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PERSONA 4 GOLDEN DIFFERENCES MOVIE
PERSONA 4 GOLDEN DIFFERENCES PLUS

5 Thompson, “Screen Acting and the Commutation Test,” 67.ģWriting in 1978, John O.

For example, what would happen if Shirley Temple instead of Judy Garland played Dorothy in The Wizard of Oz (1939)? Would The Third Man (1949) be the same if Cary Grant were to play the male lead instead of Joseph Cotten? And, to name a more recent example, what if Emma Watson and Emma Stone were to switch their roles in Beauty and the Beast (2017) and La La Land (2016)? 4 Try to picture any canonical film with a different cast. More than just a harmless game, this intellectual exercise – inspired by the commutation test in structural linguistics in which one element in a signifying system is replaced by another 3 – makes us more aware of the unique qualities each performer possesses and mobilizes in order to impersonate a character on the screen. A whole book by Eila (.)ĢIt is always intriguing to speculate how a film’s impact and meaning would change if some other actor or actress had been cast in the leading role.

4 All of these casting choices were in fact considered at one point or another.

Thompson, “Screen Acting and the Commutation Test,” Screen, vol. On the contrary, many American and British actresses – both experienced stars and novices – were considered and tested before the final decision was made.

2 At the time of her casting, though, Joan Fontaine was an undistinguished and relatively unknown Hollywood performer and far from being the first or only choice for the demanding role. Today, some eighty years after the film’s release, it remains her most popular and iconic part. It also typecast her as a clumsy, naïve girl transformed into a mature, composed woman, which she later successfully repeated in Suspicion (1941), The Constant Nymph (1943), Jane Eyre (1944) and A Letter from an Unknown Woman (1948). 1 The film immediately turned her into a top Hollywood star, and brought her critical acclaim and her first Academy Award nomination.

PERSONA 4 GOLDEN DIFFERENCES MOVIE

2 In the Internet Movie Database, Rebecca has been rated by more than 110,000 users and is by far the (.)ġEver since she appeared as the second Mrs. de Winter in Alfred Hitchcock’s adaptation of Daphne Du Maurier’s Rebecca (1940), Joan Fontaine has been considered a perfect match for the role.1 See for example David Thomson’s comment in “Du Maurier, Hitchcock and Holding an Audience,” in Hele (.).By integrating adaptation studies with star and performance studies, the article’s aim is to bring more nuance into the ongoing discussion of this canonical film and its historical relevance. de Winter, or “I”, as she is often referred to. Furthermore, the text notes how the casting of Joan Fontaine affected the characterization of the second Mrs. Drawing on archival documents from the Selznick Collection at the Harry Ransom Center in Austin, Texas, and on the surviving screen tests of several candidates for the main role, the author compares Fontaine’s screen tests with those of her most immediate “rivals” – Vivien Leigh, Anne Baxter, Margaret Sullavan and Loretta Young – and relates them to the vibrant exchange of opinions between Selznick and director Alfred Hitchcock for whom the film marked his Hollywood debut. Selznick who was renowned for his film versions of literary classics. This article considers the lengthy process of casting the unnamed female protagonist in the first film version of Daphne Du Maurier’s Rebecca in light of the more general adaptation strategies employed by the filmmakers, particularly the independent producer David O.

PERSONA 4 GOLDEN DIFFERENCES PLUS

En intégrant des analyses issues des études actorales et sur l’adaptation filmique, l’objectif de cet article est d’apporter un éclairage plus nuancé sur ce film canonique et sa pertinence historique. De plus, l’article note comment le casting de Joan Fontaine a infléchi la caractérisation de la seconde Mme de Winter, le « je » du roman. S’appuyant sur des documents d’archives tirés de la collection Selznick, abritée par le Centre Harry Ransom d’Austin, au Texas, et sur les bouts d’essai parvenus jusqu’à nous de plusieurs postulantes au rôle principal, l’auteur compare les bouts d’essai de Joan Fontaine à ceux de ses « rivales » les plus immédiates – Vivien Leigh, Anne Baxter, Margaret Sullavan et Loretta Young – en les reliant au vibrant échange d’opinions entre Selznick et le réalisateur Alfred Hitchcock, qui faisait alors ses débuts à Hollywood. Selznick, réputé pour ses adaptations de classiques de la littérature. Cet article examine le long processus de casting de l’héroïne anonyme en vue de la première adaptation filmique de Rebecca de Daphne du Maurier, à la lumière des stratégies d’adaptation employées par les cinéastes, en particulier par le producteur indépendant David O.