Description
Book SynopsisThe first collection dedicated to David Bowie''s acting career shows that his film characterisations and performance styles shift and reform as decoratively as his musical personas. Though he was described as the most influential pop artist of the 20th century, whose work became synonymous with mask, mystery, sexual excess and ch-ch-ch-changing genres, Bowie also applied his genius to the craft of acting.Bowie's considerable filmography is systematically examined in 12 scholarly essays that include tributes to Bowie''s performance craft in other media forms. Classic films such as
The Prestige and
Merry Christmas, Mr. Lawrence, cult hits
Labyrinth and
The Man Who Fell To Earth, as well as lesser-known roles in
The Image,
Christiane F. and Broadway hit
The Elephant Man are viewed, not simply through the lens of Bowie's mega-stardom, but as the work of a serious actor with inimitable talent. This compelling analysis celebrates the risk-taki
Trade ReviewA lively, welcome and often surprising addition to our knowledge of the mercurial David Bowie and his place in popular culture. This is a wide-ranging and significant stimulus to Bowie studies. * Rodney Hall, Former Distinguished Visiting Professor at Victoria University, Australia, and author of Captivity Captive (1988) *
I’m Not a Film Star: David Bowie as Actor succeeds in being not only scholarly, thorough and enlightening, but also highly readable. Whilst it covers perhaps the least explored facet of Bowie’s career, the authors weave in-depth analyses across his entire film (and stage) career intertwined with his better known (other) work and life. Bowie was an artist who resisted being pigeonholed concerning what it was to be one, and this book follows, thereby shedding new light on his whole oeuvre. I wish the research had been published when we were developing the exhibition
David Bowie is. * Victoria Broackes, Director, London Design Biennale, UK, and co-curator of David Bowie is (2013-2016) *
The rich and engaging essays Dixon and Black have collected in
I’m Not a Film Star treat everything from Bowie’s cameos, short films, and videos to his notable starring performances. Together, they teach us that Bowie was more than a rock star dabbling in the movies. Rather, he chose his roles carefully and made thoughtful decisions about acting styles as he rethought his relation to realist acting and Brechtian ideas of gestural performance. The range of approaches represented here, including celebrity studies, close analysis of individual scenes, and performance theory, matches the diversity of Bowie’s work in film. * Glenn Hendler, Professor of English and American Studies, Fordham University, USA, and author of David Bowie's Diamond Dogs (Bloomsbury 2020) *
Table of ContentsList of Contributor Bios List of Figures Acknowledgements Preface
Shelton Waldrep, University of Southern Maine, USA Introduction
Ian Dixon (Nanyang Technological University, Singapore) and Brendan Black (Independent Scholar, Australia) 1. Ziggy Stardust, Direct Cinema and the Multi-modal Performance of
Gesamtkunstwerk Lisa Perrot (University of Waikato, New Zealand) 2. David Bowie Is…Actor, Star and Character: Entangled Agencies in
The Man Who Fell To Earth Dene October (University of the Arts, London, UK) 3. The Posed and the Unposed: Inhabited Clowns and Grotesques in Bowie’s
Scary Monsters and
The Elephant Man Amedeo d’Adamo (American Film Institute, USA) 4. Consuming Bowie:
Christiane F’ and the Transgressive Allure of Anglo-American Pop Culture in Cold-War West Berlin
Susanne Hillman (San Diego State University, USA) 5. Gesturing Dust: Sensing David Bowie’s Performance in
Merry Christmas Mr. Lawrence Sean Redmond (Deakin University, Australia) 6.
The Hunger’s deathly shadow: The sweet annihilation of David Bowie, NYC, circa. 1980-83
Mitch Goodwin (University of Melbourne, Australia) 7. ‘Who Can I Be Now?’: Codpieces, carnival and the blurring of identity in
Labyrinth Brendan Black (Independent Scholar, Australia) 8. Bowie as Actor/Bowie as Icon: Authenticity versus Iconography in Martin Scorsese’s
The Last Temptation of Christ Ian Dixon (Nanyang Technological University, Singapore) 9. The Surveillant Power of the (A)Temporal Cameo In
Twin Peaks: Fire Walk with Me (1992)
Tyne Daile Sumner (The University of Melbourne, Australia) 10. Loving the Alienation: Bowie,
Basquiat, Brecht
Glenn D’Cruz (Deakin University, Australia) 11. Performative Emotional Symbolism and Stylistic Gesture in Christopher Nolan’s
The Prestige Toija Cinque (Deakin University, Australia) 12.
‘Just Like the Films’:
Lazarus and Cinematic Melancholia
Denis Flannery (University of Leeds, UK) Filmography/Discography Bibliography Index
