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of view that Smith ascribes to me. Writing about the philosophy of dance, McFee holds that what matters for the latter are the kinds of human capacities exercised in executing and appreciating dance performance. The evidence for such capacities, he

responses; and (2) Castelvetro cases. (1) Unreflective aesthetic responses . Someone listens to a recording of a recent performance of Erik Satie’s (1890) piano composition, Gnossienne No. 2 . This person happens to know that Satie’s score includes no

experiential encounter with other sorts of artworks, one instance is as good as another—“a copy of” Moby Dick , “a performance of” Hamlet , “a rendition of” “Summertime,” “a screening of” Rebel Without a Cause (Nicholas Ray, 1955). These works are of the

seems hardly worth passing on, we will assess their performance accordingly: the engagement can be strongly negative, even oppositional. But in successful cases we see that tellers wanted to pass something on, and we engage with that motive, with the way

writes on the performance of gay characters, and William Rothman writes on the implications of the camera’s presence to actors but not characters. While some writers are new to writing on film acting issues, others have a track record, and this lends

with Don: Don and Megan pretend to be a married couple deciding whether or not to have dessert. Figure 3 Irritated by Megan’s calculated, cheerful performance, Peggy gives Megan an icy glare . Megan prods Don to try the dessert she’s created using Cool

his use of various traditions within film scholarship. Chapters 1, 2, 8, and 9 focus on narrative and genre; Chapters 6 and 7, respectively, explore the aesthetics of performance and sound; Chapter 10 explores computer-generated (CG) animation in light

course, Wyler’s work with the actors resulted in convincing performances. Toland, Hellman, and Wyler also later collaborated on Dead End , and The Little Foxes , two other highly acclaimed films. We can widen this creative circle further as all three of

found in much mainstream cinema. In fact, the scene offers a fairly standard treatment of emotional expression, with the actors providing relatively naturalistic performances that are rendered legible by way of stylistic elements such as lighting (high

, and they reversed the temporal order of the frames. What they found is that removing the sound had impaired viewers’ recognition, although the visual information alone drove performance well above chance in that test. Meanwhile, reversing the temporal