Shots to the Heart explores how the work of the film actor inspires, provokes, and refigures our feelings and thoughts about the cinema. The book closely considers the art of film performance, the combined effect of actors gestures, movements, and expressions, in relation to the viewers sensitive and creative eye. As discrete moments of performative incarnation on-screen slowly accumulate, actors also become figures of meaning. For many viewers, the screen figures which result from performance are simply called characters. But in thinking about cinema, the words character and characterization signal post-experiential abstractions: when we quickly identify characters or summarize characterization after seeing a movie, we are leaping over the emotions felt through our loving attention to the bodies flitting through a film. Such concepts can never replace a careful regard for what actors on-screen are actually doing, moment-by-moment, gesture-by-gesture. Shots to the Heart is finally not too concerned with the narrative machinations within which these gestures are inscribed, and even resists the attempt to assemble these descriptions of performance into a full account of the film as a whole. What Shots to the Heart does is let little moments of performance live on, in writing, as they are strung together alongside performative fragments from other films, in a kind of alternative, cinephilic account of what was felt as actors moved on the screen before us.
This book continues the authors project, begun in the 2017 monograph Gestures of Love, of exploring the place of film actors in an emotional and thoughtful reception of movies. Shots to the Heart aims to provide both concrete critical engagements with moments of performance as well as philosophical explorations of and reflections on the implications of a love for performance in viewing cinema.
Shots to the Heart explores how the work of the film actor inspires, provokes, and refigures our feelings and thoughts about the cinema. The book closely considers the art of film performance, the combined effect of actors gestures, movements, and expressions, in relation to the viewers sensitive and creative eye. As discrete moments of performative incarnation onscreen slowly accumulate, actors also become figures of meaning. For many viewers, the screen figures which result from performance are simply called characters. But in thinking about cinema, the words character and characterization signal post-experiential abstractions: when we quickly identify characters or summarize characterization after seeing a movie, we are leaping over the emotions felt through our loving attention to the bodies flitting through a film. Such concepts can never replace a careful regard for what actors onscreen are actually doing, moment by moment, gesture by gesture. Shots to the Heart is finally not too concerned with the narrative machinations within which these gestures are inscribed, and even resists the attempt to assemble these descriptions of performance into a full account of the film as a whole. What Shots to the Heart does is let little moments of performance live on, in writing, as they are strung together alongside performative fragments from other films, in a kind of alternative, cinephilic account of what was felt as actors moved on the screen before us.
Shots to the Heart explores how the work of the film actor inspires, provokes, and refigures our feelings and thoughts about the cinema. The book closely considers the art of film performance, the combined effect of actors gestures, movements, and expressions, in relation to the viewers sensitive and creative eye. As discrete moments of performative incarnation on-screen slowly accumulate, actors also become figures of meaning. For many viewers, the screen figures which result from performance are simply called characters. But in thinking about cinema, the words character and characterization signal post-experiential abstractions: when we quickly identify characters or summarize characterization after seeing a movie, we are leaping over the emotions felt through our loving attention to the bodies flitting through a film. Such concepts can never replace a careful regard for what actors on-screen are actually doing, moment-by-moment, gesture-by-gesture. Shots to the Heart is finally not too concerned with the narrative machinations within which these gestures are inscribed, and even resists the attempt to assemble these descriptions of performance into a full account of the film as a whole. What Shots to the Heart does is let little moments of performance live on, in writing, as they are strung together alongside performative fragments from other films, in a kind of alternative, cinephilic account of what was felt as actors moved on the screen before us.
