An excellent example not of blinking but of an involuntary facial twitch used for expressive purposes is provided by Takeshi Kitano/Beat Takeshi in his films. This sounds a bit paradoxical, but Kitano often deliberately has the camera linger on his face in close-up, and the twitch (the result of a motorbike accident) helps round out his fictional characters in a combination of vulnerability and toughness. So the (semi-)autonomous actions can be used dramatically to good effect, as they remain a question of artistic choice.
H
> I'm thinking about the scene from <Silence of the Lambs> where Hannibal Lecter is listening to Agent Starling's traumatic memory of the slaughter of the lambs. Hopkins' langoruos blinking seems part of his acting the psychopath's enjoyment in the perverse therapy session. Does anyone have any good references, insights etc. on the performance/physiology divide on acting via things like blinking that are semi-autonomic actions?
>
> thanks
> Patrick Crogan
>
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