In his essay, “Why Study Film Acting?”, Paul McDonald notes the relatively short shrift given to the analysis of screen performance by fi lm studies in comparison to auteurship, editing and fi lm stars. He also points out that just because acting has been overlooked by fi lm scholars does not by itself provide a good enough reason for studying it. Rather, he stresses, the study of acting requires a warrant: “Analyzing fi lm acting will only become a worthwhile and necessary exercise if the signifi cation of the actor can be seen to infl uence the meaning of the fi lm in some way. Acting must be seen to count for something.”1