2. WHAT IS IT?
This refers to the acting that is taking place. We should be focusing on their
performance and movement
movements can be small or massive involving the whole body or just small parts of the
body
everything is included from eye rolling to sudden running and jumping
we can ‘read’ each movement in some way, as the director and/or actor has chosen
them carefully to put across meaning and understanding to the audience/spectator
body language also tells us a lot about a character, situation or thought processes
3. THE RANGE OF BODY
CODES (ADAPTED FROM
ARGYLE IN HINDE 1972
AND FISKE 1982) direct bodily contact
the proximity of one character to
another (or proxemics)
the orientation of one character to
another (how bodies are turned towards
one another)
general appearance of individuals (e.g.
tall and thin, short and fat)
head movements (e.g. nodding or
shaking of the head)
facial expressions
gestures (or kinesics)
body posture
eye movement or contact
aspects of speech, such as pitch, stress,
tone, volume, accent, speech errors (all of
which are termed paralinguistic codes)
4. Although you are not expected to remember all of these it is useful to
know what to look out for when analysing a performance
Watch the opening scene from ‘Ferris Bueller’s Day Off’. Pay
microscopic attention to detail as possible. What do the performances
of each of the characters tell us about the characters themselves.
5. PERFORMANCE
FM1: - Extract Micro Analysis
• Performance includes physical expression, vocal delivery and
interaction between performers (with reference to issues of
staging/choreography where relevant).
6. QUESTIONS?
What makes a great performance?
What ‘tools’ are at an actor’s disposal? (What action or techniques
can they do to influence a performance?)
Is an actor solely responsible for the quality of their portrayal of
character?
7. BODY CODES
Direct bodily contact
Proximity between characters (proxemics)
Orientation
General appearance
Head movements
Facial expressions
Posture
Gestures (or kinesics)
Eye movement or contact
Aspects of speech – paralinguistic features (pitch, stress,
tone, volume, accent, speech errors)
9. SEVEN
Watch the ‘Office Phone-call’ scene twice through (you
may wish to put focus on a different actor each time)
-How many of the ‘body codes’ can you observe in use?
-What are the effects?
Now repeat this process with the ‘Lust Interview’ scene.
10. SEVEN
STICK A COPY OF THE LEVEL 4 CRITERIA ONTO YOUR PAPER
Mock Coursework Question…
How do Pitt and Freeman’s performances give insight into their
characters and relationship during the office phone-call scene?
OR
How is performance used to create understanding of the character of
the ‘murderer’ and add atmosphere to the interrogation scene?
11.
12.
13.
14. PITT’S CHANGING
PERFORMANCE
WATCH THE SCENE IN THE BOSS’ OFFICE UNTIL THE MURDER
SCENE IS REVEALED
How does Pitt alter his performance in these
different contexts?
What insight does this give into his character?
15. HOMEWORK
DUE NEXT FRIDAY
Pick a film scene/sequences which you think has a
notable performance.
Explain in as much detail as possible how the
performers create meaning through specific body
codes.
