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Linjo

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  1. Explore any common themes and film making 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 set designs are similar - heavy, over-done and oppressive rooms with very little natural light. Both women are dominated by men who are manipulating their lives for their own purposes. Cukor plays with the shadows to underline the women are living in shadows. Note the emotional transition moments i
  2. 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? Belting would not have matched the scene to me (I never saw the play just the movie). The way it is performed is much more intimate, like a soliloquy - Fanny is revealing her true feelings to the audience and Nicky. I think she reveals far more in little gestures and glances - the lover lyrics - than if she was in full performance gear. You understand the complexity of their relationship in the few minutes of this love
  3. 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 vaudeville setting is the standby scene from classical musicals as is the kids auditioning to put on a show. The producer is there as well as the on-stage presenter. It's a little seedier looking than most classic musicals which more fondly remembered vaudeville. Usually the main actor(s) showed some talent but the two little girls are not that great with one (Louise) pretty bad indeed. The entrance of Rose is a disruptio
  4. I think it depends on the story and how the director chooses to interpret that story as to whether the entire movie has the same artistic style or not. A change makes a point. I like that the ballet scene is different because it is in the character's imagination and all of his experiences in Paris - the people, the market places, his desire to be a painter inspired by the great French impressionists, nd of course his love for this young French woman. The stylistic difference reminds me of the sepia sequence in Wizard and how that is used to contrast Dorothy's ordinary life in Kansas as opposed
  5. How do the pre-dance movements of O’Connor and Kelly compare to their actual dance movements? Kelly and O'Connor's back and forth on the Moses Supposes lesson then their syncopation on the words rhythmically sets up the dance. The two mirror each other near perfectly throughout the sequence with only brief solos by each. The Foley Tap matches their dancing on the nose to me. Watch the Professor all the way through and consider the role of the straight man. He's in control (or believes he is) briefly then loses it to the antics of Kelly and O'Connor. I don't think he knows what to
  6. As you reflect upon female representation in the 1950s, where do you think this film character falls in the continuum? Why? Middle of the pack. Calamity is a tomboy and happy to be who she is. For the most part, it seems the community outwardly likes her and appreciates her work yet when she really tries to be "one of the boys" in the saloon scene the men push her aside and ignore her. Until she shoots off her gun. They get the last laugh (and enjoy it) on her when she fumbles at the bar and falls on her ****. Maybe that's a statement about a woman pushing too hard against society for equa
  7. 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? They respond listen and respond to each other as a group. No single character is doing all the talking or performing. Each is on is contributing a "bit". Previous musicals tended to feature one - or two - stand out performers possibly supported by a chorus line or numerous extra dancers. What do you notice about the costuming of the characters that indicate cohesiveness o
  8. Report post Posted 9 hours ago 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? The focus is totally on Waters and the emotional and genuine feeling she is infusing into the lyrics of the song. This man means everything to her and her life is content as long as he loves her. I think the cut to her hanging clothes while Joe watches her from his wheelchair shows time has passed in
  9. Thinking like a director and editor, describe how each shot spotlights key actions. The whole sequence is a reversal of a man stalking a woman he is obsessed with. She confronts him in the hallway, chases him up te stairs that lead to the bleachers - so we go from a confined area to a more open yet constricted area (lined the seating) so Sinatra only has one clear direction to go until she corners him at an opposite stairway exit. The music has been building to this moment when she speaks her mine quite plainly and challenges him to play ball with her because its fate, baby - she even be
  10. It has to be The Wizard of Oz as a child. Every year (for a time) they played it on TV and it was a ritual (one my mom got tired of viewing as we only had the one TV). She was so likeable and appealing and you truly felt her emotions throughout the film. You shared the journey with her. And what an incredible voice for a petite, teenaged girl! I think Meet Me in St. Louis was the next one I remember - still love the film and Judy's performance of Have Yourself a Merry Little Christmas is memorable and no one has every topped her delivery in my opinion (it's also my favorite holiday song).
  11. 1. The flag in the oval office, the portraits of past presidents lining the walls of the stairway, the flag pin on Cohan's lapel, the paintings of naval ships (FDR was the Secretary of the Navy in WW1) in the oval office and the presence of FDR, recounting the Providence 4th of July parade (and when Cohan was born) - all of these visuals emphasize American history and presence and the FDR makes it current to the audience. 2. This line - That's one thing I always admired about you Irish Americans. You carry your love of country like a flag, right out in the open. It's a great quality. - il
  12. 1. What other aspects of battle of the sexes do you see indicated in this clip or in the film Top Hat? It shows that a confident woman can always match the man. The similar outfits keep equalize them as well as the matching steps, swaggers, jumps, and twirls. It is the beginning of the courtship and they don't touch until well into the number; they've gotten to know each, assessed the situation and like what they see. Only then do they touch n dance as a couple with the music and thunder emphasizing the strength of the attraction. The dancing speeds up and slows just as a relations
  13. 1. 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) Ah, the humor of the Lubitsch touch! I see the sleeping dog on the couch - he obviously has been through many evenings like this and is used to it. The multiple pistols and garters in the Count's secretary - again this situation has happened numerous times before. The graphic of the scantily clad lady above the secretary. The shooting that isn't a shooting and the Count's checking his body for a gunshot that never touched him - and
  14. 1. What do you notice about the interaction between the characters in these two scenes? Please give specific examples. In the canoe clip, it's playful, teasing and lightly suggestive enough to be fun but not upset the code. He obviously likes her and she's pretending not to but she does (a typical scenario in movies of the era). The bit about changing the name in the song to suit the current flame is amusing and shows both have a sense of humor. The humor also shows he may flirt but he's not a bad guy and she gets it. The second clip further demonstrates the two have feelings for one anot
  15. 1. Depression-era musicals were pure escapism - I can't think of any offhand that portrayed life as really experienced by the majority of the filmgoers. I think the filmgoers wanted to dive into a beautiful, happier place inhabited by beautiful people in gorgeous clothes living sumptuously without a serious care in the world. Two hours of relief from reality - and the studios delivered that relief. Five pound tips, exotic, expensive flowers to impress a lady and business decisions made on a whim - its another world. Who wouldn't want to live in that world? 2. I would anticipate the sam
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