Humanities
Watch the Movie Fargo and answer the following questions.

Question Description

Pick one character from Fargo and focus on how the actor conveys thoughts and personality through their mannerisms and performance.

Talking/writing about acting is, for me, the hardest party of film criticism - really be thoughtful/precise in your observations and in the words you use to describe the acting.

Go back and watch a scene or two with the actor - don't try to do it from memory.

Remember, this isn't about what the character does in the movie - it's about how the actor creates the character.

Try to use the ideas/terminology from the chapter.

Remember to check the ppt I upload on the file before you start your work.

250 words minimum.

Unformatted Attachment Preview

Acting Talking about Acting  Acting is far more difficult to quantify and analyze than cinematography or mise-en-scene.  Human performance is subtle, subjective; we lack the vocabulary to assess it effectively. (Or maybe we want to think that it is unquantifiable.)  Nonetheless, it is the thing that even the most progressive and nontraditional filmmakers feel is essential to movies. Early Acting  First “actors” were just people – occasionally stage actors. Film didn’t have the commercial value or cultural weight to attract “true” actors.  Early performances were overly dramatic before cinematic language began to develop.  Director D.W. Griffith and actress Lillian Gish developed an approach that focused more on faces than bodies. Gish was considered the industry’s first movie star. Screen & Stage Acting  Audiences watch stage performances from a distance, so the actor must be “larger” in mannerism and volume.  Close up shots in movies allow for subtle gestures that audiences could never see in a play.  Frank Capra: “Stage stars act with their bodies. Movie Stars act with their eyes.” Acting & Sound  The advent of sound in movies brought about many changes to acting.  Static microphones meant actors had to remain in place and speak in a specific direction.  Poor microphone quality required actors to enunciate their words in unnatural ways.  Silent actors with heavy accents or “unnatural” voices lost their careers when dialogue became a necessity. Acting & the Studio System  The Hollywood “Star System” existed between the early 1930s and the late 1950s.  Studios had actors under contract: they changed their names; dictated how they would look off-camera; and told them which movies to make.  Actors had more conventional good looks; far less risky roles and transformations.  There was no independent industry – too expensive. “The Method”  Acting style that prioritized realism and authenticity. Started by Konstantin Stanislavsky, a Russian theatre actor, in 1897. Became the most common approach to acting in the 1950s, as Studio Era faded.  Stella Adler developed the ideas in the States in the 1930s. Students: Elia Kazan, Marlon Brando, James Dean, Robert DeNiro, Al Pacino, Sissy Spacek  Common qualities: natural, raw, intense, low-key line delivery, uncomfortable, often unflattering Fargo Narrative, USA 1996 Directed by Joel Coen ...
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Final Answer

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Outline

Introduction
Body
Conclusion
References


Running head: CHARACTER ANALYSIS IN THE MOVIE: FARGO

Character Analysis in The Movie: Fargo
Student’s Name
Course Number Name Of Course
Instructor’s Name
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CHARACTER ANALYSIS IN THE MOVIE: FARGO

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Character Analysis in The Movie: Fargo
The movie, Fargo, presents various instances where characters directly convey
personality and thoughts throughout their performance. For instanc...

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UT Austin

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