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Ms.Anderson67

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Everything posted by Ms.Anderson67

  1. Here are a few discussion starters (though feel free to come up with your own): -- Discuss how the opening of this film exemplifies the noir style and substance. You start off by hearing the dread, doom, and ultimate destruction of someone. The two do not belong together yet they do. What disaster awaits them. This is film noir at its pinnacle. -- Now that you have seen all 32 Daily Doses, what did you take away from the Daily Doses assignment? Did it contribute to your learning about film noir? The daily doses gave me a view into what film noir, was, is and the contribution of
  2. Brute Force Here are a few discussion starters (though feel free to come up with your own): -- What role does music (especially the record playing Wagner) play in the intensity of this scene? The music helps the audience follow along with the intensity and anticipation of the action. The faster the beat indicates that the guy will come to great harm. In addition, when music gets louder, we know greater harm is going to come to the man in the chair. Most importantly, the music is used to cover the beating that is going on. -- Based on what you've learned in this class, how does
  3. Here are a few discussion starters (though feel free to come up with your own): -- Describe how this scene uses cinematography to accentuate the brutal beating of Steve Randall (Steve Brodie). The use of the swinging light brings and takes each character out of darkness. This technique, in turn, makes what is happening more sinister and dastardly. Furthermore, you have no idea what they are doing to Steve I'm the dark. It heightens the situation. -- How do Mann and Diskant utilize different points of view to heighten the tension in this scene? Steve is definitely in a submissiv
  4. Here are a few discussion starters (though feel free to come up with your own): -- Discuss how this film depicts and utilizes this "unnamed city." Additionally, why do you think the film is entitled "The Asphalt Jungle?" Looking at the city, in many respects, it looks dilapidated, somewhat deserted and unkept. A jungle is in its natural state and left to its own to survive. The city looks as if it has reverted back to its previous state. -- Describe the film noir characteristics, in both style and substance, of these opening scenes. A man in a desperate situation. You see this beca
  5. Here are a few discussion starters (though feel free to come up with your own): -- In what ways does Miles Davis' score (improvised while watching scenes from the movie) work with and contribute additional layers of meaning to Louis Malle's visual design? Unlike classical music, which never deviates, jazz is best when improvised and this improvisation adds or creates more depth within scenes in the movie. This means that it is ever changing and lends itself to interpretation and a sense of unknowing. -- Going back to our original discussions of jazz on the film noir style, what is
  6. Here are a few discussion starters (though feel free to come up with your own): -- Describe the noir elements, in terms of style and substance, in this opening sequence. The random event that has doomed him to life on the run. The dead body in the closet, he sees no other response but to run. He not believing in the system to give him a fair deal. -- What do you make of the film opening with the Salvation Army band playing and the prominent Salvation Army sign in that first shot? I am not sure of the band playing other than to demonstrate everyday life in a town. The role the S
  7. Here are a few discussion starters (though feel free to come up with your own): -- Do you see evidence, even in the film's opening scenes, for Foster Hirsch's assessment that the dialogue in this film sounds like a "parody of the hard-boiled school" or that "noir conventions are being burlesqued"? The back and forth banter between the 2 detectives with words like dame and dish describing the female they are going to escort. The overall quick dialog between them is reminiscent of the beginnings of film noir -- What are some of the major noir elements in this film's opening, and do t
  8. This is extremely important because when planning a heist, patterns are necessary. There are events that go on daily and in order to address all moving parts. Each detail must be planned down to the smallest detail. This planning cuts down on the mistakes and possible unforeseen variables (people getting in the way, the guards having time to react, etc.) The florist arrives at 9:58 and leaves at 10:01, the armored car always arrive at 10:00 sharp and is in the bank from 2-4 minutes. Without planning out all of these details, for example the florist’s truck could block the get away car and pre
  9. Here are a few discussion starters (though feel free to come up with your own): -- Compare and contrast how director Karlson shoots and stages the boxing scene as a contrast of styles between cinema and television. Television is shot tight to show the seriousness of the boxing action. The movie shows space and a sense of largeness. I believe this is purposely done to show how much more powerful and large movies are compared to television. -- Discuss the scene's social commentary in the interactions between Ernie (John Payne) and Pauline (Peggie Castle). This is no longer pre W
  10. -- Discuss the scene in terms of its acting and staging. In this brief scene, what do you see as the interpersonal relationships between Sam (Heflin), Walter (Douglas), and Martha (Stanwyck)? If you have seen the entire film, avoid larger points about the plot, and focus simply on what you are seeing just in this scene. I sense some type of tension between Heflin's and Douglas' character. It's seems that Heflin has something over Douglas. This is demonstrated when he tells him that he will help his friend with the criminal charges and it seems that Douglas does not have a choice. Barbara's
  11. Here are a few discussion starters (though feel free to come up with your own): -- Compare the opening of this film with other Daily Doses that began with a similar set-up on a deserted highway at night. How does this film's fateful twist differ from other film scenes we have investigated? With the other films. We see something ominous coming with the other movies but with this one, there is just a couple going about their business having a disagreement about something. We do notice the car that has stopped and know all is not well when the man throws something in the backseat of the c
  12. Here are a few discussion starters (though feel free to come up with your own): -- How is Hitchcock's rhythm and purposes different in this opening sequence, from other films noir such as Kiss Me Deadly or The Hitch-Hiker? SOAT is very different from the other 2 films in the fact that the music is more livelier. The two characters seem to be a contrast of each other. This is demonstrated in their choice of shoes and ties. This, in turn, makes the scene non threatening to the viewer. I believe that the purpose is different because he is introducing 2 characters to us that will play inst
  13. Here are a few discussion starters (though feel free to come up with your own): -- Compare the opening of this film with the other three Daily Doses this week? Do you see parallels in the opening scenes of these films? This movie’s opening credit is totally different from the other movies from this week is that you are over 2 minutes into the opening without any dialogue or seeing the character’s face. In addition, the other movies opening scenes took place on desolate locations or vehicles. -- What are some of the noir themes and motifs that are being explored in this film's opening
  14. -- Why is this opening appropriate for a film about females at a women's state prison? In what ways has the design of this scene made the audience as "caged" as these characters in this opening sequence? I felt, as a viewer, as caged as the women because I only had the little square as a light source and the scene made me feel claustrophobic. It was dark and grim and the women were all crammed in the back of the van. I felt trapped and not able to escape. The director did an excellent of warping our sense of view and therefore making it more real for the viewer. -- What about this o
  15. Here are a few discussion starters (though feel free to come up with your own): -- What are some of the major themes and/or ideas introduced in the opening sequence of The Hitch-Hiker? Most importantly is the visual style that the cinematographer employs. Of course, the black and white film gives that particular mood that only film noir can give a viewer. Immediately, there is a sense of some impending danger. -- Discuss the role of lighting and staging in this scene, and how lighting and staging both work to reveal the underlying substance of film noir? Lighting in any movie
  16. Here are a few discussion starters (though feel free to come up with your own): -- What are some of the major themes and/or ideas introduced in the opening sequence of Kiss Me Deadly? The Black and White filming, the woman that is either a femme fatale or in some type danger. The rolling of the credits backwards is something new to the viewer. The tension and darkness of the scene reinforces what film noir does best. -- What do we learn or discern about the characters of Christina Bailey (Cloris Leachman) and private eye Mike Hammer (Ralph Meeker) in this brief introductory seque
  17. -- What makes Harry Lime's (Orson Welles) "entrance" in this film so effective? The entrance is very effective because he does not utter a single word of dialogue. You can only see his pants and shoes making this even more of an intriguing scene. You only see the cat licking his/her paws. It was very ingenious for the director to use the light from the upset lady to illuminate Harry's face revealing it to the audience and Joseph Cotten's character. -- Discuss how this scene is both deeply realistic (in its depiction of a war-torn Vienna) and highly formalistic (in its use of a variety
  18. -- How are the "entrances" of John Garfield and Lana Turner staged in this sequence? What do their "entrances" reveal about their character? John Garfield seems to be a free spirit that seems to be a vagabond. Nothing will ever keep him in one place too long. Lana Turner, on the other hand, signifies danger. Based on how she enters the scene, she is used to getting what she wants by manipulating men. That is demonstrated by how's she stands there and expect him to come to her but he doesn't budge and she comes to him. At this moment, the game is on and I have never seen this film and I am
  19. -- The scene contains two dramatic entrances, one for each actor. How is each entrance different? What changes in the scene as they continue to interact after their entrances? The main difference is that Peter Lorre's character does not know that Sidney Greenstreet's character is hiding and waiting for him. This give Greenstreet the initial advantage. As the scene progresses, you can see how The demeanor of Lorre's character changes. He goes from scared and confused to being confident, coy, and elusive with his responses to questions. Greenstreet's articulation of the English language is
  20. -- How does this scene employ elements of the noir style while most of the scene is shot during daylight? First, the use of Robert Mitchum narrating the opening scene is classic noir. In addition, the aerial view with the scenery creating geometric shapes was breathtaking. In addition, the use of black and white film is an element of noir. Finally, the use of the musical score plays a major role in the film noir style. -- What do we learn about the characters of Kathie (Jane Greer) and Jeff (Robert Mitchum) in this sequence? Jeff is searching for Kathie and, though I haven't seen t
  21. -- How does this opening sequence establish Humphrey Bogart as Philip Marlowe? What do we learn about Marlowe in these first few moments of the film? I learn that Marlowe is very keen and astute at analyzing his surroundings and can hold his own with anyone. The fact that he does not reveal his name to the daughter says a significant amount about him b cause this might be important later on investigation. -- Do you see a difference in Bogart's portrayal of Marlowe compared to his performance as Spade in The Maltese Falcon? His character in the Big Sleep seems to be more subtle tha
  22. -- What mood or atmosphere—through the visual design and the voiceover narration—is being established in this realistic documentary sequence? The mood being presented, in my opinion, is one of danger of imminent danger and intrigue. This is most evident in the music score and the urgency in the narrator's voice. -- What do you think documentary realism adds to the evolution and increased range of the film noir style? Documentary gives the director the opportunity to present everyday stories or situations to the audience. This is more realistic and gives the audience a view into ac
  23. -- What are some of the influences you see in this sequence from other cinemas (such as German expressionism) or other art forms? For example, consider this scene in relation to the work of Fritz Lang (who also worked at UFA). The main influence that is noticed are the angles. Go back and look at the placement of the camera from the opening scene at the diner when the customer comes in. It is angular in nature. Also notice the shadows on the ceiling of the diner. -- How does this sequence shift its visual design from realism to formalism, as it moves from the diner to the Swede's room?
  24. What I noticed is that that musical number is extremely seductive for that time period. In se circles today, it would raise some eyebrows. This scene speaks to the little nuisances and trucks of the trade that the director had to employ to get his scene by code enforcement. In addition, she does not care about whether Johnny approves or not but that she is in control and will use her body and allure to illicit some type of reaction out of Glenn Ford's character. More importantly, Gilda sees that her body can be used as a weapon that she can use against Johnny and though she is in this marriag
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