LEADER 01191nam0-2200409---450 001 990005590020203316 005 20190403124915.0 035 $a000559002 035 $aUSA01000559002 035 $a(ALEPH)000559002USA01 035 $a000559002 100 $a19981214d1995----|||y0itaa50------ba 101 $aita 102 $ait 105 $a0 00||| 200 1 $aDifesa della scuola libera$fLuigi Sturzo$ga cura di Dario Antiseri 210 $aRoma$cCittà Nuova$d1995 215 $a106 p.$d20 cm. 225 2 $aIdee$ecollana diretta da Gaspare Mura. 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Acting matters: noting performance in three films / Brenda Austin-Smith -- Living meaning: the fluency of film Performance / Andrew Klevan -- Play-acting: a theory of comedic performance / Alex Clayton -- Performed performance and the man who knew too much / Murray Pomerance -- Brando sings! the invincible star persona / George Toles -- Reception: film acting, audiences and communities. "Look at me"?: a phenomenology of Heath Ledger in The dark knight / Jorg Sternagel -- Is acting a form of simulation or being? acting and mirror neurons / William Brown -- The bond that unbinds by binding: acting mythology and the film community / Kevin Esch -- From being to acting: performance in cult cinema / Ernest Mathijs -- Acting and performance in home movies and amateur films / Liz Czach -- Culture: film history, industry and the vicissitudes of star acting. Story and show: the basic contradiction of film star acting / Paul McDonald -- The screen actor's "first self" and "second self": John Wayne and Coquelin's acting theory / Sharon Marie Carnicke -- Acting like a star: Florence Turner, picture personality / Charlie Keil -- Niche stars and acting "gay" / Chris Holmlund -- Apparatus: technology, film form and the actor. What becomes of the camera in the world on film? / William Rothman -- Sonic bodies: listening as acting / Jennifer M. Barker -- Dance of the ubermarionettes: toward a contemporary screen actor training / Sean Aita -- Articulating digital stardom / Barry King. 330 $aThis comprehensive collection provides theoretical accounts of the grounds and phenomenon of film acting. The volume features entries by some of the most prominent scholars on film acting who collectively represent the various theoretical traditions that constitute the discipline of film studies. Each section proposes novel ways of considering the recurring motifs in academic enquiries into film acting, including: (1) the mutually contingent problematic of description and interpretation, (2) the intricacies of bodily dynamics and their reception by audiences, (3) the significance of star pe 410 0$aRoutledge Advances in Film Studies 606 $aMotion picture acting 608 $aElectronic books. 615 0$aMotion picture acting. 676 $a791.4302/8 701 $aTaylor$b Aaron$0935812 801 0$bMiAaPQ 801 1$bMiAaPQ 801 2$bMiAaPQ 906 $aBOOK 912 $a9910461664003321 996 $aTheorizing film acting$92108168 997 $aUNINA LEADER 04671nam 22007453u 450 001 9910460161603321 005 20210108033919.0 010 $a1-68015-721-3 010 $a1-78017-255-9 035 $a(CKB)3710000000359262 035 $a(EBL)1759633 035 $a(OCoLC)904404148 035 $a(SSID)ssj0001466963 035 $a(PQKBManifestationID)11892272 035 $a(PQKBTitleCode)TC0001466963 035 $a(PQKBWorkID)11505671 035 $a(PQKB)11011741 035 $a(CaSebORM)9781780172545 035 $a(MiAaPQ)EBC1759633 035 $a(EXLCZ)993710000000359262 100 $a20160912d2015|||| u|| | 101 0 $aeng 135 $aur|n|---||||| 181 $ctxt 182 $cc 183 $acr 200 10$aAgile Foundations$b[electronic resource] $ePrinciples, practices and frameworks 205 $a1st edition 210 $aSwindon $cBCS Learning & Development Limited$d2015 215 $a1 online resource (199 p.) 300 $aDescription based upon print version of record. 311 $a1-78017-254-0 327 $aFront Cover; Copyright; CONTENTS; LIST OF FIGURES AND TABLES; CONTRIBUTORS; SECTION REVIEWERS; GLOSSARY; PREFACE; INTRODUCTION; PART 1 INTRODUCING AGILE; 1. WHAT IS AGILE?; 1.1 THE HISTORY OF AGILE; 1.2 THE AGILE MANIFESTO; 2. THE FOUNDATIONS OF AGILE; 2.1 THE AGILE MINDSET; 2.2 DELIVERY ENVIRONMENTS AND AGILE SUITABILITY; 2.3 THE LIFECYCLE OF PRODUCT DEVELOPMENT; 2.4 THE 'IRON TRIANGLE'; 2.5 WORKING WITH UNCERTAINTY AND VOLATILITY; 2.6 EMPIRICAL AND DEFINED PROCESSES; 3. AGILE AND THE BUSINESS; 3.1 THE ECONOMIC CASE FOR AGILE; 3.2 BUSINESS CULTURE AND AGILE; 4. AGILE MYTHS 327 $aPART 2 A GENERIC AGILE FRAMEWORK5. GENERIC AGILE PROCESS; 5.1 AGILE OPERATING MODEL; 6. COMMON AGILE ROLES; 6.1 THE CUSTOMER; 6.2 THE TEAM; 6.3 THE AGILE LEAD; 6.4 THE STAKEHOLDERS; 7. COMMON AGILE TECHNIQUES; 7.1 STORIES AND BACKLOG REFINEMENT; 7.2 AGILE ESTIMATION; 7.3 AGILE PLANNING; 7.4 AGILE TESTING; 8. COMMON AGILE PRACTICES; 8.1 SHORT FEEDBACK LOOPS; 8.2 FACE-TO-FACE COMMUNICATION; 8.3 DAILY STAND-UPS; 8.4 SHOW AND TELLS; 8.5 RETROSPECTIVES; 8.6 EMERGENT DOCUMENTATION; 8.7 VISUAL BOARDS; 8.8 SUSTAINABLE PACE; 8.9 FOCUS ON QUALITY; 8.10 MAJOR AGILE TECHNICAL PRACTICES 327 $aPART 3 APPLYING AGILE PRINCIPLES9. INDIVIDUALS AND INTERACTIONS OVER PROCESSES AND TOOLS; 9.1 MOTIVATED AND TALENTED INDIVIDUALS; 9.2 EMERGENT DESIGN FROM SELF-ORGANISING TEAMS; 9.3 TEAM DYNAMICS; 10. WORKING SOFTWARE OVER COMPREHENSIVE DOCUMENTATION; 10.1 SATISFY THE CUSTOMER AND CONTINUOUS DELIVERY OF VALUE; 10.2 DELIVER WORKING SOFTWARE FREQUENTLY; 10.3 WORKING SOFTWARE AS A MEASURE OF PROGRESS; 10.4 TECHNICAL EXCELLENCE AND GOOD DESIGN; 11. CUSTOMER COLLABORATION OVER CONTRACT NEGOTIATIONS; 11.1 BUSINESS PEOPLE AND DEVELOPERS MUST WORK TOGETHER 327 $a11.2 REFLECT AND ADJUST (INSPECT AND ADAPT) REGULARLY12. RESPONDING TO CHANGE OVER FOLLOWING A PLAN; 12.1 EMBRACE CHANGE; 13. 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