CTCS-190: Lecture Week 3
CTCS-190: Lecture Week 3 CTCS 190
Popular in Introduction to Cinema
Popular in Cinema And Media Studies
This 3 page Class Notes was uploaded by Alexander Harutunian on Sunday September 18, 2016. The Class Notes belongs to CTCS 190 at University of Southern California taught by Drew Casper in Fall 2016. Since its upload, it has received 4 views. For similar materials see Introduction to Cinema in Cinema And Media Studies at University of Southern California.
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Date Created: 09/18/16
Week 3 Performance: Often times the performers are what bring us to the movies Film begins with the human face Film is about the primal desire to connect with other human beings In our everyday life we act Everyone knows performance; but it is very difficult to talk about performance Performance is part of the visual oral elements of the movie that the writer gives us Writer gives us characters, dialogue, action, and setting Three of these four elements are controlled by the actors Actors gives the words intonation (rise and pitch of voice) The intonation gives the sentence completely different meaning/emphasis Pauses create pace, pace creates meaning, volume Pay attention to silence Actor controls the action Action has content, posture, gesture (posture and gesture are not written in the script) Pay attention to reaction; when the actor does not have the reaction Cate Blanchett in Blue Jasmine: what are her arms doing? Touching her hair (uncomfortable) Keeps her arms in really tight; keeps herself very defensive; she is falling apart Repetition trying to convince herself of what she’s saying; talks too much (keeps herself in reality) spoke softly, low but hard: “I’m really tapped out” Leaned on alcohol Leaned on the doorframe Character and meaning come through the properties of the player Properties of the player: Player’s physicality Type of voice, body, eyes, age You don’t need an expressive voice to be a movie actor You need an expressive body, face, eyes, and definite age That which can be picked up by the camera You have to know how to move Movie actors must be comfortable in their bodies Closeup: an abstraction No one sees the close up other than the audience Genetics is at the service of character Good acting begins with good bone structure personality: flows from physicality The aura must be picked up by the camera Talent of the player: sing, dance, act, have presence? Mythology of the player: Real life interviews the player has given, studied acting Reel life other works on the screen; the other types of characters she has played Persona of a playerthe aspect of someone's character that is presented to or perceived by others; “mask” every actor came on the greek stage and wore a mask that depicted who they were; you knew who the character was before they said a word or did an action The persona is a determining factor of the character or other means of the work The actor can use the persona, enforce it, go against it (but you have know what the persona is) can parody the persona Hitchcock “casting is characterization” Beginnings are auspicious and indelible that’s why beginning scenes/lines are so important Exit lines/actions are important because you remember When the persona is popular, that persona expresses and summarizes a collective instinct A popular persona is the reception of the culture You can study the culture in popular personas that have transcended times Types of players: nonprofessional someone who looks and sounds like the character, but does not know how to act (can use in the movies but not on the stage) 70% of an actor’s performance is silence and reaction (don’t need to be professional to be quiet or react) Professional knows what he is doing Star someone whose persona is the character in film after film; an entity who is the same but the surroundings change; a star is a commodity We want to see this face, hear this voice, see this body, see the talent this face/body has The movie star carries the weight of our collective consciousness Acting styles Basic, primary acting style pantomimic presentation More sophisticated representational (from the outside in) Method acting from inside out 1. Perceptual observation play a baker but you haven’t baked, so you watch how he does EVERYTHING every gesture, movement, business, until you have created your character 2. Emotive memory i have to play someone who was jealous, so I have to go remember what it was like to be jealous: how I walked, looked at others, etc. Ensemble when you don’t have the action, you react, when you don’t have the words you listen to someone else who has the word University trained actors go to school to learn every style of acting, learn a set of practices to bring up to play a character Improv let the actor transcend script and just go with it Star type of acting you wipe everybody else off the screen… How to judge a performance Expressive coherence if the actor playing the role looks and sounds like the character should Are they playing ensemble? Do they play together? Are they wiping everybody off the screen when you don’t have the action or lines? Do they seem right in their setting? (costume, look, accent, period, acting) Androgyny showing characteristics of both sexes Does the actor have the ability to convey thought without saying anything Can an actor convey multiple emotions at once? Beats where is the actor in terms of beats? An actor can play on, ahead of, or behind the beat Can be off the beat that’s bad When the actor performs, was it a long take? Did the camera stay on them? That’s how you know the performance is true more lifelike than cut and paste Did the character on the screen make you feel? Will you remember them? The director directs the performance, not the actor He pays attention to the performance while the film is being shot
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