Language : English
Published : 2009-10-01
Pages : 201
Fine on Acting: A Vision of the Craft
Heralded as Best Acting Teacher in LA by Back Stage magazine, Hollywood s most sought after acting teacher Howard Fine reveals the winning technique that has garnered his students international acclaim and the industry s highest honors in his astonishing book FINE ON ACTING.During his twenty-five years as a teacher and director, Fine has developed a technique that is both useful and exciting.Emmy Award(r)-winning actor Michael Chiklis (THE SHIELD, FANTASTIC FOUR) writes in the foreword for FINE ON ACTING, You ve purchased this book because you either aspire to be an actor or want to be a better one. Either way you ve made a wonderful decision. Howard Fine is a great teacher. His philosophy and approach to the craft of acting are the most helpful, encouraging and practically applicable I ve ever encountered. FINE ON ACTING covers the essentials for actors, including The Common Mistakes, Rehearsal, Auditions, Stage vs. Television and Film Acting, and Comedy vs. Drama. Fine also offers valuable advice for troubleshooting challenging situations, such as playing opposite a bad actor, nerves, memorizing lines, working with a bad director, and being emotionally blocked.A close colleague of the legendary Uta Hagen and the founder of the Howard Fine Acting Studio, Fine has worked with hundreds of stars, including Brad Pitt, Will Smith, Bradley Cooper, Chris Pine, Justin Timberlake, Lindsay Lohan, Salma Hayek, Simon Baker, Amanda Bynes, Gerard Butler, Jennifer Connelly, Dwayne The Rock Johnson, Michelle Williams, Val Kilmer, Sela Ward, Jason Priestley, Kerry Washington, Amy Smart, Jared Leto, Wilmer Valderrama, Brooke Shields, Daryl Hannah, Rick Fox, Estella Warren, Christopher Meloni, Enrique Murciano, Garry Shandling, Alexa Vega, Heather Locklear, Geri Halliwell, Carla Gugino, James Belushi, Diana Ross, Jon Bon Jovi, and Josh Groban.Fine is one of the few elite acting experts who has devoted his primary career to perfecting the teaching and coaching of professional actors. His outstanding reputation is the product of his remarkable expertise uniquely coupled with his extraordinary gift to inspir
Feature films, television shows, homemade videos, tweets, blogs, and breaking news: digital media offer an always-accessible, apparently inexhaustible supply of entertainment and information. Although choices seems endless, public attention is not. How do digital media find the audiences they need in an era of infinite choice? In The Marketplace of Attention, James Webster explains how audiences take shape in the digital age. Webster describes the factors that create audiences, including the preferences and habits of media users, the role of social networks, the resources and strategies of media providers, and the growing impact of media measures — from ratings to user recommendations. He incorporates these factors into one comprehensive framework: the marketplace of attention. In doing so, he shows that the marketplace works in ways that belie our greatest hopes and fears about digital media. Some observers claim that digital media empower a new participatory culture; others fear that digital media encourage users to retreat to isolated enclaves. Webster shows that public attention is at once diverse and concentrated — that users move across a variety of outlets, producing high levels of audience overlap. So although audiences are fragmented in ways that would astonish midcentury broadcasting executives, Webster argues that this doesn’t signal polarization. He questions whether our preferences are immune from media influence, and he describes how our encounters with media might change our tastes. In the digital era’s marketplace of attention, Webster claims, we typically encounter ideas that cut across our predispositions. In the process, we will remake the marketplace of ideas and reshape the twenty-first century public sphere.
About the Author
James G. Webster is Professor in the School of Communication at Northwestern University. The Marketplace of Attention: How Audiences Take Shape in a Digital Age.
Quality media is the result of meticulous research. MASS MEDIA RESEARCH: AN INTRODUCTION, 10E, International Edition shows you how it happens–from content analysis to surveys to experimental research–and then equips you with expert tips on analyzing the media you encounter in your daily life. Reflecting the latest developments from the field, this popular book delivers a comprehensive overview of mass communication research and a thorough exploration of each major approach–including qualitative research, content analysis, survey research, longitudinal research, and experimental research. It also fully integrates social media coverage, ethics, and the impact of merging technology.
About the Author
Joseph Dominick is a retired professor in the College of Journalism and Mass Communication at the University of Georgia. He received his undergraduate degree from the University of Illinois and his Ph.D. from Michigan State University in 1970. He taught for four years at Queens College of the City University of New York before going to the University of Georgia where, from 1980 to 1985, he served as the head of the Radio-TV-Film Sequence. The author or co-author of four additional books, Dr. Dominick also has published nearly 40 articles in scholarly journals. From 1976 to 1980, he served as the editor of the JOURNAL OF BROADCASTING. He has received research grants from the National Association of Broadcasters and from the American Broadcasting Company, and he has consulted for such organizations as the Robert Wood Johnson Foundation and the American Chemical Society. Roger Wimmer received his Ph.D. in mass media research from Bowling Green State University in Ohio in 1976, although he has been involved in mass media research since 1972. His expansive experience includes serving as a sales representative at KLSS and KSMN, Mason City, Iowa, instructor at the University of Wisconsin-Whitewater, assistant professor at the University of Mississippi, associate professor at the University of Georgia, and manager of research for Cox Broadcasting in Atlanta, Ga. Prior to founding Wimmer Research, Dr. Wimmer was co-founder of Wimmer-Hudson Research & Development, president/CEO/co-founder of The Eagle Group, president/general partner/co-founder of Paragon Research, and president of Surrey Research. He has extensive radio industry experience as well as all areas of research for the television and cable television industries, including stations, networks, and programming production. He has developed several research approaches to test local news content, on-air talent, and promotional activities. In addition, Dr. Wimmer has several years of experience in nonmedia research, working with such clients as The Aquarium of the Pacific, Coors, U.S. West, and Samsonite.
The wide-ranging texts in this book take as their premise the idea that sound is a subject through which popular culture can be analyzed in an innovative way. From an infant’s gurgles over a baby monitor to the roar of the crowd in a stadium to the sub-bass frequencies produced by sound systems in the disco era, sound — not necessarily aestheticized as music — is inextricably part of the many domains of popular culture. Expanding the view taken by many scholars of cultural studies, the contributors consider cultural practices concerning sound not merely as semiotic or signifying processes but as material, physical, perceptual, and sensory processes that integrate a multitude of cultural traditions and forms of knowledge. The chapters discuss conceptual issues as well as terminologies and research methods; analyze historical and contemporary case studies of listening in various sound cultures; and consider the ways contemporary practices of sound generation are applied in the diverse fields in which sounds are produced, mastered, distorted, processed, or enhanced. The chapters are not only about sound; they offer a study through sound — echoes from the past, resonances of the present, and the contradictions and discontinuities that suggest the future. ContributorsKarin Bijsterveld, Susanne Binas-Preisendorfer, Carolyn Birdsall, Jochen Bonz, Michael Bull, Thomas Burkhalter, Mark J. Butler, Diedrich Diederichsen, Veit Erlmann, Franco Fabbri, Golo Follmer, Marta Garcia Quinones, Mark Grimshaw, Rolf Grossmann, Maria Hanacek, Thomas Hecken, Anahid Kassabian, Carla J. Maier, Andrea Mihm, Bodo Mrozek, Carlo Nardi, Jens Gerrit Papenburg, Thomas Schopp, Holger Schulze, Toby Seay, Jacob Smith, Paul Theberge, Peter Wicke, Simon Zagorski-Thomas.
About the Author
Jens Gerrit Papenburg is Lecturer and Research Associate in Popular Music History and Theory at Humboldt University Berlin. Papenburg is a cofounder of the research network Sound in Media Culture. Holger Schulze is Professor of Musicology at the University of Copenhagen, where he is also Principal Investigator at the Sound Studies Lab. Schulze is a cofounder of the research network Sound in Media Culture.
When it was first published in French in 1980, The Ordinary Man of Cinema signaled a shift from the French film criticism of the 1960s to a new breed of film philosophy that disregarded the semiotics and post-structuralism of the preceding decades. Schefer describes the schizophrenic subjectivity the cinema offers us: the film as a work projected without memory, viewed by (and thereby lived by) a subject scarred and shaped by memory. The Ordinary Man of Cinema delineates the phenomenology of movie-going and the fleeting, impalpable zone in which an individual’s personal memory confronts the cinema’s ideological images to create a new way of thinking. It is also a book replete with mummies and vampires, tyrants and prostitutes, murderers and freaks — figures that are fundamental to Schefer’s conception of the cinema, because the worlds that cinema traverses (our worlds, interior and exterior) are worlds of pain, unconscious desire, decay, repressed violence, and the endless mystery of the body. Fear and pleasure breed monsters, and such are what Schefer’s emblematic “ordinary man” seeks and encounters when engaging in the disordering of the ordinary that the movie theater offers him. Among other things, Schefer considers “The Gods” in 31 brief essays on film stills and “The Criminal Life” with reflections on spectatorship and autobiography. While Schefer’s book has long been standard reading in French film scholarship, until now it has been something of a missing link to the field (and more broadly, French theory) in English. It is one of the building blocks of more widely known and read translations of Gilles Deleuze (who cited this book as an influence on his own cinema books) and Jacques Ranciere.
About the Author
Jean Louis Schefer (born in 1938) is a prolific and influential scholar of art history, theology, philosophy, music, and linguistics, as well as an author of fiction.