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Schlinged

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  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? I think that a more theatrical treatment of the song would have taken away the vulnerability of the song and the the character. Note the emotional transition moments in this scene: how do the two characters relate to each other as the lyrics are sung? AS they segue from small talk about involvement Sharif is basically moved from the main part of the scene to the side and somewhat out of focus. Streisand has all the moveme
  2. 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 common theme is a man manipulating and transforming a women for his own purposes, a bet or the hidden jewels. Also the use of light in both movies convey the inner conflict inside the female leads. Note the emotional transition moments in this scene, how the actors portray them, and how Cukor supports them.
  3. 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? Males were usually required to be the alpha male as with Gene Kelly or the Beta male sidekick such as Donald O'Connor, but when Clint Eastwood and Lee Marvin are actually singing then it is notably a change in the construction of what is considered masculine in musicals. What other specific qualities do you notice about Robert Preston in either or both of these clips? in both clips, Preston does show that he is indeed engaging
  4. 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 staging of the backstage musical recalls the Andy Hardy type of films with the earlier 1920's shot of just the play on stage. With the interruptions of the stage mother Rose and the fixed auditions that the system is rigged and a rejection of the status quo.  This is the introduction of Mama Rose in the film. Comment on Rosalind Russell’s entrance and performance especially as a traditionally trained stage and film actr
  5. Does a movie that has as stylized a scene as An American in Paris’ ending ballet need to use a less-than-realistic, stylized approach throughout the film? One would think that a movie about a real city would have realistic looking scenery as Paris looks, even though it's shot in Culver City. The ballet is a dream/fantasy sequence and should appear so. What keeps Jerry Mulligan from being completely unlikeable in a scene in which he acts pretty darn unlikeable? Jerry seems to get along with his fellow artists on the street and only dislikes the "third year student". As with other film
  6. How do the pre-dance movements of O’Connor and Kelly compare to their actual dance movements? O'Connor is the funny man, making fun of the professor and Kelly is the smooth alpha male of the pair. They can move in rhythm to the beat of the desk drumming and thus into the music of the song. Watch the Professor all the way through and consider the role of the straight man. The professor is mainly the straight man and the old square to the hip duo of O'Connor and Kelly. He segueways into essentially a prop during the dance number. How do the representations of masculinity in al
  7. As you reflect upon female representation in the 1950s, where do you think this film character falls in the continuum? Why? The film characterizes Calamity Jane as a "tomboy" which is a safer version of a masculine female rather than a "homosexual" which would have been outside of the communal standards of the era. Calamity does get gussied up to capture her a man which doesn't fall out of the expectations of her sexual role in 50's society. How do you think Doris Day grows as an actress in her various roles in the 1950s, before and after this musical? I think light comedy was her forte.
  8. As you watch the interaction between the four characters in this scene, what do you notice about the way they include each other or relate to one another? How is it different from early musicals we have discussed? For a society that was afraid of the commune, i.e. communism, this piece was all about the group and not really standing out. Past musicals had just songs with a thin plot, this musical had the song helping the story along and were integral to the plot of the film. What do you notice about the costuming of the characters that indicate cohesiveness of the ensemble, as opposed to
  9. What do you notice about the way the scene is directed as Petunia goes to Joe’s bedside and as we cut to her outside hanging laundry? What does this tell us about her relationship, and the connection to the song? Petunia starts out fearing for Joe's life as he lays in bed, but as it is cut to her pulling down her dry laundry we see Joe recovering in a wheelchair and the song goes from melancholy to happiness. Unconditional love is what it seems to be about. How would the song change if it was a woman singing about her child? Does the cultural meaning change? How? The lyrics would need to
  10. Thinking like a director and editor, describe how each shot spotlights key actions. Betty is lying in wait for Frank to come out of the locker room and chases him into the stadium. Definitely not like Bull Durham. Frank cannot escape and the movements along with the music and the lyrics of the song are quite seamless. It’s interesting to examine how musicals segue into musical numbers. How does this sequence prepare us for the singing? The segue is obvious once they leave the hallway with the locker room and move into the stadium or the "playing field".
  11. 1.What was the first Judy Garland film you recall watching? What was your impression of her? The first film memory I have of her was in Judgement in Nuremberg. I was never a big fan of musicals. I totally believed her characterization as a women that had been ostracized by the Nazi regime for being friends and a suspected lover of a Jew. She portrayed her character with a world weary performance. 2.How do you view her differently after viewing these clips than you might have viewed her previously? I really only knew she was an older actress and that she she did musicals. I didn't realize
  12. Describe how the scenes in today’s Daily Dose were designed to promote American values for audiences during World War II. Be specific. Refer to props, set design, settings, etc. in your answer. What can be more american than the White House? The paintings of prior presidents, the flags, famous ships and all. It just screams American values. Listen carefully to the dialogue in these scenes. In what ways does the dialogue and/or the screenplay work to boost American morale? Quote specific lines of dialogue in your response. From speaking with a minority race (an African American butler) to
  13. What other aspects of battle of the sexes do you see indicated in this clip or in the film Top Hat? That Rodgers isn't following Astaire's lead she is matching him in costume and dance. Women had only recently won the right to vote and still hadn't achieved equality (or still to this day, thanks to Ronnie Raygun and killing it) but where making inroads in society. How does this film distinguish itself from other Depression era musicals we have watched or discussed this week? Rather than large set pieces this piece focused on a smaller intimate setting rather than a large over the top piec
  14. What do you notice about the Lubitsch touch? How do the props, the dialogue, and the staging help you understand the character of Alfred (Maurice Chevalier)? I noticed the richly adorned room, the rapidly spoken French (with the exception of the 4th wall narrative in English) and the prop use of the gun that fired blanks. Also with the husband fumbling with the zipper or clasp as compared to Lord Alfred. The scene demonstrates that Lord Alfred is a playboy that has been through this particular scene many times. And the knowing wink to the husband does demonstrate the likable charm he processed
  15. What do you notice about the interaction between the characters in these two scenes? Please give specific examples. The interaction between Eddy and MacDonald in the canoe scene seems to be more comical interplay with her body language and his musical come on that can be tailored to any woman's name except for Maude.The bar scene is funny in her trying to copy the local gal making money but Eddy seems to recognize the "good" girl as a fish out of water even though he cavorts with the two local women. If you have seen either or both of these actors in other films or television shows, plea
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