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About mandyhnandez

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  1. 1. I believe that the first film I saw Garland in was The Wizard of Oz, as it is a children's classic, and being small I probably didn't think to much about her at the time, except that she was a good singer. Based purely on that movie, now that I am older, I would say that even in that early role she not only had a beautiful voice, but she was able to convey what she was singing with emotion, and you can feel her longing coming out of the screen. 2. These two clips really show off her diversity - Garland could play the young, flirtatious, piano playing ingénue, or she could play the come
  2. 1. All of the little details promote America and America's ideals, from the large pictures of the presidents on the walls and the flags scattered about to the pictures of classic war ships on the walls, and of course the entire 4th of July parade. The pictures honor the past, what our Founders established, and the large rooms represent freedom as well as inspire awe. 2. The dialogue praising Irish Americans, a group highly bullied by the Nativist party in America's early years, "that's one thing I've always admired about you Irish Americans - you carry your love of country like a flag, ri
  3. 1. Other aspects of the 'battle of the sexes' in this clip include the initial back and forth during Astaire's attempt to woo Rogers - his objective is to win her affection, and hers is to make him leave, or at least resist giving him any affection. And within the dance itself not only are the repeated steps a 'battle,' but also just the way they dance together. There are only a few instances of them touching while dancing, but almost all of them have Rogers as a lead for some of that time, adding to the 'tug of war' between the two characters 2. This movie (scene) is definitely far less
  4. 1. The Lubisch touch includes the specific cuts to particular objects and props in order to further the story, such as the pistol, garters, and gun drawer. It also includes various things to engage the audience more actively through the use of music, breaking the fourth wall, focused shots, and the translation between languages. We are given a look into Alfred's character through what he tells the audience, how he interacts with the woman (lying to her, then trying to get her back, then nonchalantly letting her go), and his interactions with the man and the pistol drawer (which in itself tells
  5. 1. In the first scene, the interaction has a definite direction because of Nelson Eddy's character's objective. He is trying to woo Jeanette MacDonald by one-upping the other man that she already likes. He is following a traditional way of courtship, singing to her as a guitar player might serenade a woman in fair Verona under her balcony, and seems used to the way she expresses little interest - what he may see as playing hard to get. Jeanette, however, truly does show no interest until he sings to her, and only after she is impressed by his voice and his humor does she play along and smile.
  6. 1. I would definitely say that it exhibits an unreal bright perspective of life, as many things that would be more negative in tone are either brushed over and laughed off or over-exaggerated to be funny. For example, when she shines the mirror into the audience, personally that would be annoying and possibly painful, but she laughs it off as part of her song. The whole song, in fact, is simply about playing and having fun, like she is a little girl instead of a woman, which we also see in the dressing room with things like the Jr joke that portray her as naïve and indecisive. The competition
  7. Someone earlier mentioned ​Mission Impossible:II​, which I would agree is very much like Notorious, from the plot line of a woman seducing an ex to spy on him for the government and the agent she loves to some of the locations of the scenes. Where does she secretly meet the agent? AT A HORSE RACING TRACK, exactly the same as in Notorious.
  8. 1. ​The Lodger​ opens with a screaming girl who is immediately found dead in the streets by an old woman. ​Frenzy, ​however, takes more time before there is body, and opens in a touristy way with triumphant music and long pans of England. A politician then speaks for a couple minutes about cleaning the rivers when ironically a man sees the body of a woman floating in the water. This opening gives more context to the story than The Lodger​ did. ​2. Some Hitchcock touches would be how the opening is set in a public place, his cameo, and a dramatic opening where some bad event or discovery o
  9. ​1. We know from this scene that Marnie is a thief, and she uses several different identities to presumably steal from many different places as different people. She has many different social security cards/numbers and we can tell that she does this a lot because of how confident she is. She walks to her room confidently, and goes through the routine of washing out her hair, changing clothes and suitcases, and getting a new identity, calmly. She is even smiling and smug when she washes her hair out, and seems in no way stressed about being caught, even when 'losing' the key in front of everyon
  10. ​1. This film seems like it will be a romantic comedy at first because there is only a brief encounter of the birds in the sky before it becomes secondary to Melanie and Mitch's playful banter. She obviously does not work at the store but does not correct Mitch and continues pretending to knw what she is talking about just so she can talk to him, which is comedic. He also wants to purchase love birds specifically, and goes along with her pretending just to be flirty and to keep talking to her. ​2. At the very beginning, the sea gull noises are relaxing and make me feel like I am at the bea
  11. ​1. The score is very intense and unnerving, and you are increasingly aware that something terrible is coming up really fast. The words are very disjointed, showing that they (and Norman) are not put together right, and are definitely not normal (woah that sounds like Norman, is that irony intentional?) and stable.The lines in the title design are in almost constant motion, moving up or down, and are franticly trying to escape something. Escape is a huge theme in this movie because not only is Marion trying to escape the police when she takes the money, and her murderer in the shower, and her
  12. ​1. Grant does indeed have a very pretty face, and his character is typically suave and witty, just like he is in this scene. He is often times in comedies though, so that is one difference. I have not seen any of Eva Marie Saint's other movies, but based on how Cary told her she would not have to cry in this one, I assume that she was more used to playing more outwardly emotional characters, much different from this role. This gives the audience both sides of the spectrum - seeing one actor doing what he does best, and the other completely reversing roles and trying something new, but amazing
  13. ​1. Even if you didn't know the plot of the film, the opening credits can already tell you the emotional side of the story for Vertigo and set the tone for the whole movie. The music is intense and pulls you in, and accompanied by the swirls and the woman's face, makes you feel fearful but intrigued. It also has a dizzy feeling, and visually illustrates obsession in that Scottie's thoughts are in a constant loop that always lead back to Madeline. 2. The most powerful image in this sequence for me would be the close up of the woman's right eye, when the red light shines on it . This part ju
  14. ​1. I guess I would describe the opening shot of the film as interesting, and wow is it detailed. Hitchcock really put in the effort to make real apartments, and make the audience feel like those people actually live there. It has everything from the backdrop of the New York skyline to kids playing in the street, and a truck driving past, not to mention the flowers, white birds on the roof, and weathered look of the bricks. It establishes the entire world of this film - everything Jeff can see, we can see, no more, no less. This is the viewpoint of the audience and not a specific character, be
  15. ​1. The criss cross metaphor is used in several different ways in the opening scene, starting with both men getting out of their cabs. They arrive at the train station from different places, and the criss cross begins when white shoes (Bruno) walks left to the train station entrance while black shoes (Guy) walks right. The eventually end up going the same way, which is where they 'meet' before actually meeting. Then comes the train tracks, as mentioned in the lecture video. After that, they walk to their seats still from different directions, Bruno going left again, Guy going right again. Fina
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