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Acknowledgments | ||
General Introduction | ||
Pt. 1 | Ontology of the Film Actor | 15 |
1 | Remarks on the Actor | 19 |
2 | Reflections on the Ontology of Film | 29 |
3 | Screen Acting and the Commutation Test | 37 |
Pt. 2 | The Creation of the Film Actor | 49 |
4 | The Changing Status of the Actor | 51 |
5 | The Histrionic and Verisimilar Codes in the Biograph Films | 59 |
6 | Pictorial Styles and Film Acting | 69 |
7 | Crafting Film Performances: Acting in the Hollywood Studio Era | 83 |
Pt. 3 | Style and Technique | 95 |
8 | Lillian Gish in True Heart Susie (1919) | 99 |
9 | "A High-Class Job of Carpentry": Toward a Typography of Early Sound Comedy | 111 |
10 | Masculinity in Crisis: Method Acting in Hollywood | 127 |
11 | Film Acting and Independent Cinema | 145 |
Pt. 4 | Character and Type | 165 |
12 | Typecasting | 169 |
13 | The 1950s: Black Stars | 191 |
14 | In Praise of Character Actors | 205 |
15 | The Lives of Supporting Players | 207 |
16 | Supporting Character: The Queer Career of Agnes Moorehead | 211 |
Select Bibliography | 227 | |
Index | 233 |
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