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Artistgirl45

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Everything posted by Artistgirl45

  1. The introduction of "The Border Incident" is much like one of those documentary film strips we watched in school back in the day. The shots of the canal, diagonal fields and crops tells the viewer that something is "off" even as the narrator drones on about the "great agricultural empire" (whose empire?) that is the southern California farming industry. We are high above it all so who knows what's going on down on the ground? Well, the narrator tells us when the scene shifts from the overhead nature shot of the canal and surrounding fields to the top of a barbed wire fence and the tops o
  2. In the opening scene of the clip, I noticed a couple of things that were really stunning. One of the things I didn't see much was Hopper's "Nighthawks"--maybe in the first ten seconds of the clip, but instead I did see that the perspective in the next shot was identical to Da Vinci's "The Last Supper". The lines in the ceiling and the lines of the counter point toward a vanishing point in the center of the shot. In fact, the design of the ceiling is reminiscent of the ceiling in the room in the painting. The center of the shot is the napkin dispenser on the counter, not the diner owner o
  3. Controlling every aspect of a film from concept to release was a wise thing--not only did a studio know its product it knew where it would sell and how much return it would get. This was financially more sure than just putting a film out and hoping for the best. With two tracks running (A and the studio had its jewels (A's) and the means to keep making its jewels (B's). The competition between studios must have been killer. The entire system was a closed loop that fed into itself and made it possible to crank a film a week because that is the only way it could happen. The A vs. B syst
  4. The POV works for me. We are inside the barrel and that sets us up for the first twist--we are being hunted by all manner of police and are willing to die trying to escape them. Next, we are trying to get to San Francisco without having to answer too many questions about ourselves. Then we are found out to be a convicted wife killer and have to get out of a jam with our fists. We don't know what we look like but the radio and the facial expressions of the driver of the car we are riding in confirm it. Since nobody is what they seem to be in noir, this is a perfect setup for the viewer
  5. I don't see where the hotness of this scene is supposed to be--it looks and sounds like a movie musical number, not something you would see in a South American nightclub. The band is tepid, sanitized and the act itself is corny. It's all so White. The stiff band and singer would never have made it in a real jazz club. Supper club, maybe. And that black dress is symbolic of black skin--she's standing in as a Black woman and her performance is a form of minstrelsy. Having said that....... Gilda is using her performance to torment Johnny by showing him what he's missing. She's also
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