dwallace

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About dwallace

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  1. Having heard Streisand sing it both ways, it would have totally changed the scene if she had belted it out. When she sings People here it is intimate, her and Nicky are interacting as soon to be lovers. It is a great song in a great scene, where their surroundings, actually are rather dingy, but you forget that, you really only see the two of them, and a somewhat anxious Fanny. Side note, I can still recall a promo for the film, about the making of Funny Girl, where they do the "Don't Rain on my Parade" partly, and you see the boom camera following her and the tape recording there playing for her to lip syn to. It was a great little piece of selling that showed how movies were made. Now you tie it in with the class and all the post-production work. Think of all the noise that would have drowned out that voice, especially on the train, as she is going to Nicky, just before intermission. This has been a great course from TCM and Ball State, I look forward to the next offering. Professors did a great job!
  2. This is a fantastic example of mise-en-scene Doolittle is gloating in his win, still not understanding Eliza's concerns or needs. The shadowing on her face, where the real her, and language at time, comes through. Especially though the background, the chests and furniture blonde and dark, the tools of his trade and win, and the tools that tortured Eliza, the phonographs, the flame for "Hereford, Hampshire...", the piano. All are there, supporting them and reminding us of her anguish.
  3. In these films you can see deeper into the characters of Professor Hill or of Toddy are deeper than those of before the Second World War. They are stars buy not the stars of the past, with the studio system gone, they can do all kinds of roles. By the '60's John Wayne was just John Wayne, you went to his films knowing exactly what you were going to get. The studio could lock stars in as they tried to do with Bogart, they never saw him as a romantic lead, Cassablanca changed that, as The Actor's Studio and others changed what it meant to be an actor.
  4. Rosalind Russell comes out like the star she was then. Experienced, and able to upstage everyone else, not just because of her part, but who she was. She is much better than Ethel Merman who mostly used her loud voice for everything.
  5. What makes Jerry remain likable is how we have seen him in the cafe earlier singing and dancing with the old woman and the owner's wife, and his interactions with Oscar Levant and Gigi's fiancee. Then walking with his paintings to hang them to American in Paris by Gershwin and seeing his interactions along the way with his fellow artist, the older artist arguing with the police officer and how he walks by "Churchill", and then calls to "Marie". We see the happy Jerry who loves his life in Paris, and who loves Paris. He's just a big friendly kid. We may know about his being a hard task master, or how Debbie Reynolds felt about his first kiss with her, (calling for coke), but we forget all that watching him and just enjoy and catch his happiness.
  6. Gene and Donald are buddies and Gene is definitely the Alpha while Donald is beta, but Donald also often is the goofy one who starts things. Compared to the professor they both show masculinity, while the professor is very wimpish and very quickly falls victim to Donald's making fun of the professor's job and leading Gene in pushing the professor around and then loading him up with lamp shades, cushions and other things around the room, and finally the vowel A.
  7. Calamity Jane seems like a transitional film for the 1950's. We have Doris Day starting out rough and tumble, moving all over the "moving" stage, in ways that in a western is seen as dangerous and occurs when the stage is being attacked, usually. Here is a woman that can move around just as well or better than John Wayne, she is an individual like the Ringo Kid, but rather than being separate from society as he was as a "supposed" outlaw, she is welcomed and brings the news and describes all the goods to the townsfolk, then describes all the sights for the passengers. Day's sunny personality works well here, she is able to come across as real, not as she does later with Rock Hudson. It also allows her to show her ability as a singer and not just a "crooner". Pillow Talk and those other films require her to croon. You don't belt it out in pillow talk. In Calamity Jane she's alone and in the hills, she can belt it out there, as she did in other films where it was required as with Ca Sera Sera in Hitchcock's remake of his The Man Who Knew Too Much. Also Ava Gardner should have been allowed to sing in Showboat:
  8. Right off in costumes you see a difference, Fred is in a striped suit, good for a businessman, but the others are much more casual. Fabray in simple skirt and blouse, Levant in a light sports coat and dark pants and Buchanan in even more casual wear even with a cravat. They are the ones in unison working to get the individualistic Fred to understand and to change and join them in getting on the Bandwagon. This is different from post-war On The Town, where Kelly knowing that the others in the movie couldn't do the ballet, replaces them with real dancers and only he and Vera Ellen do the ballet. Here Fred either steps out, or overtly simplifies his dance, to fit in with the others.
  9. Petunia is Joe’s woman, no matter what. Even when doing laundry, she is thinking about Joe, especially now that he is living, even in a wheel chair, where she might have more control over him? “When the cabin is bare, Joe kisses her and it is like Christmas everywhere”. Her love for Joe is absolute, in everything she does. This is an uplifting song, you can see that it is like the families torn apart by war, and when your loved one gets a chance to come home, even if just on leave. My father left school and entered the Army in 1938 or ‘39 with parents signature. My grandmother had saved a clipping that had been in the local paper. My dad was stationed in Montana at the time, and he won a local Montana Radio station contest. A free two minute call home. (How we forget in our age of cell phones, calling long distance was a big deal.) War was coming, but even if it wasn’t, your child gone, away from home, even in the Depression, if you could get a call, that was important. A memory to keep, just like Petunia’s for Joe. All minority groups: Jewish-Americans, Mexican-American, Native-Americans all signed up in a greater percentage than they were of the population. They saw the War as showing the country they were Americans also. We forget how anti-Semitic America was until after the war and some evidence until after George Stevens “Diary of Ann Frank” came out.<iframe width="854" height="480" src="https://www.youtube.com/embed/A7zDyJcF3ko?ecver=1" frameborder="0" allow="autoplay; encrypted-media" allowfullscreen></iframe> And Gentleman’s Agreement (1947) shows that: <iframe width="854" height="480" src="https://www.youtube.com/embed/OCQAmRyYFL0?ecver=1" frameborder="0" allow="autoplay; encrypted-media" allowfullscreen></iframe> Of course, for African-Americans it was even more important, they had tried in World War I, and just for wearing the uniform they could be lynched. They really wanted to make the difference with fighting in this war. Dorie Miller shot down Japanese Planes, trying to protect the West Virginia, he was a mess mate 3rd class. For his efforts he won the Navy Cross, but the segregated Navy stayed that way, he was promoted to mess mate 1st class. Kitchen and serving help on ships only job open for them, and only long shore work on land, for the navy. The army limited them to one million African-American soldiers. Far more would have signed up, but the limit prevented them from being able to fight for their country as they wanted to.
  10. Every shot is pre planned, they are working to the pre-recording and lip syncing and moving to it. It is easy to see how each scene is set so that the foley stage will be able to easily produce the sounds they want, and to leave out anything that they don't want, like the wind machine, for the scenes at the top of the cheaper seats.
  11. I recall that around every Christmas the Wizard of Oz would be put on, and that we kids would sit around on the floor watching it, eating homemade turkey soup. That was a big part of growing up and made the Wizard of Oz an important film for me, and it still brings back so many memories. That is of course my first recollection of Judy Garland as Dorothy. I can recall thinking later, why not Shirley Temple who fit Frank Baum’s idea of Dorothy better, but she could not have done what Judy did with that role. Next would have been Judy in the Andy Hardy films, remember watching so many of those, and then Meet Me in St. Louis. For me you can really see her growth though in A Star is Born with James Mason. It is a musical and I think that Judy’s acting and all that she is was at the top then. And that film is much better than the Janet Gaynor/Fredrick March version (though I like them both, I will take Judy’s first).
  12. Here is the syllabus: I may be able to get you some other things...It is available to me through review. Can't attach it so will try to copy. Course Overview: In this nine-week course, we’ll go back in film history to investigate the "The Case of Film Noir"—the means, motives, and opportunities that led Hollywood studios to make these hardboiled crime dramas, arguably their greatest contribution to American culture. This course will run concurrently with the Turner Classic Movies "Summer of Darkness” programming event, airing 24 hours of films noir every Friday in June and July 2015. This is the deepest catalog of film noir every presented by the network (and perhaps any network), and provides an unprecedented opportunity for those interested in learning more to watch over 100 classic movies as they investigate “The Case of Film Noir.” Both the course and the associated films will enrich your understanding of the film noir phenomenon—from the earliest noir precursors to recent experiments in neo-noir. You will be able to share thoughts online and test your movie knowledge with a worldwide community of film noir students and fans. Course Outcomes: Students will: • gain a deeper appreciation of classic Hollywood movies • be able to identify the characteristics of a film noir • able to explain the origins and history of film noir • be able to perform close analyses of films noir Instructor Bio: This is the second time I am teaching this course on the Canvas Network, and the first time in conjunction with TCM's "Summer of Darkness" film noir festival. I received my Ph.D. in Critical Studies from USC's School of Cinematic Arts. I am the co-author of The Maltese Touch of Evil: Film Noir and Potential Criticism (University Press of New England, 2011). I am the co-host of the long-running podcast series, "Out of the Past: Investigating Film Noir." In addition to my interests and expertise in film noir, I am Executive Director of iLearn Research at Ball State University where I specialize in teaching and learning innovations for online, blended, and face-to-face environments. Prerequisites: None. This course welcomes all students interested in film noir and is intended for learners at all levels. If you have limited knowledge of film studies and/or film noir, I have provided additional web resources in the first module ("Getting Started") that are likely to be helpful to you. Please review them prior to watching the first lecture of this course. In the first module, you can also take two short ungraded quizzes to assess and help you determine your current level of understanding of key film terms and film noir, prior to taking this course. TCM Presents Into the Darkness Course Syllabus Ball State University, 2015 2 "TCM's Summer of Darkness" Film Schedule: A great opportunity in this course is the ability to watch over 100+ films noir on TCM in June and July 2015. This is a rare chance to see noir movies with a community of learners. Airing every Friday in June and July, plan ahead to watch as many films as you can, or to set your DVRs for later viewing. If you don't have access to TCM, this course will provide you free links to public domain films noir you can view on the Internet. Student Responsibilities and Online Etiquette: This course will have a large number of students from all over the world. There will be students with a lot of film noir knowledge, and others just learning about film noir for the first time. Please act responsibility in all communications and discussions with the other students. This course does not allow vulgarity, personal attacks, rude posts, or any other kinds of disrespectful language or abusive engagement with other students. Please treat the other students in this course with the same standards and common courtesy as if you were in a traditional face-to-face classroom with an instructor present. Please respect the time of other students in this course, as everyone is voluntarily participating in these learning activities. Since we will have students from all around the world, please be sensitive to different cultural backgrounds and beliefs and take that into consideration when you are posting a comment or tweeting. Beyond enrolling in the Canvas course, you will also be asked to participate on social media, a video annotation project, and on TCM message boards. Each of the websites and web tools outside of the Canvas Network have different rules and user agreements, so please make sure you are familiar with the policies and rules of those other service providers. Flexible Learning Options: One of the challenges of teaching a large open online course is recognizing that different students will have different goals and time commitments as they are participating in this course. This learning experience has been designed to be flexible. You can choose amount of time you want to commit to this course. Each weekly lesson is anchored by a short video lecture (20-30 minutes) that establishes the basic themes of that module. After viewing the video, you can choose to plunge deeper into additional readings and notes on the lecture, listen to podcasts that provide a model of close analysis of specific films, and participate in the course's discussions on social media and on the message boards. At the end of each weekly module, you can take a quiz that tests your knowledge on the current module. Course Completion Certificate: If you want to earn a completion certificate for this course, you will have to complete five weekly quizzes and take one final exam. Your cumulative score for the quizzes and exams must be 70% or greater to earn a certificate. Quiz 1 15% of final grade Quiz 2 15% of final grade Quiz 3 15% of final grade Quiz 4 15% of final grade Quiz 5 15% of final grade Final Exam 25% of final grade TCM Presents Into the Darkness Course Syllabus Ball State University, 2015 3 Weekly Schedule: Week One: Getting Started/New Students Start Here (June 1 – June 6, 2015) Week One is your orientation to the course. All of the set-up information for the course can be found in this first module. Make sure you complete all set up tasks before starting Week 2 (regardless of when you join this course). There is no lecture in Week 1. Week Two: The Heist: What is Film Noir? (June 7 – June 13, 2015) Themes Covered: Film noir as a new kind of film; defining film noir; approaches to the study of film noir Learning Activities: • Engage with "A Daily Dose of Darkness" (five minutes a day, Mondays-Thursdays) • Watch "The Case of Film Noir – Part 1: The Heist" • Read "Notes on Lecture 1: The Heist" • Read "Summer of Darkness" Viewing Guide and select your films to watch • Listen to the podcast on The Maltese Falcon • Participate on Twitter and join in discussions on the message boards • Take Quiz 1 Week Three: The Set-Up: Film Noir and its Influences (June 14 – June 20, 2015) Themes Covered: Cinematic precursors to noir; noir and other art forms (photography, painting, jazz, theater); literary precursors to noir, especially hardboiled detective fiction Learning Activities: • Engage with "A Daily Dose of Darkness" (five minutes a day, Mondays-Thursdays) • Watch "The Case of Film Noir – Part 2: The Set-Up" • Read "Notes on Lecture 2: The Set-Up" • Read "Summer of Darkness" Viewing Guide and select your films to watch • Listen to the podcast on Murder My Sweet • Participate on Twitter and join in discussions on the message boards • Take Quiz 2 Week Four: The Means: Film Noir and the Studio System (June 21 – June 27, 2015) Themes Covered: Overview of the Hollywood studio system (1930s-1950s); A vs. B pictures; the visual motifs of film noir Learning Activities: • Engage with "A Daily Dose of Darkness" (five minutes a day, Mondays-Thursdays) • Watch "The Case of Film Noir – Part 3: The Means" • Read "Notes on Lecture 3: The Means" • Read "Summer of Darkness" Viewing Guide and select your films to watch • Listen to the podcast on Detour • Participate on Twitter and join in discussions on the message boards • Take Quiz 3 TCM Presents Into the Darkness Course Syllabus Ball State University, 2015 4 Week Five: Fourth of July Break / No Class (June 28 – July 4, 2015) There is no class this week due to the holiday, but this is also a great week to get caught up if you are behind in the class. Week Six: The Motives: Film Noir Themes and Characters (July 5 – July 11, 2015) Themes Covered: The psychological and philosophical underpinnings of film noir; "tough guys" and femmes fatale as central characters in film noir Learning Activities: • Engage with "A Daily Dose of Darkness" (five minutes a day, Mondays-Thursdays) • Watch "The Case of Film Noir – Part 4: The Motives" • Read "Notes on Lecture 4: The Motives" • Read "Summer of Darkness" Viewing Guide and select your films to watch • Listen to the podcast on The Killers • Participate on Twitter and join in discussions on the message boards • Take Quiz 4 Week Seven: The Opportunity: Film Noir in the Postwar Period (July 12 – July 18, 2015) Themes Covered: The role of World War II and the ensuing postwar period (from 1946 into the 1950s); the Hollywood blacklist; the role of censorship; the rise of television Learning Activities: • Engage with "A Daily Dose of Darkness" (five minutes a day, Mondays-Thursdays) • Watch "The Case of Film Noir – Part 5: The Opportunity" • Read "Notes on Lecture 5: The Opportunity" • Read "Summer of Darkness" Viewing Guide and select your films to watch • Listen to the podcast on The Hitch-hiker • Participate on Twitter and join in discussions on the message boards • Take Quiz 5 Week Eight: Cracking the Case of Film Noir (July 19 – July 25, 2015) Themes Covered: Review of the course; Bringing all the evidence together Learning Activities: • Engage with "A Daily Dose of Darkness" (five minutes a day, Mondays-Thursdays) • Read "Cracking the Case of Film Noir: Some Final Thoughts" • Read "Summer of Darkness" Viewing Guide and select your films to watch • Listen to the podcast on Touch of Evil • Participate on Twitter and join in discussions on the message boards • Review for final exam Week Nine: Final Exam and Special Guest: Eddie Muller (July 19 – July 25, 2015) If you want to earn a certificate, you have to take the final exam. Also, we conclude the course with a one-hour online video discussion about film noir with TCM's on-air host for "Summer of Darkness," Eddie Muller. Visit our Canvas course site for more information about this event
  13. This was a film to promote American Nationalism, goes far beyond values. The staircase to the Presidents office was iconic in all patriotic and historic films of the White House, especially with that long line of presidents paintings on the way up, especially Grant, Jefferson and Washington at the top of the stairs. On the way up the butler (African-American) remembers seeing him 37 years before when “Mr. Teddy Roosevelt” got him the tickets, and seeing Cohan up their with all the “flag waving”. Then on entering the Presidents office and all the nautical elements the paintings of ships, the ship model (a hobby of Roosevelt’s), the nautical clock on the desk, and the wisps of smoke curling up from Roosevelt’s cigarette. Everyone knew of Roosevelt’s fascination with the navy and preference for. Such a perfect stand in for Roosevelt, I am sure it was him to most movie goers, very familiar with Roosevelt.
  14. Rest in Peace Jerry Maren just learned he died May 24, the last Munchkin (dressed in green from the lollipop guild). He had a long career.

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