In this paper, I explore female actresses undergoing radical or seemingly radical physical transformation in service of a broader kind of career transformation. I problematize the simple calculation of deglamming, thinking more closely about the ways that celebrity structure raises challenges to actors and especially actresses attempting to engage with against-type characters. I turn specifically to three well-known examples of this trend: Charlize Theron in Monster (2003), Nicole Kidman in The Hours (2002), and Jennifer Aniston in Cake (2014). I argue that the process we see is not about deglamming (or getting ugly) for its own sake. Deglamming in these cases is a process of estrangement: from beauty, from the celebrity machine, from audience expectations. I draw on screen shots, film reviews and interviews to explore the relationship between deglamming and estrangement as a kind of acting and character technique, paying particular attention to the stakes for presenting historical characters in biopics. And while the three films I examine here – Monster , The Hours , and Cake – are often thought together as examples of actress Oscar uglification, they are actually quite different, both in terms of the physical transformations the actresses underwent in service of their characters, and the ways in which these transformations were understood and received.

中文翻译：

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Deglamming 作为疏远：丑陋的怪物，时间和蛋糕

在这篇论文中，我探讨了女性女演员为了更广泛的职业转型而经历激进或看似激进的身体转变。我对 deglamming 的简单计算提出了问题，更仔细地思考名人结构对演员，尤其是女演员试图与反对型角色互动的方式提出挑战的方式。我特别提到了这一趋势的三个著名例子：《怪物》（2003 年）中的查理兹·塞隆、《时光》（2002 年）中的妮可·基德曼和《蛋糕》中的詹妮弗·安妮斯顿（2014 年）。我认为我们看到的过程不是为了它本身而去魅力（或变得丑陋）。在这些情况下，去魅力是一个疏远的过程：与美女、名人机器、观众的期望。我在屏幕截图上画画，影评和采访，探讨脱格与疏远作为一种表演和角色技巧之间的关系，特别关注在传记片中呈现历史人物的风险。虽然我在这里考察的三部电影——怪物、时间和蛋糕——通常被认为是女演员奥斯卡丑化的例子，但它们实际上是完全不同的，就女演员为角色服务所经历的身体转变而言，以及理解和接受这些转变的方式。