e forgotten moralities and cathartic awakening.\u003c\/div\u003e\n\u003cdiv\u003eNotes\u003c\/div\u003e\n\u003cdiv\u003eWorks Cited and Consulted\u003c\/div\u003e\n\u003cdiv\u003eIndex\u003c\/div\u003e\n\u003cdiv\u003e \u003c\/div\u003e\n\u003c\/div\u003e\u003c\/font\u003e\u003c\/p\u003e\r\n\r\n\r\n\r\n\r\n\u003c\/font\u003e","brand":"Rutgers University Press","offers":[{"title":"Brand New","offer_id":52559342567704,"sku":"9780813564968","price":83.58,"currency_code":"GBP","in_stock":true}],"url":"https:\/\/freshlyprintedbooks.co.uk\/products\/moment-of-action-riddles-of-cinematic-performance-hardback-9780813564968","provider":"Freshly Printed Books","version":"1.0","type":"link"}