Dan Callahan – författare

Alfred Hitchcock is said to have once remarked, "Actors are cattle," a line that has stuck in the public consciousness ever since. For Hitchcock, acting was a matter of contrast and counterpoint, valuing subtlety and understatement over flashiness. He felt that the camera was duplicitous, and directed actors to look and act conversely. In The Camera Lies, author Dan Callahan spotlights the many nuances of Hitchcock's direction throughout his career, from Cary Grant in Notorious (1946) to Janet Leigh in Psycho (1960). Delving further, he examines the ways that sex and sexuality are presented through Hitchcock's characters, reflecting the director's own complex relationship with sexuality.Detailing the fluidity of acting - both what it means to act on film and how the process varies in each actor's career - Callahan examines the spectrum of treatment and direction Hitchcock provided well- and lesser-known actors alike, including Ingrid Bergman, Henry Kendall, Joan Barry, Robert Walker, Jessica Tandy, Kim Novak, and Tippi Hedren. As Hitchcock believed, the best actor was one who could "do nothing well" - but behind an outward indifference to his players was a sophisticated acting theorist who often drew out great performances. The Camera Lies unpacks Hitchcock's legacy both as a director who continuously taught audiences to distrust appearance, and as a man with an uncanny insight into the human capacity for deceit and misinterpretation.

Some people claim that audiences go to the movies for the genre. Others say they go for the director. But most really go to see their favorite actors and actresses. This book explores the work of many of classic Hollywood's influential stars, such as James Cagney, Bette Davis, Cary Grant and Katharine Hepburn.These so-called "pre-Brando" entertainers, often dismissed as old fashioned, were part of an explosion of talent that ran from the late 1920s through the early 1950s. The author analyzes their compelling styles and their ability to capture audiences.

Modern screen acting in English is dominated by two key figures: Method acting guru Lee Strasberg--who taught the "the art of experiencing" over "the art of representing"--and English theater titan Laurence Olivier, who once said of the Method's immersive approach, "try acting, it's so much easier."This book explores in detail the work of such method actors as Al Pacino, Ellen Burstyn, Jack Nicholson and Jane Fonda, and charts the shift away from the more internally focused Strasberg-based acting of the 1970s, and towards the more "external" way of working, exemplified by the career of Meryl Streep in the 1980s.

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Barbara Stanwyck (1907–1990) rose from the ranks of chorus girl to become one of Hollywood's most talented leading women—and America's highest-paid woman in the mid-1940s. Shuttled among foster homes as a child, she took a number of low-wage jobs while she determinedly made the connections that landed her in successful Broadway productions. Stanwyck then acted in a stream of high-quality films from the 1930s through the 1950s. Directors such as Cecil B. DeMille, Fritz Lang, and Frank Capra treasured her particular magic. A four-time Academy Award nominee, winner of three Emmys and a Golden Globe, she was honored with a Lifetime Achievement Award by the Academy.Dan Callahan considers both Stanwyck's life and her art, exploring her seminal collaborations with Capra in such great films as Ladies of Leisure, The Miracle Woman, and The Bitter Tea of General Yen; her Pre-Code movies Night Nurse and Baby Face; and her classic roles in Stella Dallas, Remember the Night, The Lady Eve, and Double Indemnity. After making more than eighty films in Hollywood, she revived her career by turning to television, where her role in the 1960s series The Big Valley renewed her immense popularity.Callahan examines Stanwyck's career in relation to the directors she worked with and the genres she worked in, leading up to her late-career triumphs in two films directed by Douglas Sirk, All I Desire and There's Always Tomorrow, and two outrageous westerns, The Furies and Forty Guns. The book positions Stanwyck where she belongs—at the very top of her profession—and offers a close, sympathetic reading of her performances in all their range and complexity.

Who isn’t in awe of Vanessa Redgrave? Her career on stage and screen remains vital and her extreme-left political stands are still quite controversial. This is the moment, and this is the biography, to take stock of Vanessa Redgrave both as actress and as political activist with a critical, objective study of her life and career. It is also time to account for her unparalleled achievements as an empathetic actress of considerable genius.Anyone who has seen Redgrave in her numerous stage and film roles will know why she is the very best we have. The radiant, fearless, daring, perverse and always unpredictable Redgrave is the brightest light in the forest of her famous family.

Barbara Stanwyck (1907-1990) rose from the ranks of chorus girl to become one of Hollywood's most talented leading women-and America's highest paid woman in the mid-1940s. Shuttled among foster homes as a child, she took a number of low-wage jobs while she determinedly made the connections that landed her in successful Broadway productions. Stanwyck then acted in a stream of high-quality films from the 1930s through the 1950s. Directors such as Cecil B. DeMille, Fritz Lang, and Frank Capra treasured her particular magic. A four-time Academy Award nominee, winner of three Emmys and a Golden Globe, she was honored with a Lifetime Achievement Award by the Academy.Dan Callahan considers both Stanwyck's life and her art, exploring her seminal collaborations with Capra in such great films as Ladies of Leisure, The Miracle Woman, and The Bitter Tea of General Yen; her Pre-Code movies Night Nurse and Baby Face; and her classic roles in Stella Dallas, Remember the Night, The Lady Eve, and Double Indemnity. After making more than eighty films in Hollywood, she revived her career by turning to television, where her role in the 1960s series The Big Valley renewed her immense popularity.Callahan examines Stanwyck's career in relation to the directors she worked with and the genres she worked in, leading up to her late-career triumphs in two films directed by Douglas Sirk, All I Desire and There's Always Tomorrow, and two outrageous westerns, The Furies and Forty Guns. The book positions Stanwyck where she belongs-at the very top of her profession-and offers a close, sympathetic reading of her performances in all their range and complexity.