LEADER 04125nam 22005295 450 001 9910485601003321 005 20240627163635.0 010 $a9783030751036 024 7 $a10.1007/978-3-030-75103-6 035 $a(CKB)5590000000487650 035 $a(MiAaPQ)EBC6648169 035 $a(Au-PeEL)EBL6648169 035 $a(DE-He213)978-3-030-75103-6 035 $a(EXLCZ)995590000000487650 100 $a20210618d2021 u| 0 101 0 $aeng 135 $aurcnu|||||||| 181 $ctxt$2rdacontent 182 $cc$2rdamedia 183 $acr$2rdacarrier 200 10$aSilent Film Performance $eDramatic Bodies on Screen /$fby Elisabetta Girelli 205 $a1st ed. 2021. 210 1$aCham :$cSpringer International Publishing :$cImprint: Palgrave Pivot,$d2021. 215 $a1 online resource (118 pages) 300 $aIncludes index. 311 18$a9783030751029 311 18$a3030751023 327 $aChapter 1: Introduction -- Chapter 2: Sign of the Uncanny: Anna Pavlova in The Dumb Girl of Portici (1916, USA) -- Chapter 3: Performing Loneliness: Vladimir Mayakovsky's Silent Soliloquy in Baryshnya i Khuligan / The Young Lady and the Hooligan (1918, USSR) -- Chapter 4: Re-booting the Self: Ivan Mozzhukhin and Queer Failure in Feu Mathias Pascal / The Late Mathias Pascal (1926, France) -- Chapter 5: 'Our Bravest and Most Beautiful Soldier': Pola Negri, Wartime, and the Gendering of Anxiety in Hotel Imperial (1927, USA) -- Chapter 6: Silent Performance Beyond Silent Film: Harald Kreutzberg in Paracelsus (1943, Germany) -- Index. 330 $aThis book provides a groundbreaking exploration of silent film performance. It combines close reading of silent screen acting with theoretically informed analysis, stressing the overlap between different performative arts, such as film and stage acting, dance, mime, and pantomime. The boundary between silent and sound films is also challenged. Anna Pavlova's acting in The Dumb Girl of Portici is read through Freud's work on the uncanny, disability studies, and notions of intermediality. Vladimir Mayakovsky's performance in The Young Lady and the Hooligan is approached as a silent soliloquy and a representation of loneliness. Ivan Mozzhukhin's tour de force in The Late Mathias Pascal is discussed through a queer failure lens, while Pola Negri's presence in Hotel Imperial is analysed with the aid of texts on wartime anxiety. Harald Kreutzberg's stunning number in Paracelsus is examined in the lightof theories of mime and pantomime, arguing for its subversive potential in a Third Reich sound film. Elisabetta Girelli is Honorary Senior Lecturer in Film Studies at the University of St Andrews. She has published widely on performance, stardom, silent film, Queer Theory, and cinematic representation. "Even with a perfect conceptual framework, if you cannot describe how an actor moves, bends, jumps, dances, smiles, breaks into despair, bites his hands, closes her eyes, and if you cannot do it with a vivid and ekphrastic style of writing that can produce specific images, you cannot study film acting. Girelli is the kind of gifted writer that acting studies needs. She knows what a significant detail is; she can show how these details form a gesture, an expression, an ethical or a political stance; and she has the ability to unfold her descriptions with rhythm, thereby reproducing the specific duration of any actingstyle. Girelli writes about acting style the way a musician performs a piece of music." - Serge Cardinal, University of Montreal. 606 $aMotion picture acting 606 $aMotion pictures$xHistory 606 $aScreen Performance 606 $aFilm and TV History 615 0$aMotion picture acting. 615 0$aMotion pictures$xHistory. 615 14$aScreen Performance. 615 24$aFilm and TV History. 676 $a791.43028 676 $a791.43028 700 $aGirelli$b Elisabetta$01083910 801 0$bMiAaPQ 801 1$bMiAaPQ 801 2$bMiAaPQ 906 $aBOOK 912 $a9910485601003321 996 $aSilent Film Performance$92841689 997 $aUNINA