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vii | |
Acknowledgments |
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ix | |
Introduction: The Missing Parts |
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1 | (8) |
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9 | (19) |
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Cognitive Theater Studies and Acting |
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10 | (11) |
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Television Studies and Acting |
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21 | (7) |
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2 All By Our Selves: Empathy and Acting |
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28 | (21) |
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Situational and Selfless Selfhood |
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29 | (3) |
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32 | (13) |
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The Project Ahead: Screen Actors as Solicitors of Empathy |
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45 | (4) |
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3 The Actor's Three Empathetic Connections |
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49 | (36) |
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51 | (12) |
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63 | (11) |
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74 | (6) |
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Conclusion: "Camera rolling ... and, action!" |
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80 | (5) |
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4 Acting Culture and Audition Preparation |
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85 | (24) |
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Practice, Constraint, and Affordance |
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85 | (3) |
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"It's nice work if you can get it...": Auditions and Precarity |
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88 | (7) |
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Audition Logistics and Empathy |
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95 | (14) |
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5 Empathetic Work Prior to Shooting |
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109 | (24) |
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From Guesswork to Scaffolding |
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109 | (1) |
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110 | (1) |
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"Bottom-up Script Analysis": Extrapolating Specific Memories into Emotional Common Denominators |
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111 | (6) |
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"Top-down Script Analysis": Imagination, Abstraction, Archetype |
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117 | (8) |
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Cayonne's Minotaur: Balancing Memory and Imagination to Find the Character's Body Schema |
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125 | (6) |
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Conclusion: Arriving on Set |
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131 | (2) |
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133 | (38) |
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Actors and Production Culture: Inductive, Ecumenical, and Self-effacing Practices on Set |
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133 | (5) |
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The Actor and the Camera: Habits, Techniques, and Technology |
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138 | (7) |
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The Other Actor: Creative Labor and Intersubjective Empathy on Set |
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145 | (13) |
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Real Fake Tears, and Talking to Tennis Balls: Incorporating Production Conditions into Acting Choices |
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158 | (8) |
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166 | (5) |
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7 Conclusion: "Ready for my Close-up" |
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171 | (17) |
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Histories of Force and Eloquence |
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172 | (10) |
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Collective Cognition and Production Studies |
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182 | (3) |
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Sympathy for Kuleshov: (Re-)Introducing Acting to Film Form |
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185 | (3) |
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Acting Studies and Resets |
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188 | (5) |
Bibliography |
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193 | (10) |
Index |
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203 | |