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Ihopetheresice

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Everything posted by Ihopetheresice

  1. According to TCM’s twitter they will not be offering a course this year. It would appear the sci-fi lineup in July is just a themed selection for the month. I’ve attached the link where TCM replies to someone about it. https://twitter.com/tcm/status/1131225881161216000?s=21
  2. Would it seem ridiculous to request sharing information to access the course? I don't know what harm it could cause other than someone perhaps sabotaging later film class which I would hope sounds ridiculous. I would love to comb through the material almost as if auditing the class. I love film noir and of course I've been able to take every class but the noir one. I would be willing to swap info through direct message for someone who perhaps missed one of the other classes but was able to take the noir one.
  3. I feel like it has already been established within the curator's notes on this scene, but if Streisand were to belt out this performance it would lose the emotionally vulnerability her character should be displaying. If she were to go "full Barbara" on this song, it would seem less a confession and instead would seem as if her character was acting a part as in her stage performances. One thing I did notice, for a song that is about one character's desire for another character (or any person for that matter) Streisand spends a great amount of time not even addressing Sharif's chara
  4. One of the most prominent changes in male representation and performance has to be the evolution of method acting/workshopping. Prior to this time, when a person is watching a Fred Astaire or Gene Kelly film they are watching Astaire and Kelly playing the character as Astaire and Kelly with the same wonderful characteristics. Here we have an actor who inhabits the character completely so as to lose himself in the role. Also of note is the delivery of the song in The Music Man. Preston delivers the song as a sermon to the townspeople, rattling off the lines as if they are an Americana version o
  5. This scene from Gypsy harkens back to the the backstage musicals of the 1930's in that it shows the inner workings of a show and one can already tell it will be the tale of a star and a stage of some sort. Although after reading the lecture notes (stripper character and double entendres), it is clear that this film will contain a subject that will skirt the confines of the production code. I should preface this statement by noting that I have neither seen Merman's portrayal of Mama Rose or Russell's (outside of this small scene). In my opinion, Rosalind Russell here seems to be playing th
  6. A movie is not required to maintain a similar approach throughout the entirety of the film and in An American in Paris I believe the stylized scene does well to portray the fantasy as it is intended. The break in style and form allows the audience to identify it as just that...a break in reality. Jerry Mulligan's character rises above being loathsome partly because he is simply played by Gene Kelly. Although, I would also have to argue that he doesn't seem unlikeable due to the everyman quality of Mulligan (at least in this scene). He is cordial, but not overly friendly to his fel
  7. Gene Kelly's movements and mannerisms have been previously covered in the lectures and videos before this point and I think his pre-dance movements in this iconic scene are no different. He has an athletically musical mannerism in and out of dance that I think is equally highlighted in this scene without being over the top. On the other hand, O'Connor's mannerisms are indeed over the top and work to establish him as the more flamboyant of the two. Because of this, the segue into the song and dance seems fluid and not out of the ordinary and the viewer doesn't feel any sense of disruption prese
  8. The viewer notices the interplay of the characters, each offering their own insight into what makes "entertainment." They play off one another's ideas as well as movements. This scene differs from earlier musicals in that, instead of featuring a solo dance number or a duo either dancing in-step or step-for-step, the characters dance cohesively, weaving in and out of each other or all in line as an ensemble. I would say that their costuming, albeit different from one another, does not help one stand out from the rest of the ensemble. Even Astaire suit, while fashionable, is not fla
  9. To me, the transition from Petunia being at Joe's bedside to her at the clothesline shows her happiness in domesticity. All she longs for is a happy home with a trustworthy and respectable husband. To her, this is of the utmost importance to her self-worth. Happiness is not only Joe, but what a life with a faithful husband represents to Petunia. If this number were to have been about a child I believe it would've been more relatable or perhaps would have held up a little better with today's sensibilities. Instead, it seems a bit dated in its portrayal of a woman needing a man in order to
  10. Admittedly, I am a bit of a novice when it comes to the musical genre. Like almost everyone else, my first experience with Judy Garland was The Wizard of Oz as a child and as one can imagine it would be years before I experienced anything else with her in it. Sadly, the number of years is almost embarrassing, but when I did finally see her in something other than Oz it was her triumphant return in A Star is Born. I was decently oblivious to the tumultuous happenings in her life and career and was taken aback by how old she appeared at only 32 years old. As a result, I fell down the rabbit hole
  11. From the few comments I read it would seem that a strong number of people argue that this scene doesn't present a battle of the sexes. While I am not ready to agree with that point, the battle is very subtle and miniscule. To me, it appears as mimicry on Rogers' part in the early stages of the dance and progresses to even the slightest of tap additions on Ginger's as they are walking away from the camera. Also, if you look at Roger's eyes they are sizing Astaire's character up for size and the battle is engaged by the fact that he appears to be sizing up not only her beauty but her talent.
  12. The props do well to give insight into Count Renard's character. For instance, upon discovering that the gun the woman has used to "kill herself" is a fake, Renard quickly stashes it in a drawer containing a multitude of other guns, alluding to the fact that this has happened to him a number of times. Furthermore, when discussing how the government cannot continue to support his sexual behavior, Renard argues that he is not a lothario at all while brandishing a woman's garter in his hand. The staging further enhances this by showing how easily Renard can zip/unzip a woman's dress, while the hu
  13. The interaction between Sgt. Bruce and Marie seems to flip in the two scenes. In the canoe scene, Marie is initially seen as disinterested in Bruce's advances, but seems to soften towards him when he is serenading her before realizing how interchangeable her name is with any number of other girls. Later, in the saloon while Marie is singing, she is embarrassed by the fact that she has "cheapened" herself by singing for money in such a place, but Sgt. Bruce seems to be embarrassed for her much like one would be embarrassed if the object of their affection found themselves in such a embarrassing
  14. I would have to say that this film, or at least the clip shown in Monday's lesson, does present a brighter perspective considering it was during the Depression era. For instance, money does not seem to be on the mind of many of the performers, even despite the running subject of Ziegfeld constantly needing financiers to back his projects. Instead when the doorman informs Ziegfeld that he handed him a greater amount of currency than the doorman expected, there is the pun about weight but also the frivolity with which Ziegfeld handles his money despite the times. As for overarching
  15. 1. I counted three visual examples of "criss crossing" in the scene. I counted the intercutting shots of the two men exited the cab and walking towards the train as one, because they appear to be heading in opposite directions towards one another. I also noticed the crossing of the legs, first by Bruno and then by Guy, which causes the third "criss cross" when their toes bump into one another. 2. Hitch contrasts the two men, at first, by their style. Bruno exits the cab wearing flashy pinstripes and wingtip (I believe that's the term) dress shoes, while Guy is seen in a much more traditio
  16. 1. The opening scene of Rear Window moves the audience towards the outside world, but stopping us just short (to remain in the what will become Jeffries' POV) to remind us of Jeff's restraints, but also ours within the film. The camera then tilts and pans over the courtyard to establish the setting and characters. Again, the vantage point is ours as we discover this new environment that is about to become as interesting to Jeffries as it is to us in this opening scene. 2. We learn that he is a photographer and that he has been hurt and laid up (by the obvious presence of his leg cast). We
  17. 1. Some Hitchcock touches I noticed initially were the skewed camera angle and shadow that Grant seems to step out of as he walks closer to Bergman until he is seen upside down from Bergman's POV. Upon seeing Bergman peek out from her disheveled hair, I was reminded of the the previous Daily Dose where Lombard similarly peeks out from her bed covers. 2. Again, Hitch uses shadows effectively with Grant, at first covering him in them until he reveals his intentions and purpose of his visit. Upon seeing the top half of Bergman's outfit as she is lying in bed, I couldn't help but imagine pri
  18. 1. Some examples of the Hitchcock touch are the panning shot leading to Montgomery's character, as well as the close up of Lombard's eye flashing from beneath the covers. We also learn that this couple seems to be in the midst of a legitimate fight, in which neither is willing to back down. The audience can deduce this based upon the large display of used dishes, Mr. Smith sitting on the floor playing solitaire (as opposed to sharing a game with his wife), the blankets on the couch while Mrs. Smith can be seen in bed on the far side of the room, and how Mr. Smith takes his portion of breakfast
  19. 1. In the film's New Jersey prelude, we learn that Uncle Charlie has a stash of cash by the bedside and he's lying in bed in a dark suit, rolling a cigar between his fingers. We learn from the lady running the boarding house that two men have been asking for him and are waiting just outside for him. In a manner so calm that it is sinister, Charlie informs her the men are not his friends and replies "that he may go out and meet them." After the woman leaves, he smashed his glass and leaves, but makes sure to walk right by the waiting men, instead of avoiding them, perhaps tempting fate or darin
  20. 1. Hitch uses sound design to put the viewer into the mind of Alice by using another character's dialogue to show Alice's response. Initially, the woman with the basket's dialogue is specific and audible when she is explaining how she would have used a brick to hit someone over the head, but never a knife. Eventually, her words become an inaudible mumble where only the word "knife" is the only discernible word. 2. Again, only "knife" can be heard in the woman's dialogue, but it is important to note that Hitchcock does not even put the camera on this person as she is speaking, instead givi
  21. 1. The POV shots cause a feeling of anxiety for the viewers. As the viewer looks upon Mabel as she seems to float toward the two boys (and us), it is evident that something important is on the horizon and a feeling of uncertainty weighs upon us and creates tension in us, much like the boys in the scene. 2. Hitch uses this technique to create suspense in viewers by making us feel as if we are a character within the scene. It places the viewer in the story, instead of simply being an idle bystander in someone else's tale. 3. Perhaps, the most obvious visual connection is that of the rec
  22. 1.Hitch adds vitality and rhythm in this scene by speeding up the rate of cuts as the music speeds up until the whole room in dancing. Also, did anyone else think of a drugged out version of Renee Zellwegger and Catherine Zeta Jones in Chicago when watching the two girls dance? 2. Hitch is able to create a feeling of subjectivity by administering close-ups to focus on the eyes of the boxer, intermixed with distorted images of the piano and record player in effect showing his mounting anxiety of leaving behind his wife to the debauchery of the neighboring crowd. 3. Hitch's use of
  23. 1. Some of the similarities between The Pleasure Garden and The Lodger clips can be found in the close-ups highlighting the faces of certain characters. Both clips also include frenzied cuts from one image to another. But instead of the excited nature of the characters in The Pleasure Garden, The Lodger quick and frenzied cuts add a far more ominous tone to this film than the previous example. 2. It doesn't really have to do with Hithcock's style or perhaps it is the early establishment of what would become that style, but I noticed the way in which Hitch gives us information that would h
  24. 1. Yes, as I'm sure it has already been noted, the eyeglass sequence foreshadows the use of point of view that Hitchcock would give James Stewart's L.B. Jeffries in Rear Window. 2. Again, some of the techniques will be apparent in Rear Window, but we can also see the leering sorts of characters Hitchcock would continue to use throughout the next 50 years. 3. I believe the scene is still successful, despite the lack of synchronized dialogue. Characters and their intentions, motivations, etc. are still evident, while the plot continue to be established and pushed forward towards a cohe
  25. I know this is a shot in the dark, but is there anyone on here that would be willing to give me access to the class. I missed the enrollment date and didn't even know this was being offered until now. I just want to audit the class, if you will, and see all the class has to offer. I thoroughly enjoyed the slapstick course and would love to take part in this class. Again, I know it's a long shot.
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