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1. Film performance : from achievement to appreciation

   Klevan, Andrew

   London ; New York : Wallflower, 2005.

2. Nonprofessional film performance

   Gaggiotti, Miguel

   Cham, Switzerland : Palgrave Macmillan, an imprint of Springer Nature Switzerland, [2023]

   "This book offers a critical account of film performances by nonprofessional actors. Nonprofessional actors -- actors without previous acting training or experience -- have performed in films since the days of the Lumïre brothers. Generally associated with currents such as Early Soviet Cinema, Italian Neorealism and New Argentine Cinema, nonprofessional actors also feature prominently in the works of celebrated directors including Pier Paolo Pasolini, Robert Bresson and Joanna Hogg. Since the turn of the century and the rise of digital filmmaking, the performances of nonprofessional actors have remained a staple of independent cinemas from all over the world, including films associated with the loose trend often referred to as Slow Cinema. Despite their enduring presence in acclaimed and widely discussed films, nonprofessional actors have received scant scholarly attention. This book proposes to analyse exemplary nonprofessional performances from across the history of cinema as a means of illuminating their significance and celebrating the performers' contributions to the films." --

3. Silent film performance : dramatic bodies on screen

   Girelli, Elisabetta

   Cham : Palgrave Macmillan, 2021

   This 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 light of theories of mime and pantomime, arguing for its subversive potential in a Third Reich sound film.

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