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About CynthiaV

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  1. As a history geek especially concerning the American Revolution and our Founding Father’s I absolutely love this musical though I do always cringe at the discrepancies. Most notably that gigantic page a day wall calendar and the big July 4 when it was July 2 that Congress decided to declare independence and it wasn’t actually till August 2 that the vast majority of members signed the Declaration. July 4 was the date the final wording was approved and officially adopted by Congress but who can complain much the musical is fantastic in so many other ways. As pointed out, I love how the musi
  2. When I open the Badges page as I outlined above I do see the "buttons" to post on FB, Twitter, etc. I'd take a ss and post it here but I need an, "Idiot button" to accomplish it...sorry
  3. I don't know exact numbers but would also like to know them. Drs. Ament and Edwards did mention on the last podcast that this MOOC far exceeded all previous MOOC classes ever in number and retention. It's an historic number! Also, it was mentioned that 4,600 ppl (77% of the overall vote) did cast a vote for the winning Final Certificate design. Though that is only a part of the the students involved, 4600+ is an astounding number.
  4. I am a History fanatic and at any time can be caught reading various books on WWII, The American Revolution, Alexander Hamilton (a favorite BEFORE the musical), etc. as well as historical biographies and autobiographies. I found I had to give up reading for the month to have the time to watch many of the musicals either live or on DVR. As Leslie Howard is a particular favorite I did not give up watching his many films as he was June's Star of the Month. So I have some catching up to do with my musicals watching. Funny though, as space is limited on my DVR I find myself keeping more of th
  5. I think it's some sort of glitch. I had to keep refreshing the link. I eventually clicked on the, BADGES choice in the list where the Modules are (not the link in the text of the Module), where options such as, TCM forum, Quizzes, etc are listed. That brought me to a different page that listed the same options but looked different but eventually (it took some persistence) I was able to click on the Week 4 badge listed last after Weeks 1, 2, 3 and bring it up on its own page to post or print. But honestly, it took a lot of effort. I'm just one of those types who despise letting the computer win
  6. Thanks for this great topic. I would offer that the best thing I learned is that films including musicals despite the era of their storyline are a product of their cultural and technological times. That they address and foresee to varying degrees cultural issues and the collective zeitgeist of the people and of that moment in history in which they are presented. I do not mean the term, zeitgeist as a form of fashion or modern trend but rather as an overarching spirit or mood of the period, and thereby film as a form of intangible force that acts as a change agent to the times. So I will
  7. I quite agree. But if a choice is made to make a musical film from a Broadway musical hit (and thete have been many successes) then do as Dr. Ament discused in today's lecture on the brilliant musical, 1776 cast as many original stage actors as possible and stay true to the original play. And yes, Kiley and Diener were amazing. They became the characters. No longer did one see Kiley or Diener but rather Cervantes/Don Quixote and Alfonzo/Dulcinea.
  8. Though Peter O’Toole and Sophia Loren do a yeoman’s job in the 1972 film their casting being non-singers leaves me scratching my head. I understand there were various production issues not the least of them being plans to eliminate most of the stage songs and worse, to make it a non-musical. This too is perplexing as the year the film was produced (1972) coincided with Kiley’s second time playing Cervantes/Don Quixote and Diener as Alfonzo/Dulcinea as both had originated the roles on Broadway in 1965. He and Denier had a smash on their hands in 1972 just as they had in 1965. So why break what
  9. 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? The song as sung is very intimate and personal. Every note Streisand sings, every mannerism she makes brings us deeper and deeper inside her heart and mind. I cannot imagine it sung any other way. Absolutely, Streisand has the pipes to belt it out and I do recall times when she performed this beautiful song when she did. But to do so in this scene where she is opening up to Nick and to us the audience her deepest
  10. 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) The lighting in both projects expresses a feeling of loss and desperation. Ingrid Bergmann in Gaslight as does Audrey Hepburn in My Fair Lady pass through light and dark as they both gradually discard their false faces. Bergmann is exhausted by her attempts to look sane when she is being convinced she
  11. Totally agree speedracer5 (BTW love your name). The whole point of the performance is that these women are utterly talentless other than having nice bodies and the ability and nerve to take their clothes off in front of appreciative men. If they sang well or could really dance why would they be strippers? And even as strippers they need to stand apart from their peers hence the need for a gimmick. You can’t look at this scene as a polished song and dance number bc it isn’t intended to be. It moves along the story by introducing Gypsy to the backstage realities of stripping. I find the scene hi
  12. 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? In the earliest musicals of the late 20s to the early 40s masculinity is defined by suave, witty sophisticates such as Fred Astaire, Maurice Chevalier and Nelson Eddy (Top Hat, The Love Parade, Rosemarie). As we moved into the war years and beyond to the 50s masculinity became more a show of power and strength. Initially, to project America as a strong nation capable through persistence and power to win the war. After
  13. 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? The scene though disruptive is solid to the plot as in the musical comedies of the 30s and 40s. Though appearing out of control and disjointed if you watch it closely it is tightly scripted and acted with everyone perfectly hitting their cues similar to the, “ketchup” kitchen scene in, “Meet Me in St. Louis” from 1944. Yet it as well gives us a glimpse of the coming changes in film and musicals of the 60s and beyond b
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