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About JVJones

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  1. Thanks for the link! My favorite version of Imitation of Life is the grand Douglas Sirk production (1959) with Ms. Juanita Moore and Ms. Mahalia Jackson. https://www.imdb.com/title/tt0052918/fullcredits I first saw it as a girl, my mother so admired (and looked like) Ms. Jackson, and my sister was lucky enough to see the movie and Ms. Moore at the 2010 TCM Classic Film Festival in L.A. One of my top 10 classic race movies.
  2. Yes, since the olden golden days when I studied ballet in NYC (late 60s-early 70s@Joffrey Ballet studios on 7th Ave.) I've adored the exciting and innovative dancing of Astaire, and the poetry of Astaire & Rogers' pas de deux. While I "saw" the blackface then (I've been Black all my life, smile), I was awed and blinded by the choreography. I am still and always will be in awe watching it - and after 50 years I know all the steps, hand gestures and facial expressions, up-down-beats, etc. I own that I willfully look past the stereotyping that was ubiquitous in Hollywood and in many of my fav
  3. Hmm, I see what you mean that the boxer is seeing "more" than what's actually happening (the frenzied dancing just dancing, champagne in glasses rather than being guzzled from the bottles...) But I thought they could see each other from the way the hall mirror was positioned... Context is everything - I cant wait to see The Ring next week
  4. So, a Hitchcock signature scene - showing the film making art of German Expressionism. A theme of fatalism is suggested as the fighter laments over not taking his wife with him to training camp - but only after the frantic energy of the dance party. Several shots of the fighter viewing the action in the mirror seem to get amplified in his mind - Hitchcock "shows" us the increasingly distorted emotions through his mind's eye - the stretched piano keys, turn turning record, strumming fingers. It's certain that we're seeing his emotional state change and deform when those images are superimposed
  5. a. The theme of fatalism expressed through anguished and distorted facial expressions is present in the opening scenes of The Pleasure Garden and The Lodger. b. Both scenes tell a story through visual impact with only a few, well placed words as speech (e.g. "that's an exquisite chorus line..." and "...he was tall and his face wrapped up...") or a caption ("no smoking" and "will the next be golden-haired" c. I wonder did Hitchcock have the entire storyboard in place before filming production?
  6. What a challenge - thanks for starting the course this week, developing the course to include the TCM programming, and utilizing a nice variety of teaching & learning tools. I like the Hitch or Hike game component. Can't wait for more reading assignments. #lessonplanning
  7. 1. This sequence suggests the beginning of Hitchcock's ability to effectively use humor and levity in his storytelling (see below). This "touch" developed into the trademark macabre, dry/droll and dark humor associated with Hitchcock the man and the writer/director. 2. The element of unexpected levity showed up when the dancer pulled the curl from her head for the man - she literally gave him what he wanted/asked for which was a surprise. In later films Hitchcock would brilliantly balance heavy drama, tension and suspense with unpredictable moments of light or subtle humor. 3. Lack of
  8. Film Noir characteristics, themes, techniques I noticed: Use of the highway/road to convey movement and place – leading to and/or from something. Is Christina running from the title’s deadly kiss? Night time filming; key lighting to contrast Christina, the car and Hammer against the night; below eye-level camera shots of Christina Headlights on the dark road. Straight lines punctuated by car headlights The first character introduced has escaped from an asylum (social issue) Christina was desperate and risked being run over by Hammer’s car. However, in the midst of her terr
  9. The clip of The Third Man contains integrated realistic and formalist elements. The night-time Vienna location filming captures a real place for the audience - where people live. As Cotten taunts and seeks out the man who's following him, Krasker uses formalist techniques to depict a sense of mystery and imbalance with tilted camera angles and zither strumming. The plaza is level and empty but diagonals and angles of the streets and surrounding buildings dominate the sequence of shots comprising the scene. Orson Welles' entrance is shrouded in the dark shadows of a doorway with key-light ill
  10. We're introduce to Garfield 1st by his voiceover - which gives us clues that he is free, restless, and not worried about the future exclaiming "I've got plenty of time for that!" Things look normal when he goes into the diner but he's still cautious not to make any commitment about staying - he agrees to try it out for a few days. Lana's lipstick rolling on the floor introduces her entrance - to the audience and to Garfield! She is framed by the doorway - back lighting ensures that we all get a good look at her from head to toe. While her outfit is white, we immediately begin to get clues tha
  11. In this clip, Lorre makes an entrance by exiting from an elevator door, walking a few yards, then opening a door to enter. The camera captures Lorre exiting the elevator and follows him from the left of the screen to the right of the screen; cutting from when he opens the door to catch him on the other side, in the room. The mise-en-scene is lighted as Lorre gazes for a few seconds surprised and confused by what he sees. Greenstreet is framed as he enters from another room by walking through an open door. As the dialogue progresses, Lorre takes steps towards Greenstreet who stops him with wor
  12. Noir style lighting helps make this scene visually active and interesting. It seems to me that high-key lighting was used to convey [to the audience] a normal encounter of a man and woman in a cantina - if it weren't for the voiceover that he's been looking for her but no longer cares about the 40 grand! Kathie's in a white dress, seems reserved but attentive - she seems to be annoyed that he presumed to call her a "difficult girl". But also mischievous and flirtatious when she does/doesn't invite Jeff to meet her sometime "I sometimes go there...". She could be Jeff's femme fatale as he's alr
  13. ...imagine voiceovers with stats to describe how many civil complaints are filed against hard-boiled, bully-ish private detectives... Realism, such as shown in the opening scene fro Border Incident, supports the argument that film noir was a movement - the film's context is a societal issue, is somewhat cynical, and includes sex and murder...
  14. The visual and voiceover establish a mood of realism in which to posit a problem affecting the [whole] U.S. The overhead shots of the beautiful California valley... flourishing with farmlands that are well-run and doing well financially encourage a sense that everything is as it should be and all-is-well. There is no sense of resentment or trouble that "braceros" provide most of the labor - in fact, they were welcomed and sought to legally cross the border. Then the audience's comfort is challenged by showing ground-level, dark filming of people and shadows when the voiceover gives a "but" -
  15. Sorry - please ignore the identical post by betteD - my sister and I are enjoying this course together and I didn't realize I was posting via her login. I hope she can delete it! Bogart introduces Marlowe - the PI - as a personable (genuine smiles and politeness), direct ("My name is..., I'm here to see..."), and honest (" I was fired for insubordination") individual. He conveys a self-assuredness without being arrogant, unlike Spade who conveys a jaded-ness with his sarcastic and protective airs. But like his Spade character, he notices a beautiful woman and seems wary, cautious and flipp
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