Changing perspectives / Perspectives dynamiques #1

Value of the Information & Strength of the Argument

The value of this presentation lies in its novel empirical focus on actors’ reading practices, an area rarely studied in film and media scholarship. Tremblay’s data, drawn from 75 professionals including 35 actors, provides rich qualitative insights that challenge the monolithic view of screenplay reception. She argues convincingly that the screenplay functions as a socially and professionally framed textual object, and that actors’ reading processes reveal broader dynamics of power and access in the industry. The argumentation is solid: she systematically links her interview quotes to theoretical frameworks such as virtuality and intermediality, and she addresses counterarguments (e.g., screenplay instability) with nuance. Her distinction between audition and shooting-day reading, and between novel reading and script reading, adds depth. However, the presentation is somewhat limited by time constraints, leaving some theoretical points underexplored, and the reliance on self-reported practices may be subject to memory bias. Overall, the originality and methodological rigor justify a high value.

Scientific Rigor, Source Quality, Title Accuracy

Tremblay’s presentation is methodologically rigorous: she clearly describes her interview protocol, participant demographics, and quoting practices (anonymized, age-only). She draws on established theoretical work (e.g., Genette’s focalization, Mallarmé’s reading theory) and positions her study within the ongoing debate on screenplay status. The source cited is the colloquium’s official website (isis2017.digitaltextualities.ca), which provides context but not specific references to her cited authors; these are mentioned verbally. The title ‘Changing perspectives’ accurately reflects the colloquium’s focus on varied approaches to intermediality, and this presentation indeed offers a fresh perspective on actors as readers. The content matches the title well, though the breadth of the colloquium is broader than this single talk.

The title accurately reflects the colloquium's theme of dynamic perspectives in intermedial studies, covering various presentations on media and performance.

7/10

The presentation is based on rigorous empirical qualitative research (interviews with 35 actors) and engages with established theories in media and performance studies. The speaker clearly states methodological choices and quotes interview excerpts, lending credibility. However, the colloquium format limits the depth of data presentation and critical discussion.

Markers derived by PSI from the transcript: the creator did not define chapters.

• 00:00Introduction to the panel and first presentation on analogue video by Jonathan Rozenkrantz
• 05:00Gabrielle Tremblay starts her presentation on actors' reading of screenplays
• 10:00Discussion of access to full scripts during casting and union role categories
• 20:00Actors' reading rituals and annotation practices
• 30:00Comparison of reading scripts vs. novels and the concept of 'authentic artifice'
• 35:00Q&A session with audience questions in English and French

• Authentic Artifice 3rd International Colloquium — Official website of the colloquium where the presentation took place, providing program and context