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About victorkong

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  • Birthday November 17

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  • Gender
  • Location
    Los Angeles
  • Interests
    Filmmaking, writing, directing, art
  1. Leslie Caron dances very differently from him, a more balletic European refinement, but just as much tactical precision as Astaire.
  2. I adore "Daddy Long Legs" and I could talk at lengths about how the Ephrons' sense of romantic structure in that picture specifically seems to have influenced their daughter Nora in decades to come. I'm guessing there's probably more than enough Fred Astaire pictures to fit another one in the line-up and two of Caron's most famous pictures are already queued up for a dive into musicals of the 1950s. I'd personally love to see TCM broadcast "Funny Face" in the near future.
  3. Break things down. Understand filmmaking inside and outside. Brush up on your terminology for things like cinematography, staging, camera techniques and try to see how these things work to make the picture original. Try to see the film from a historical and cultural context. Ask lots of questions and try to answer them yourself.
  4. Comedies are not melodramas, they do not require total immersion. In fact, the best type of gag-based comedy is the kind where reality is clearly thrown out the window. As a result, a flat, wide shot is the best way to convey the presence of the proverbial proscenium arch and make it known that this is a theatrical performance.
  5. In the Week 1 module, Richard notes that film scholar Don Crafton describes gags of early slapstick serving "as as a source of narrative 'excess'". In other words, gags tend to be breaks from the plot and traditionally storytelling, intending to be used just for exaggerated humor. What I'm wondering is if there have been gags, either in early slapstick or present-day, where they were crucial and pivotal to the progression of narrative--where the plot simply wouldn't drive forward without the execution of said gags? Buster Keaton--perhaps?--whose gags tend to be forces of nature outside
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