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    “I’ll see you on the beach!” Masculine performance in Saving PrivateRyan (1998) and Objective, Burma! (1945).

    Access Status
    Fulltext not available
    Authors
    Bender, Stuart
    Date
    2012
    Type
    Journal Article
    
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    Citation
    Bender, Stuart. 2012. “I’ll see you on the beach!” Masculine performance in Saving Private Ryan (1998) and Objective, Burma! (1945). Interactive Media. 8: (29 p.).
    Source Title
    Interactive Media
    Additional URLs
    http://nass.murdoch.edu.au/issue8/pdf/IM8-masculine-feminine-article-01-bender.pdf
    ISSN
    18330533
    URI
    http://hdl.handle.net/20.500.11937/18584
    Collection
    • Curtin Research Publications
    Abstract

    A comparison of some specific components of the acting styles in Steven Spielberg’s Saving Private Ryan (1998) and Raoul Walsh’s Objective, Burma! (1945) reveals that there are significant differences in the techniques employed by the masculine performers of these films from two different eras of production. Errol Flynn’s performance in Objective, Burma! Is characterized by rigid, theatrical body postures and gestures whereas Tom Hanks’ acting in Saving Private Ryan exhibits a much more loose, relaxed physicality. There are also significant differences in vocal performance, in that Hanks typically uses a much greater range of voice loudness and register. Arguably, these observations are apparent in the evolution of the WW2 combat film genre more generally. These differences can be attributed to a number of factors: for instance, the influence of Stanislavski-inspired Method acting inpost-1950s Hollywood, technological changes in location filming praxis, and the recent employment of civilian technical advisors for military films. This paper argues that these developments have resulted in contemporary performances being much more detailed and nuanced than the acting styles of the 1940s.

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