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felipe1912t

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About felipe1912t

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  1. I'd like to take this space to thank all of you envolved in one more exciting online course about some of the best works Hollywood has ever done. Last year we were all amazed by film noir, and this summer slapstick made us laugh and - most importantly - LEARN a lot. Thanks to TCM, Canvas, Ball State University and, of course, Prof. Richard Edwards. Your commitment with us was a great value as always, and the modules couldn't be clearer and easier to use. Hope to see you again next year!
  2. Woody Allen is more satirical than physical, so this specific clip doesn't seem to have any kind of clear reference to his job. Only some lines, linkd with the present (TV channel) may be considered an approach to both works. The fight showed on the excerpt exaggerates the situations by parody, and in that way we have much influence from Mel Brooks's job. Finally, ZAZ is clear referenced when we bring parody to a level almost over the edge of make-believe. After all, we have a little of those three influences on the clip (with more or less presence). The cameo adds another comic element th
  3. The short clip exemplifies how the movie parodies police/investigation genre. The first thing we see is Leslie Nielsen arriving the station by parking his car the worst way possible. Justa few moments later, the clumsy inspector is unable to watch on the microscope, in one more clear demonstration of how the movie is constantly spoofing with another genre. In that way, I can say that the whole movie is a succession of spoofs on a exaggerated way, making it a true parody. It seems to me that yesterday's Daily of Dose had more respect to the original reference. The movie was shot in black-a
  4. First of all, the scene is shot in black-and-white in a time practically all movies were already colorful. Gene Wilder plays a crazy professor that does not seem to have any credibility althought the scenario suggests we should have. And, of course, the professor's last name is "Fronkensteen", which clearly parodies the classic Universal movie. As the clip goes, we can watch two different moments taking turns on spectator's attention. In one hand, the subtle writing full of references from the original Frankenstein movie that both does a homege to the classic and parodies it. On the other
  5. It is a slapstick once we have the concepts of make-believe to the audience, as well as exaggerating situations. On the other hand, it is really clear to any spectator that the whole situation (a huge bar order) couldn't be acceptable with the world's regular rules. So we have a make-believe situation in terms of construction (a man goes to the bar and makes an order) but an impossible movement towards the greatness of the order. In the end of the clip we still see a verbal gag that makes jokes on the political situation, showing the audience some satire as well. It seems to me that Sennet
  6. By watching this final episode we can see clearly that some motifs for comedic situations are present on its genre since the early days. What we can see is that some kind of skills start to being much more explored in a particular period of time. Parodies, for example, are much more present on cinema from 1970s and on than decades earlier. Young Frankenstein and Anchorman are both delicious movies, with great references and great interpretations. If we go further, I'd even say that teenage movies lige Scary Movie also are part of that kind of humor. After all, they're almost all parodies f
  7. The plot, the charcaters and the action could easily be short cartoons from Warner or even Disney. We have the exaggerated villain trying to cheat on someone, but it actually does not work at all and they bite it otherwise. It is clear to me that this scene approaches much more to the old-fashioned slapsticks than the "new wave" ones. Almost all five of the characteristics we've set at the beginning of this course are there and technology works to the movies' old style. The hero and the villain are well defined once the hero has super abilities, he does what anyone can. the villain, on
  8. The Three Stooges were a great comical influence to me because Brazilian television broadcasted them until the 1990s frequently. Laurel & Hardy were another major influence with its movies running frequently on Sunday afternoon TV, and it is really interesting to see how their kind of comedy was really close to whats was being done in 1930s. The clip explored on this episode makes it really clear. The second clip is a little bit different because we see the movie director exploring what he can in terms of technical possibilities for slapstick. A lot of color, major editing job, big sce
  9. I think my favorite gag on this scene is the moment when the inspector tries to get out of the room and misses the door. It is visually perfect because at this point we've already seen Clouseau in a series of misfortunes, some of them even predictable ones (like the bent stick, which obviously isn't going to end well) and the action is highly unexpected. Things get even better because of his later observation about the house's architecture, which obiously is an attempt to run away from his own responsability for the punch in the face. Laughing a lot until now! Clouseau has a strong accent,
  10. I think the main particular fact is that the addition of color set a clear paralel between the warm, secure and comfortable trailler environment against the outside world and its rainy mood. When Lucille Ball falls on the dirty mood we just see her covered with dirt, almost all "black". If we weren't in a technicolor era, certainly the visual impact of the scene wouldn't be the same. The time "I Love Lucy" was produced almost 100% of its scenes were set on studio, with that perfect scenario and light. On this scene, on contrary, we have some elements that go the other direction. The traill
  11. It seems to me that the clearest thing about Hulot is serenity. He walks up to his apartment in a constant, quiet and conformed pace, going through the actual maze that is the way to his door. That analogy is, by the way, a good way to analyze some of the main characteristics of his personality. Never mind the steps or the tortuous way to get someplace, because I'll keep on my way. He also shows on this short clip that he is against any kind of conflict (with the salesman, with the neighbors) even when a dog seems an element to misfortune his day. Finally, I'd say that he's methodical. Not onl
  12. Again, it is important to register that as a "foreign" student, a great part of personal references and cameos aren't so well-known around my country. However, it's just so interesting to see how television took a huge part on slapastick movies frojm 1950s and on. Here in Brazil, I must say, a lot of comedians also go from TV to make movies, and generally they go well in terms of public attendance. I remember watching "Its a Mad, Mad, Mad, Mad World" once and the movie is just delicious. A lot of jokes, gags, references and important comic faces that make time speed. When you realize, ther
  13. Groucho and Chico's style had more intensity, more velocity, more verbal strenght. The Abbot and Costello's style seen on the clip prefers to build an emotion with the audience by exploring several cinematic instruments like: the art direction, cinematography and music score. They talk less, although the result is extremely effective in both cases. I think that nowadays we have great comedians working, so I wouldn't say that the entire generation suffers from the lack of taste and timing. But yes, it seems like the great mojority of them prefer to speak high (almost scream) to get public's
  14. The last two videos presented at Daily Dose of Doozy were much verborragical driven by its main characters. Charley Chase was trying to solve a personal problem and had control of the situation and The Marx Brothers were arguing about a contract on their own way. On this particular case, W. C. Fields keeps himself resigned to the path the other characters point him. He has no active voice, so his verbal contribution here is almost passive one. His lines are there to contribute to the plot, not to drive them. "Sounds like a bubble on the bathtub". The sarcasm and irony here is really clear,
  15. Alan Dale's definition of verbal slapstick fits perfectly on this clip of Marx Brothers. Of course not all the characteristics are there, but a great part of it. The whole scene is based on the verbal talking here presented: no violence, no physical. Slapstick is evolving in front of our eyes. Some of the present characteristics are: sarcasm, the comeback that that turns the first speaker's words around, pun, a little bit of slang, mispronunciation and double entrendre. As a native portuguese speaker some of these characteristics can be more difficult to identify, but they are all there.
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