Cathy Haase - Acting For Film
Many people think that film acting is simply a portrayal of a strong personality, that the actor, who possesses a strong ego and a love of performing, just memorizes the lines and jumps before the camera. People think that it takes a certain type of personality to do this, and it does, but what they don’t consider are the intricate techniques of craft that the actor practices and the depth of self-knowledge that she must strive for in developing her instrument. In today’s American entertainment industry of buff bodies and beautiful faces, it’s easy to see how the public could think that a couple of sit-ups and high cheekbones create a movie legend. This idea is so prevalent that it even exists among the acting community itself. In order to get jobs that will pay the rent, everyone hits the gym, has facials, does workshops on selling themselves, and studies comedy improv. The actor as commodity is a reality in our world, and although there’s nothing wrong with any of these activities, they won’t create a foundation of technique.
What about the gymnasium of the soul? What about the quest for self knowledge?
Where does one learn to illuminate the actions of the character with greater truths that will touch an audience forever?




Laurie Scheer - Creative Careers in Hollywood
The movies can ruin you, there is no doubt. It is probably true that most people working in Hollywood have been ruined by the movies and that’s a good thing.
Many American children in average All American households are introduced to movies and media early on in life and become addicted by adolescence.
What would life be like without movies to watch?
Without television, cable, and the Internet?
We are all influenced in some way by the presence of media in America; however, some members of the general population take the fixation to the next step and attend colleges and universities to obtain degrees in Communication, Media Studies, or Film and Television tracks. Upon graduation, they are determined to go to the coasts and media hubs of America to explore their future behind the desks and cameras of the entertainment industry. They are not alone. They have been preceded by many and will be followed by many more. The working hotbed of the entertainment industry is Los Angeles. If you want to be in the movies, this is the place to be, or at least a place to begin.




Phyllis Zatlin - Theatrical Translation and Film Adaptation
When Robert Wechsler wrote his highly acclaimed study on literary translation, Performing Without a Stage (Wechsler, 1998), he was not specifically thinking of theatre. He speaks of actors interpreting the work of the playwright and of singers interpreting the work of the songwriter, thus establishing through performance that their own work is an art.
‘The translator’s problem is that he is a performer without a stage, an artist whose performance looks just like the original, just like a play or a song or a composition, nothing but ink on a page’.
It is belief, however, that theatrical translation should be intended precisely for performance. If a play translation is nothing but ink on a page, it is not theatre (performance text).
If it is published and read, it may be considered drama (literary text), and Wechsler’s excellent observations on literary translation will apply. Even if the translator’s contribution to the production remains invisible to some observers, theatrical translators, like playwrights, need to perform with a stage.




Sarah Kozloff - Overhearing Film Dialogue
Since the late 1970s, when the field of cinema studies “rediscovered” the sound track, numerous productive studies have been published on sound technology, film music, sound effects, and sound theory. With notable exceptions,3 most of this scholarship has only minimally addressed the most important aspect of film sound—namely, the dialogue.
Although what the characters say, exactly how they say it, and how the dialogue is integrated with the rest of the cinematic techniques are crucial to our experience and understanding of every film since the coming of sound, for the most part analysts incorporate the information provided by a film’s dialogue and overlook the dialogue as signifier. Canonical textbooks on film aesthetics devote pages and pages to editing and cinematography but barely mention dialogue. Visual analysis requires mastery of a recondite vocabulary and trained attentiveness; dialogue has been perceived as too transparent, too simple to need study.


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Acting Careers and Dialogue

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