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| | Movie Acting, the Film Reader -- Pamela Robertson Wojcik |
 | | In her introduction, Pamela Robertson Wojcik argues that theorists from a variety of schools have traditionally looked down on film acting as either part of the scenery, a result of cinematic technique, or an element of the cinematic gaze. |
 | | Wojcik writes, “While the actor is viewed as part of the mise-en-scène, and linked to theatrical components, his or her performance is viewed as an effect of framing, sound, and, in particular, editing — a composite created during post-production. |
 | | These contradictory views contribute to the perception that film acting isn’t really acting.” In recent years, however, the influence of cultural studies, star studies, and a new historicism in film studies has led many scholars to take another look at the distinctive nature of film acting. |
| www.frontlist.com /detail/0415310253 (510 words) |
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