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<contents> List of Illustrations 00 Acknowledgments 00 Introduction: More Than the Method, More Than One Method Cynthia Baron, Diane Carson, and Frank P. Tomasulo 00 Part 1. Analyzing Film Performance: Logic and Methods 00 1. Why Study Film Acting? Some Opening Reflections Paul McDonald 00 2. Screen Performance and Directors' Visions Sharon Marie Carnicke 00 Part 2. Modernism and Film Performance 3. Performance in the Films of Robert Bresson: The Aesthetics of Denial Doug Tomlinson 00 4. "The Sounds of Silence": Modernist Acting in Michelangelo Antonioni's Blow-Up Frank P. Tomasulo 00 5. Resisting Reality: Acting by Design in Robert Altman's Nashville Robert T. Self 00 Part 3. Developments in Neonaturalist Film Performance 6. Playing with Performance: Directorial and Performance Style in John Cassavetes's Opening Night Maria Viera 00 7. Plain and Simple: Masculinity through John Sayles's Lens Diane Carson 00 8. Passionate Engagement: Performance in the Films of Neil Jordan Carole Zucker 00 Part 4. Postmodern Film Performance 9. Acting Prima Donna Politics in Tomás Gutiérrez Alea's Strawberry and Chocolate Ronald E. Shields 00 10. Kidman, Cruise, and Kubrick: A Brechtian Pastiche Dennis Bingham 00 11. Thinking through Jim Carrey Vivian Sobchack 00 12. Suiting Up for Postmodern Performance in John Woo's The Killer Cynthia Baron 00 Contributors 00 Index 00
Library of Congress Subject Headings for this publication: Motion picture acting