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Historical Epic Blockbusters: Are You Not Entertained … By Actors?

  • Daniel Smith-Rowsey
Chapter
Part of the Palgrave Studies in Screen Industries and Performance book series (PSSIP)

Abstract

Smith-Rowsey opens his investigation into blockbuster performances with a close look at the genre that, more than any other, diminished the reputation of the initial blockbuster cycle (of the 1950s and 1960s) because of what were often considered “ham-fisted,” “declamatory,” “histrionic,” or simply “bad” performances. Prompted by Vivian Sobchack’s famous essay about “surge and splendor” in the historical epic, Smith-Rowsey asks if audiences want performers to fit in with their films’ pomp and circumstance, or if audiences rely upon relatively nuanced performances to mitigate against a production’s excesses. Smith-Rowsey finds that in Gladiator (2000), Sobchack’s performative “magnitude” is both appropriate and achieved given the film’s (and sub-genre’s) prioritization of size and scale. However, the author finds that in Titanic (1997), more understated, “heritage film”-style performances well suit that epic’s melodrama. Research shows that preview audiences for Titanic, importuned to suggest cuts, preferred that the film trim the ship-sinking scenes and preserve the quieter love scenes. The idea that blockbuster audiences prefer “acting” over “action” runs counter to most film criticism and scholarship.

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Copyright information

© The Author(s) 2018

Authors and Affiliations

  • Daniel Smith-Rowsey
    • 1
  1. 1.Saint Mary’s College of CaliforniaMoragaUSA

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