crysalong

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About crysalong

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  1. There was an earlier thread asking a similar question about two weeks ago. It is probably buried 17 pages of discussion questions back... ? To answer your question, I have been posting my weekly badge to my LinkedIn profile. I also downloaded all of them as images and probably will add them to my resume to reflect continued growth in the areas of my personal interests. If you don’t have a LinkedIn account, no problem! You could share them via your social media account (if you have one), if you wanted your friends to know what you’ve accomplished. The digital badges are fun, but the certificate is what we’ve been working towards this month! Hope this info helps!
  2. crysalong

    T-Shirt

    Yes, a light gray would have been a nice option. I gave up white shirts a long time ago, since inevitably, I always wore one when spaghetti was on the menu.... ?
  3. This has been my first MOOC with TCM/Ball State. Once the course is completely finished, do they ever release the final number of students who completed the course? I’m asking because I find the entire MOOC process fascinating from an educator’s POV, and the metrics of how many signed up to participate versus how many actually completed the course interest me.
  4. I’m not sure I gave up anything, and I didn’t watch all the films; but I gained a new online community full of friendly people with beautiful insights and a unified spirit of collaboration. It’s been a great month! I’m sorry to arrive at the end of the course. Have a great summer, everyone!
  5. Response to #1. For me, this is one of the least emotionally engaging scenes in the film. Babs and Sharif do much better with “Don't rain on my parade” and “You are woman I am man.” Here, if Babs is selling, Sharif isn’t buying. He stays a good 5 feet away from her throughout the scene. Belting the song won’t help if the man isn’t emotionally invested at this particular moment. Let’s say Sharif’s character knows he is interested, but that’s all he’s willing to be at this time. Response to #2. This is a pretty flat scene and feels more like a performance piece (for Babs) than an emotional transition. Brice may know what she wants, but her charms are slow to work. It takes her leaving the Ziegfield show and getting herself on Arnstein’s ship before he realizes he is stuck with her and that he might be okay with that. To be honest though, Arnstein (as played by Sharif) always favors his vice over his wife. Response to #3. This is a pure performance showcase for Babs. No more, no less. Sharif is there as window-dressing, as a stand-in for the audience; and it’s a shame that an actor as talented and as beautiful as he was had to take on the task for her. As you can tell, Funny Girl is not my favorite musical. I find the central characters irritating. They make horrible decisions and can’t seem to learn from their mistakes.
  6. Response to #1. (I'm drifting a bit on this one.) I've never seen Gaslight, so I can't compare the two films. I will mention that Cukor does a good job at reproducing the cloying sensibilities of the Edwardian era - the stiff collars, the tight chokers, the enormous hats, the wall-to-wall patterns on everything in homes. In this scene, you have one human who is a strict conformist about his home and his personal style, but his private life is all about nonconformity - a confirmed bachelor (although it is much more allowable for a man to be a bachelor than for a woman to be a spinster). On the other hand, we have another human - the wildcard, aka Eliza - who was taken from nonconformity and taught how to conform as a "party piece" - something you learn to show off to people at parties. Once she has done her "party piece," she is set aside and belongs neither in the conformist world nor in the nonconformist world. It's up to her to decide where she belongs and to make it work. In a real sense, Eliza is a modern woman figuring out for herself where she is going to belong - at home, in the business world, doing something entirely different from what she has been programmed to do. I would point out that this theme of nonconforming women started a earlier in the musicals, ex. Calamity Jane, Annie Oakley (and even before then, ex. Top Hat). So, in a real sense, Eliza is the natural progression of the modern woman played out in character in film musical. In the musical, the ending is left ambiguous . . . we see Prof. Higgins falling apart without Eliza, but Eliza doesn't fall apart without him. When she returns to Prof. Higgins' home, it's on her own terms, not his. Response to #2. Eliza (Hepburn) begins the scene by taking care of the home details - turning off the lamp, etc. It's ritual, and ritual can be highly comforting when your world is falling apart. She eventually breaks down, only to respond to Higgins (Harrison) in anger when he interrupts her. Is she upset because he is going to find her crying, or is she upset because he has verbally abandoned her earlier in the evening ("Thank God that's over")? Both, I would hazard to say. As they move through the scene, Higgins knows she's upset, but he never quite gets the real reason why she's upset. He attempts to ameliorate the situation with candy and pat phrases, but she wants reassurance, which he can't offer because his emotional depth doesn't quite match hers in this moment (he will catch up, eventually). I notice how still Hepburn is in most of this scene. Harrison moves around her, but she actually moves very little. From the corner to the floor to the sofa then to the foreground. Harrison is all over the place. To me that signifies she is in full possession of her emotions, even as she is emoting, whereas he is feeling unrest and cannot settle. They don't look at each other much, except when she attempts to attack him. Cukor gives them the full expanse of the room in which to move around each other, and they have plenty of props to work with and from to set up the scene. This scene is really very domestic, when I think about it. It's the quintessential couple scene - with the woman knowing why she's upset, the man being completely clueless about it, and the resolution coming later, after one of them has done something to awaken the other. Response to #3. The attention is on Eliza (Hepburn). She is in the foreground the most. This scene is about her, her feelings, the way she is reacting to a tremendous event in her life and to her future. Higgins (Harrison) is there, but this scene is NOT about him. The next couple of scenes are his to own and chew up as he wants. But this scene is all Hepburn's.
  7. But they are mentioning the later animated musicals . . . . There appears to be unequal coverage, and the older animated musicals are extraordinary and were game-changers in ways these newer animated musicals have not been.
  8. Unfortunately, it’s hard to ignore the impact Snow White had on the film industry and culture, in general.
  9. Thanks. I’ve read that particular thread!!
  10. I think I must have missed something during the last 3 weeks . . . there has been virtually no mention of animated musicals from our professors until today's lecture notes (Week 4, Day 3: 6/27/2018). So, we skipped over Snow White, Cinderella, Sleeping Beauty, etc. - all of the groundbreaking animated films of the early years, and we jump right to the animated musicals of the late 80s, 90s, and 2000s? I definitely missed a professorial comment somewhere during the last 3 weeks. (I'm feeling a little confused right now.)
  11. You are correct. I’ll fix my original post.
  12. Response to #1. As we marched through the decades from the 20s onward, we definitely saw the rise of the "alpha-male." Leading men in musicals of the 20s/30s could as easily be depicted as lone wolfs or betas instead of the alpha roles that they inhabited during the late 1940s and 1950s. Conformity played a huge part in the male characters depicted in the musicals post-war. Preston's performances in these two musicals seem to indicate a shift from that conformity to something a little looser, less stringent, more free-wheeling, definitely more of its time. But, I've never thought of his character in Victor/Victoria as anything less than "alpha." He takes charge. Response to #2. Preston is ALL about every small gesture having a meaning of its own. He does nothing superfluously. Each action is intentional and makes sense within the workings of the scene, the song, whatever he is doing on screen. I love to watch his hands. They are so expressive! Response to #3. Yes. His father-figure opposite Steve McQueen in Junior Bonner is one for the ages. Again, his actions are so intentional, and particularly in Junior Bonner, you have to watch what he is doing, because there isn't a lot of excessive speech in that film. So much of the story is told via eyes, facial expression, and body language.
  13. I admit I've only seen Gypsy once, and once felt like too many times. I've read, on other discussion threads, how other people reacted to 7 Brides. Well, I react similarly to Gypsy. As Lina would say in Singin' in the Rain, I cain't stand him." However, Gypsy has its moments, and Rosalind Russell and Karl Malden are two of them. Response to #1. This scene depicts vaudeville - either a rehearsal or an audition. Most of the "old" musicals from the 20s/30s were centered around musical rehearsals or vaudeville acts forming/breaking up, etc. The colors are muted; one can definitely tell that the era of the MGM gloss has ended. But that's where the look backwards ends. Going forward, the characters are completely different than those of the musicals of the past. Rose, Herbie, even baby June and Louise are loud, brash, unafraid of interrupting each other. There is very little behavior modification happening onscreen; manners don't exist in this world. In musicals of previous eras , even within the world of vaudeville, the world was depicted as mannerly. We have definitely entered a new era of brash nonconformity and individualism. Response to #2. Mama Rose represents women of the 60s more than anything. She's bold, brave, and determined. She convinces me that she is going to get her way, regardless of the two men standing in front of her. Response to #3. Yes, the lyrics are sly, but Sondheim's lyrics are always sly. He is such a wordsmith, so when I listen to his songs, I naturally think there is double-meaning to everything being sung - the first layer of meaning, the second layer of meaning, and then a third layer of meaning.

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