isolate two expressive devices as especially fertile: figure staging and actors’ performances. In what follows, I seek to disclose the techniques of staging and performance by which Deathtrap generates suspense and surprise; I attempt to lay bare the
Performance and Scenic Composition in the Cinema of William Wyler
is not only aesthetic hierarchies, such as the role of performances and editing, but also our understanding of slow-paced storytelling as a source of richness, a style that critics have paid less attention to than the time-juggling narratives and
A Praxis-in-Process of Black Girlhood
alongside my own desire to honor my feelings, and this resulted in emotional confusion. After completing graduate courses in the theories, methods, and praxis of performance studies, I recognized the theoretical power of performance and its practical
On What We Can Learn
Laura T. Di Summa
remains: criticism is a practice, a sort of performance, a way of perceiving and experiencing the work from a subjective point of view. This is increasingly true today, and despite the concerns raised on the effects of the web on criticism, critics such
This article examines Jonathan Caouette's Tarnation as a creative enterprise that opens up new ideas about documentary film and insights into working with new media. It considers how the making of this film worked as a prosthetic aspect to the filmmaker's identity and stability. In examining the interplay of sound, image, and written text, I note how Tarnation develops an artistic meditation on a number of important topics: the representation of trauma, the abstract and formal means of expressing the fragility of survival, the damage to memory and to identity that family dys-function causes, the technical demands of creating narratives of broken and contested lives. The material in the film and its mode of composition from the perspective of psychoanalytic studies of mourning, gay performance and identity, gender dysphoria and its relation to loss, and artistic projects as acts of healing are also considered.
Beyond the Kuleshov Effect
theory, perhaps as a reflection of what first intrigued us about the medium, and even though editors and filmmakers most likely do not presuppose inexpressive performances when referring to the Kuleshov effect as “the single most important concept to
Revising the Family Story
take on the voices of others is part of a compulsive performance of trying on cultures, races, ethnicities, ages, and classes outside her own as she strives to reach beyond her identity and limitations as a “little white kid.” Thebes’s language is
J. Brandon Colvin
People are bad at recognizing liars. Data culled from several psychological experiments demonstrates that even the most well trained individuals – government agents, police officers, and so on – can barely succeed at a 50 percent rate. Lying and deception, however, are fundamental narrative elements in several film genres – particularly the detective film and the female gothic, genres that peaked in popularity in 1940s Hollywood. Considering their real-life lack of proficiency, how do viewers successfully spot deception in such films? Drawing on findings from a handful of experiments, this article brings cognitive psychological concepts to bear on two 1940s films: Out of the Past (1947) and Secret Beyond the Door (1948). The article claims that filmmakers, particularly actors, exaggerate, simplify, and emphasize deception cues to selectively achieve narrative clarification or revelation. This process reveals not only how viewers recognize deception, but how actors stylize real-life behavior in service of narrative and aesthetic priorities.
School Field Trips and the Representation of Difficult Histories in English Museums
Drawing on the fields of education, memory, and cultural studies, this article argues that as important cultural memory products, government-sponsored museum education initiatives require the same attention that history textbooks receive. It investigates the performance of recent shifts in historical consciousness in the context of museum field trip sessions developed in England in tandem with the 2007 bicentenary of the abolition of the slave trade. Analysis of fieldwork data is presented in order to illustrate some of the complexities inherent in the way difficult histories are represented and taught to young people in the twenty-first century, particularly in relation to citizenship education.
Much previous scholarly work has noted the gendered nature of humor and the notion that women use comedy in a different way than do their male peers. Drawing on prior work on gender and humor, and my ethnographic work on teen girl cultures, I explore in this article how young women utilize popular cultural texts as well as everyday and staged comedy as part of a gendered resource that provides potential sites for sex-gender transgression and conformity. Through a series of vignettes, I explore how girls do funny and provide a backdrop to perform youthful gendered identities, as well as establish, maintain, and transgress cultural and social boundaries. Moving on to explore young women and stand-up I question the potential in mobilizing humor as an educational resource and a site in which to explore sex-gender norms with young people.