A shop girl wins a newspaper competition and is transformed overnight into a transatlantic celebrity. An aristocrat swaps high society for the film studio when she 'consents' to perform in a series of films, thus legitimising acting for what some might have considered a 'low' art. Stories like these were the stuff of newspaper headlines in 1920s and reflected a 'craze' for the cinema. They also demonstrated radical changes in attitudes and values within society in the wake of World War I. Chris O'Rourke investigates the myths and material practices that grew up around film actors during the silent era. The book sheds light on issues such as the social and cultural reception of cinema, the participatory film culture expressed through fan magazines, instructional booklets and movie star competitions, and the working conditions encountered by actors behind-the-scenes of silent films. Drawing on extensive research and a wealth of archival materials, O'Rourke examines how dreams of stardom were fuelled and exploited in the interwar period, and reconstructs the personal narratives and experiences of the first generation to imagine making a living on screen.In doing so, he reveals a missing - and much sought after - piece of cinematic history to bring to life the developing industries, social attitudes and norms of a period of enormous change.

Laban's The Mastery of Movement on the Stage, first published in 1950, quickly came to be accepted as the standard work on his conception of human move-ment. When he died, Laban was in the process of preparing a new edition of the book, and so for some time after his death it was out of print. That a second edition appeared was solely due to the efforts of Lisa Ullmann, who, better than any other person, was aware of the changes that Laban had intended to make. The rather broader treatment of the subject made advis-able the change of title, for it was recognised that the book would appeal to all who seek to understand movement as a force in life. In this fourth edition Lisa Ullmann has taken the opportunity to make margin annotations to indicate the subject matter referred to in a particular section of the text, so that specified topics may be easily found. Kinetograms have been added to most of the examples in Chapters 2 and 3, as Laban originally intended, for the growing number of people who read and write movement notation. Lisa Ullmann has also compiled an Appendix on the the structure of effort, drawing largely on material from an unpublished book by Laban. The relationship between the inner motivation of movement and the outer functioning of the body is explored. Acting and dancing are shown as activities deeply concerned with man's urge to establish values and meanings. The student is introduced to basic principles underlying movement expres-sion and experience and the numerous exercises are intended to challenge his or her intellectual, emotional and physical responses. The many descrip-tions of movement scenes and mine-dances are designed to stimulate penetra-tion into man's inner life from where movement and action originate.