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11. For t wo c ompelling e xamples, s ee R ichard D yer, Heavenly B odies: F ilm S tars a nd S ociety (Houndmills, Basingstoke: Macmillan, 1986); Janet Staiger, Interpreting Films: Studies in the Historical Reception of American Cinema (Princeton, NJ: Princeton University Press, 1992). 12. Baron and Carnicke, Reframing Screen Performance, 66. 13. Justin Wyatt, High Concept: Movies and Marketing in Hollywood (Austin: University of Texas Press, 1994), 31. 14. , 32–33. 15. Paul McDonald, “Supplementary Chapter: Reconceputalising Stardom,” in Stars, by Richard Dyer (London: British Film Institute, 1998), 182.
27 In c ontrast, today’s productions may jettison master shots altogether and frame the scene entirely through medium shots or closeups of each individual actor. Rather than staging multiple actors in a single, wider shot, filmmakers now will shoot close views of one actor reading their lines and then cut to individual reaction shots of the other characters. In short, today’s films edit more, cut faster, and frame tighter. Actors now must register their actions more quickly, against a moving camera, and alone in th e sh ot.
Peter J. Tomasi, quo ted in Necessary E vil: S uper-Villains o f D C Co mics, dir ected b y S cott Devine and J. M. Kenny. (2013; Burbank, CA: Warner Home Video, 2013), Blu-ray. 53. Ibid. 54. Marv Wolfman quoted in Necessary Evil. 55. Daniel Moseley and Daniel Moseley, “The Joker’s Comedy of Existence,” in Supervillains and Philosophy: Sometimes, Evil is its Own Reward, edited by Ben Dyer (Chicago: La Salle, 2009), 127. 56. The Blair Witch Project, directed by Daniel Myrick; Eduardo Sanchez (1999; Santa Monica, CA: Artisan Entertainment, 1999), DVD.
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