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Staging and Performance in Sidney Lumet's "Deathtrap"

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Staging and Performance in Sidney Lumet's "Deathtrap". / Bettinson, Gary.
In: Projections: The Journal for Movies and Mind, Vol. 15, No. 2, 2, 01.06.2021, p. 30-55.

Research output: Contribution to Journal/MagazineJournal articlepeer-review

Harvard

Bettinson, G 2021, 'Staging and Performance in Sidney Lumet's "Deathtrap"', Projections: The Journal for Movies and Mind, vol. 15, no. 2, 2, pp. 30-55. https://doi.org/10.3167/proj.2021.150202

APA

Bettinson, G. (2021). Staging and Performance in Sidney Lumet's "Deathtrap". Projections: The Journal for Movies and Mind, 15(2), 30-55. Article 2. https://doi.org/10.3167/proj.2021.150202

Vancouver

Bettinson G. Staging and Performance in Sidney Lumet's "Deathtrap". Projections: The Journal for Movies and Mind. 2021 Jun 1;15(2):30-55. 2. doi: 10.3167/proj.2021.150202

Author

Bettinson, Gary. / Staging and Performance in Sidney Lumet's "Deathtrap". In: Projections: The Journal for Movies and Mind. 2021 ; Vol. 15, No. 2. pp. 30-55.

Bibtex

@article{c4e815c417884286ac56a3b2f58f104c,
title = "Staging and Performance in Sidney Lumet's {"}Deathtrap{"}",
abstract = "This article provides a stylistic examination of Sidney Lumet{\textquoteright}s thriller Deathtrap (1982), analyzing how its strategies of staging and performance generate narrational effects of suspense and surprise. It argues that Lumet anchors these performative strategies to a broad authorial program grounded in expressive subtlety; as such, Lumet{\textquoteright}s film reminds us of a waning tradition of US filmmaking in which stylistic ingenuity resides at the denotative and expressive (rather than the decorative or parametric) levels of stylistic discourse. The article treats Lumet{\textquoteright}s stylistic choices as creative solutions to a distinctive set of aesthetic problems. It canvasses—and identifies the functions of—the motivic staging schemas patterned throughout Deathtrap; and it illuminates how these schemas, actuated by star players, shape the viewer{\textquoteright}s cognitive uptake in substantive ways.",
author = "Gary Bettinson",
year = "2021",
month = jun,
day = "1",
doi = "10.3167/proj.2021.150202",
language = "English",
volume = "15",
pages = "30--55",
journal = "Projections: The Journal for Movies and Mind",
issn = "1934-9688",
publisher = "Berghahn",
number = "2",

}

RIS

TY - JOUR

T1 - Staging and Performance in Sidney Lumet's "Deathtrap"

AU - Bettinson, Gary

PY - 2021/6/1

Y1 - 2021/6/1

N2 - This article provides a stylistic examination of Sidney Lumet’s thriller Deathtrap (1982), analyzing how its strategies of staging and performance generate narrational effects of suspense and surprise. It argues that Lumet anchors these performative strategies to a broad authorial program grounded in expressive subtlety; as such, Lumet’s film reminds us of a waning tradition of US filmmaking in which stylistic ingenuity resides at the denotative and expressive (rather than the decorative or parametric) levels of stylistic discourse. The article treats Lumet’s stylistic choices as creative solutions to a distinctive set of aesthetic problems. It canvasses—and identifies the functions of—the motivic staging schemas patterned throughout Deathtrap; and it illuminates how these schemas, actuated by star players, shape the viewer’s cognitive uptake in substantive ways.

AB - This article provides a stylistic examination of Sidney Lumet’s thriller Deathtrap (1982), analyzing how its strategies of staging and performance generate narrational effects of suspense and surprise. It argues that Lumet anchors these performative strategies to a broad authorial program grounded in expressive subtlety; as such, Lumet’s film reminds us of a waning tradition of US filmmaking in which stylistic ingenuity resides at the denotative and expressive (rather than the decorative or parametric) levels of stylistic discourse. The article treats Lumet’s stylistic choices as creative solutions to a distinctive set of aesthetic problems. It canvasses—and identifies the functions of—the motivic staging schemas patterned throughout Deathtrap; and it illuminates how these schemas, actuated by star players, shape the viewer’s cognitive uptake in substantive ways.

U2 - 10.3167/proj.2021.150202

DO - 10.3167/proj.2021.150202

M3 - Journal article

VL - 15

SP - 30

EP - 55

JO - Projections: The Journal for Movies and Mind

JF - Projections: The Journal for Movies and Mind

SN - 1934-9688

IS - 2

M1 - 2

ER -