Read e-book online Acting for America: Movie Stars of the 1980s PDF

By Robert Eberwein, Aaron Baker, Rebecca Bell-Metereau, Professor William Brown, Michael DeAngelis, Krin Gabbard, Professor Chris Holmlund, Professor Adam Knee, Professor Christina Lane, Professor Linda Mizejewski, James Morrison, Jerry Mosher

ISBN-10: 0813547598

ISBN-13: 9780813547596

A eye-catching forged of Nineteen Eighties strength and talent--John sweet, Tom Cruise, Robert DeNiro, Clint Eastwood, Sally box, Harrison Ford, Michael J. Fox, Mel Gibson, Goldie Hawn, Jessica Lange, Steve Martin, Eddie Murphy, Arnold Schwarzenegger, Sissy Spacek, Sylvester Stallone, Meryl Streep, Sigourney Weaver, Bruce Willis, and the "Brat Pack"—stars within the drama of this decade. Acting for America specializes in the best way those movie icons have engaged in and outlined a few significant problems with cultural and social hindrance to the US through the 1980s.

Scholars applying numerous priceless techniques discover how those motion picture stars' motion pictures communicate to an elevated viewers information of advances in feminism, new rules approximately masculinity, and the advanced political surroundings within the Age of Reagan. The essays display the variety of those stars' contributions to such conversations in numerous movies, together with blockbusters and significant genres.

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Extra resources for Acting for America: Movie Stars of the 1980s

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Mamet (who has described himself as “a devotee to Sergei Eisenstein and his theory of montage”) and De Palma allude to the Soviet filmmaker’s Odessa steps sequence from Battleship Potemkin (1925) in the scene in which Ness and his deputy, George Stone (Andy Garcia), apprehend the bookkeeper who will be the central witness in the tax evasion trial that would put Capone in prison (Kane 146). Mamet and De Palma thus cast the gangster story within a materialist context whereby Capone is not just the embodiment of the “pure evil” that De Niro criticized, but rather representative of a problematic criminal response to larger patterns of discrimination and social control.

Jake’s unexpected redirection of the conversation and insistence that his brother hit him exemplifies the deliberate discontinuity of De Niro’s performance style, as well as its function to express latent subjectivity. More because of the spectacle of his weight gain than these acting techniques, De Niro’s performance in Raging Bull set a new standard. Kevin Hayes commented that “since Raging Bull, the willingness to gain weight for a part has become a mark of an actor’s dedication to the role” (7).

All of this drama is delivered with the utmost seriousness, presenting a figure that viewers are intended to see as a sacrificial rather than a triumphant hero. The spectacle of the exposed and humiliated physique, what Rita Kempley calls the “sadomasochistic thing,” is an integral part of Stallone’s star image (Washington Post, 22 December 1989, 13). He offers the erotic display of the suffering male body, perhaps as an antidote to abuse or perhaps—for some viewers—as a booster to the visual thrill of witnessing such torture.

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Acting for America: Movie Stars of the 1980s by Robert Eberwein, Aaron Baker, Rebecca Bell-Metereau, Professor William Brown, Michael DeAngelis, Krin Gabbard, Professor Chris Holmlund, Professor Adam Knee, Professor Christina Lane, Professor Linda Mizejewski, James Morrison, Jerry Mosher


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