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Dasi

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  1. 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? The song seems to fit part of the conversation they are having, continuing the mood of their evening: Intimate and close, sharing thoughts and idea, and learning about one another. 2. Note the emotional transition moments in this scene: how do the two characters relate to each other as the lyrics are sung? Throughout the song, from the very beginning, he is following her each time she walks away as she
  2. 1. Explore any common themes and filmmaking techniques in a very different movie also directed by George Cukor, Gaslight. (If you are not familiar withGaslight, compare and contrast Cukor's theme in this scene and his techniques with another musical you have seen during this course). Both are set in London around the same time period it seems, with Cukor using the scene to make each leading lady almost disappear amid the clutter of the furniture and printed wall paper of the time. Cukor also seems to use lighting and shadow to his advantage to set the mood of each scene. There is a scene
  3. 1. 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? In the past musicals, most of the lead men tend to be the strong type and very masculine -- handsome, wealthy, debonair -- ready to rescue the damsel in distress and be the hero that made everything better. Most seemed to be a little older and distinguished as well. As we march through the decades, we see men who aren't necessarily those things, with their flaws and vulnerabilities coming to the forefront more readily witho
  4. 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? It looks backwards in that it highlights the formula for many classic studio musicals, the production and behind the scenes which made up much of the plot -- putting on a show and finding the star for that show! Plus it focuses on something that was rampant back in the day of the big studios running things when they would do a casting call in search of the next big child star (ala Judy Garland or Shirley Temple).
  5. 1. 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? I don't think it does. I think part of the point of having the huge stylized scene at the end was because it was a fantasy - over the top, larger than life and colorful. The fact that the whole movie wasn't filmed in a setting like that makes the ending more meaningful and poignant. 2. What keeps Jerry Mulligan from being completely unlikeable in a scene in which he acts pretty darn unlikeable? Jerry seems like he
  6. 1. How do the pre-dance movements of O’Connor and Kelly compare to their actual dance movements? Their movements are already bouncing in rhythm with the words and phrases they are all saying, as if they are already moving their hands warming up for the upcoming song and dance scene. 2. Watch the Professor all the way through and consider the role of the straight man. The straight man in this scene is the Professor. The two "pupils" play off of him well, with the Professor the essence of seriousness and propriety not knowing the other two are playful poking fun at his le
  7. 1. As you reflect upon female representation in the 1950s, where do you think this film character falls in the continuum? Why? Women were still very feminine in most movies (and society) but this movie and it's star character are possibly ahead of their time. In an age where women were still wearing long sleeved dresses to cover up, with only a hint of a bustle here Calamity Jane comes and wears pants, has a side iron and is security for a stage coach! This movie seems to push the time line along for women characters in the movies, making them more than just the damsel in distress needin
  8. 1. 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 are a cohesive unit instead of having one star stand out, while the others merely observe. They are all participants. Each person is contributing to the song and dance. In past musical numbers there is usually one stand out star/focus while the rest of the cast at that moment merely is in the background observing until that portion is over. 2. What do you n
  9. 1. 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 scene shows how distraught Petunia is, thinking her husband is dying. Hearing her call for him, she flies to his bedside, kneeling down and thanking God he has been spared as she breaks into song. No matter his faults, she is married and that is her husband, whom she is thankful for his love and his person still being there with her. Even when times are difficult, as long
  10. 1. Thinking like a director and editor, describe how each shot spotlights key actions. The scene starts out with Dennis (Sinatra) relaxed tossing a ball as he enters the hallway where Shirley (Garrett) is laying in wait to pounce on him. The narrow hallway helps illustrate that the "prey" here has no where to run from the "hunter". Rather than push past her, he runs backward into the stadium/bleachers/ball field. Shirley begins to sing her logical ultimatum letting Dennis know he shouldn't run or fight it anymore that fate has deemed them a couple. Even the setting shows the viewer tha
  11. 1. What was the first Judy Garland film you recall watching? What was your first impression of her? I was a young girl, and my first time seeing Judy Garland was in 'The Wizard of Oz' (like probably everyone). I actually thought it was a real story and was terrified of the tornado, very fearful for poor Dorothy. When she sang, I wanted to be just like her -- unfortunately I can't sing a note that isn't off key. I thought she was beautiful and so poised for being a young girl lost in a foreign place. Her expressions and mannerisms fit perfectly, like everything was effortless for her
  12. 1. 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. The first scene opens with George Cohen getting one of the greatest honors, being invited to The White House for an audience with the leader of the free world, the President of the United States. As he is ushered in, the valet tells him what an honor it is and how much he and the President's (past and present) love his work. They walk up the large winding stair case with the eyes of past Presi
  13. 1. What other aspects of battle of the sexes do you see indicated in this clip or in the film Top Hat? From the onset, we see Dale (Ginger Rogers) sort of distancing herself from this man, or attempting to, even though Jerry (Fred Astaire) is desperately trying to woo her from the moment he woke her on their first meeting. In this clip, we see them on more equal footing then we have the whole film even with their clothing sort of "matching" where she is in jodhpurs instead of the normal pretty outfit she has worn at each of their previous meetings. The scene goes on to show how she isn't
  14. I appreciate both Ruby Keeler and Eleanor Powell as dancers. Both seem very accomplished in what they can do, but I think Powell seems more polished as a dancer. It's as if one is watching someone with training in ballet or classical dance, incorporating each into the tap routine she is doing. Powell seems very effortless and graceful, always beaming a megawatt smile as she glides about the floor. Keeler on the other hand, while she dances well it seems as if she has to really focus to get the steps correct and her footfalls are rather heavy sounding. Plus in the clip we watched, it was
  15. 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)? I honestly was not familiar with Ernst Lubitsch and his "touch" before this. I researched and read up on the Lubitsch Touch, and was pleasantly surprised that his technique is something I really appreciate in earlier sound films - one where a director uses everything at his disposable to try and create the mood/scene that he wishes. In this scene, we see Alfred (Maurice Chevalier) is a Romeo with a good nature, as we can surmise
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