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![Virginia Woolf/Nicole Kidman in The Hours/Nicole Kidman comparison. [Untitled photo comparison]. Retrieved from http://thefilmexperience.net/blog/2014/3/31/womens-history-month-nicole-kidman-as-virginia-woolf.html; Brown, F.M. (2008, Oct. 6). 15th annual women in Hollywood event -arrivals [Online image]. Retrieved from gettyimages.com.](publication/339855511/figure/fig2/AS:868076853669888@1583977058602/Virginia-Woolf-Nicole-Kidman-in-The-Hours-Nicole-Kidman-comparison-Untitled-photo.png)
Virginia Woolf/Nicole Kidman in The Hours/Nicole Kidman comparison. [Untitled photo comparison]. Retrieved from http://thefilmexperience.net/blog/2014/3/31/womens-history-month-nicole-kidman-as-virginia-woolf.html; Brown, F.M. (2008, Oct. 6). 15th annual women in Hollywood event -arrivals [Online image]. Retrieved from gettyimages.com.
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In this paper, I explore female actresses undergoing radical or seemingly radical physical transformation in service of a broader kind of career transformation. I problematize the simple calculation of deglamming, thinking more closely about the ways that celebrity structure raises challenges to actors and especially actresses attempting to engage...
Citations
... Deglamming in these cases is a process of estrangement: from beauty, from the celebrity machine, from audience expectations. She draws on screen shots, film reviews and interviews to explore the relationship between deglamming and estrangement as a kind of acting and character technique, paying particular attention to the stakes for presenting historical characters in biopics(Pearl 2020).Finally, Keskin and Baykan in 'Becoming-Animal in the Narrative and the Form of RehaErdem's Kosmos' argue that Reha Erdem's movie, Kosmos (2009), narrativizes the story of an odd traveler dervish Kosmos, who has supernatural abilities and an expanded capability of communication-one that displays liminal features between human and animal. Through his distinctive editing technique, particularly by juxtaposing human and animal faces, the director further deconstructs the conceptual boundaries between humanity and animality, revealing the inherent connectedness of the two. ...
Late in 2019 film studies lost two of its founding members that help define the field as a discipline with their work in the last 50 years. Thomas Elsaesser was one of the founding members of the editorial board of CINEJ Cinema Journal. His contribution to the study of German Cinema, founding of Amsterdam School of Cultural Studies and training of countless PhD students in the field will be a long-lasting legacy for this giant figure of cinema and media studies. Peter Wollen will be remembered for his Signs and Meaning in the Cinema and as the father of structuralism in film studies. Along with his partner Laura Mulvey he will also be remembered as a pioneering experimental media producer.
Considering a number of key ideas pertinent to the whole book here, this chapter establishes the importance of the body to illuminate the nature of adaptation and how it is received. This is explored in three different areas across the chapter: typecasting, body as adaptation, and fidelity to the body. The element of the physical body complicates our understanding of character, perhaps threatening its reduction to a type. It therefore begins to complicate our understanding of what an adaptation can do. This leads on to our thinking about how the body is used to mediate character onscreen. Here, I argue, the body functions as a form of medium. We can think through this in the way the acting body is adapted continuously for characters, particularly with those actors who are method. Taking these ideas, the role of the body as medium further complicates the relationship between performance and adaptation. Finally, fidelity to the imagined ‘original’ body in literary cases is an issue raised in audience response to particular adaptations. Physicality thus becomes central in thinking about adaptation, but also reinforces the notion of fidelity as subjective.
