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savaney

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  1. 1) How might Streisand’s performance of the song “People” have felt different in the film, had she been more theatrical and expressive, perhaps even belting her song more? If she had been more theatrical, then the execution wouldn't have been realistic nor honest. The emotion would be lost and the scene overall wouldn't feel as personal nor fluid. It would have been just another typical musical number. 2) Note the emotional transition moments in this scene: how do the two characters relate to each other as the lyrics are sung? There is an obvious attraction between Fanny and Nic
  2. 1) Explore any common themes and filmmaking techniques in a very different movie also directed by George Cukor, Gaslight. (If you are not familiar with Gaslight, compare and contrast Cukor's theme in this scene and his techniques with another musical you have seen during this course) Both My Fair Lady and Gaslight have central female characters that are trapped in dominating circumstances, in this case, the men in their lives. The men: Rex Harrison in 'Lady' and Charles Boyer in 'Gaslight' are clearly bullies who use their power over Eliza and Alicia. They are both women closed in in opp
  3. 1) As you look back to the masculine performances in musicals of past decades, what changes in male representation, and performance would you say are most noticeable? I think that male characters showed more emotion, meaning that they talked and moved with more feeling than they did in the past. They didn't care about vanity, or looking like handsome leading man. They became a little less rugged and outlandish; instead they became more subdued and relaxed. In this case, you could take masculinity more seriously than you could, again, in the past. 2) What other specific qualities do
  4. 1) In what ways does this scene look backwards to classical musicals and how does it look ahead to new disruptions that we now know will happen in the movie musical? It starts off as your typical musical, especially where child stars are concerned. Baby Jane and Louise are dressed up, and dolled up. They are also put on a pedestal by their mother (your typical stage mom), and made to look like the center of attention, in which Mama Rose thinks they should be. Obviously, when it comes to the new disruptions, the innocence will disappear as Louise becomes Gypsy Rose Lee, burlesque performer
  5. Does a movie that has as stylized a scene as An American in Paris’ ending ballet need to use a less-than-realistic, stylized approach throughout the film? Not quite, because the ballet itself is a fantasy that could never happen in reality. It is created entirely in Jerry's mind and imagination. There are scenes like this in other films of Gene Kelly, where reality takes a back seat and fantasy takes over. Such as The Broadway Melody Ballet in Singin' in the Rain, which is a prime example of a character's imagination gone wild, but in a visually creative way. What keeps Jerry Mulliga
  6. 1) How do the pre-dance movements of O’Connor and Kelly compare to their actual dance movements? It's quite obvious that Kelly doesn't really need lessons, but he's just playing along. However, O'Connor isn't taking the lessons seriously as he mocks the Professor behind his back. Even before the music begins, the audience is treated to O'Connor and Kelly's physical abilities and subtle rhythms before they start really dancing. There is a buildup and there is definitely a payoff. It's clear that O'Connor is the class clown and Kelly is the straight man, but as they're dancing, they both b
  7. 1) As you reflect upon female representation in the 1950s, where do you think this film character falls in the continuum? Why? The way that Jane carries herself is the opposite of other female characters, as she is a little more masculine than feminine. She mostly wears pants than dresses, talks/speaks a little more salty, and even moves more majestically. She knows who she is, and doesn't care if she looks rough and not so ladylike. However, as the film goes on, she becomes more polished while still containing her tomboyishness, once she realizes that she is in love with Bill. I think th
  8. 1) As you watch the interaction between the four characters in this scene, what do you notice about the way they include each other or relate to one another? How is it different from early musicals we have discussed? As I watched the clip, I was glad to notice the equality of all four actors (Buchanan, Levant, Fabray & Astaire), where they all had the same footing. This allowed everyone to be on the same wavelength, without trying to one up each other. They gave each other the same respect and right-away as they would want from the other person. In terms of how The Band Wagon compares
  9. 1) What do you notice about the way the scene is directed as Petunia goes to Joe’s bedside and as we cut to her outside hanging laundry? What does this tell us about her relationship, and the connection to the song? I noticed how sensitively and lively the way Minnelli directed it, because you really get the passion that Petunia has for Joe. There is the matter of her looking up at the sky, which symbolizes the appreciation of God bringing Joe back to her. It also shows the passage of time, as Petunia is cheerfully tending to the laundry while still be able to take care of Joe as he recov
  10. 1) Thinking like a director and editor, describe how each shot spotlights key actions. It's quite obvious that Betty Garrett dominates the scene, and Frank Sinatra is complete putty. The camera follows their every move, step, gesture, and action. Sinatra tries to get away, but Garrett continues to peruse him. The entire set is like a carnivorous character because you get the sense that it is rooting for Garrett to get Sinatra, and that he is trapped in a situation that he definitely wants to get of. He tries to use any means of getting away, especially with sliding down a rail. However, G
  11. 1) What was the first Judy Garland film you recall watching? What was your first impression of her? The first film I saw of Garland's was probably The Wizard of Oz, which most people see, especially when they're young. At first, I didn't have any impression because I was so young when I first saw it. However, seeing it again and again in my teens, twenties, and now in my thirties, I think that she is the only one would can portray Dorothy. No one else comes close to her. She gave that iconic character innocence, but also strength. She is obviously one of the top reasons why the film remai
  12. 1) Describe how the scenes in today’s Daily Dose were designed to promote American values for audiences during World War II. Be specific. Refer to props, set design, settings, etc. in your answer. Of course, there is patriotism oozes out of every pore. There are soldiers marching in unison, and there are flags anywhere. This symbolized the American way, where people came together for the cause. There also the dialogue in which FDR is amazed at the amount of respect that Cohan and his family have for the country. Before that, there was the moment where he is walking up the stairs with the
  13. 1) What other aspects of battle of the sexes do you see indicated in this clip or in the film Top Hat? I that there really isn't any 'battle of the sexes', there is more of an equality. Ginger doesn't try to one-up Fred, she's on his level, but on her own terms. She matches him in style, effort, and physicality. She's neither above, or below him. And I love that bit at the end where they both shake hands. That was a sign that he sees a formidable partner, one that he can mesh quite well with. 2) How does this film distinguish itself from other Depression era musicals we have watched
  14. 1) What do you notice about the Lubitsch touch? How do the props, the dialogue, and the staging help you understand the character of Alfred (Maurice Chevalier)? I instantly noticed the subtle erotic aspect of the scene, especially with the woman lifting up her dress to show the garters on her legs. Lubitsch was always very creative of sneaking in the sex without showing it. There is minimal dialogue at the beginning, allowing for the action to play out in real time. There is also the matter of the gun, and in a sly moment, Alfred helps the woman's husband to examine it, after he just
  15. 1) What do you notice about the interaction between the characters in these two scenes? Please give specific examples. In the first clip, there is an obvious flirtation between Bruce and Marie, although Bruce is more upfront with than Marie. It is clear that she starts to be fascinated by his serenading her but she remains unyielding and unimpressed. There is a close up of MacDonald as she becomes a little moved by it, which is one of the first clues that she is slowly warming up to him. In the second clip, there are glances between them, but that's it. She is really embarrassed tha
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