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LillianAM

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  1. 1. I think a more theatrical and expressive performance would imbue the scene with a brash confidence and intensity that would have completely disrupted the nuanced emotions Streisand brings to the scene - her shyness, the hesitation, her isolation - and robbed the scene of the beauty expressed in these small details. 2. Sharif starts out close and trails behind Streisand as she sings, but as the song nears the end, he is at a noticeable distance from her, a gap between them that has not been bridged yet. Streisand, on the other hand, while walking ahead, constantly looks back at him, sh
  2. 1. I'd like to compare and contrast the themes and filmmaking techniques in this scene of My Fair Lady with those used in another 1960s musical, The Music Man. Both feature relationship dynamics that focus on power imbalance and lacking communication between the two and use the costuming to display feelings (Eliza feels highly visible on the outside but her real self is hidden, shown through the white dress covered by the bright cloak; Marian wears muted colors when she ignores Harold and wears a soft pink when she realizes she loves him) as well as using lighting as a method of displaying enl
  3. 1. I think there are three pretty big changes in male representation in movie musicals from 1930s-1970s: the demure, sophisticated man who was sweet/sensitive and unassuming, graceful dancing and tender crooning, what would be known as a "beta male" type, (Dick Powell, Fred Astaire); the manly, "alpha male" type who took charge and whose presence/swagger filled every room he was in (which also shone through in their confident dancing and bold voices), this was the man's man who could be a soldier or just a good old American stud (Gene Kelly, Bing Crosby); then we have a new type of masculine p
  4. 1. The staging of the scene and its overall presentation are reminiscent of the way old-school musicals were done, particularly the types of musicals known as "backstage musicals" that were all about putting on a show. However, Gypsy really seems to be looking ahead to the disruptions to come with its dialogue, characters, and costuming; this is a vaudeville performance, not the glamorous shows of Broadway or put on in early movie musicals where wealth and privilege were obvious in every aspect. All of the characters are presented as a collection of "lower class" individuals and far from the
  5. 1. The ballet ending is a lengthy fantasy from Jerry about his relationship with Lisa and so it's stylized nature, with the gorgeous eye-popping colors, magnificent costumes and elaborate dance numbers is made all the more effective by being prefaced with a setting that's placed more in reality (though Vincente Minelli always manages to make every setting stand out in some way). One of the ingenious ways he prepares us for the ballet sequence is by having most of the preceding scene (the ball) filled with only black and white costumes and mise en scene so the colors pop even more, adding to th
  6. 1. Even before they start dancing, the movements of Kelly and O'Connor are fluid, graceful, and so in sync with one another that it isn't jarring for them to segue into the dance number. In a way, their pre-dance movements have a "loose" kind of feel to them, reminding me of how an athlete stretches before a game; in this way, the pre-dance movements are in preparation for the precise and complex dance work ahead. 2. The role of the straight man is to be the lone figure of sanity, normality in the face of bizarre behavior; he's the standard the rest of the cast in the scene is measured u
  7. 1. I think the character of Calamity Jane falls somewhere in the middle of the continuum for female representation, inching a bit closer to the more feminist side of it because while Calamity Jane does experience a love story and her relationship with a man takes up some of the story of the film, it is ultimately a story about her and her relationships with the townsfolk, her profession, her friends/rivals, and herself. The concept of changing any part of herself for a man is an issue, especially as there isn't anything really wrong with her beforehand and I like her exuberant, rough and tumbl
  8. 1. Throughout the scene, dialogue/lyrics and choreography are used to illustrate the messages of unity, cohesion, and conformity (especially when Fred Astaire joins in the singing partway through) conveyed in the ways they include or relate to each other - they each start singing where the other leaves off, they're constantly in step, move fluidly with and around each other, and make every small interaction (lighting a cigarette, removing hats, etc) look like complementary motions. It's different than previous musicals because no single person is taking center stage and is "putting on a show"
  9. 1. The seamless, faded transition from bedside to hanging laundry outside is not only a way of illustrating the passage of time, but also of creating a direct connection between Petunia's devoted love to Little Joe and her devotion to the wifely duties of household chores. The camera's focus is constantly on Petunia, highlighting the scene and song as a prime example of what is considered "good" behavior for women and wives that the audience can take home with them. 2. The relationship between a woman and her child is one that is rooted more in protection and almost single-minded devotio
  10. 1. Every shot in the scene utilizes the location and framing to have Sinatra constantly cornered by Garrett - against the walls, bleachers, railings, etc. It's a credit to the directing and editing that such a wide open space is made to seem so confining. By setting up each shot so that Garrett can use the setting to gain the upper hand, a fluid connection between the actress and the location is creatively used to conveying a kind of courtship "dance" with no actual dancing. 2. Even though the musical portion of this scene doesn't actually contain any dancing, there is still a fair amount
  11. 1. The first Judy Garland movie I can remember watching is The Wizard of Oz, which probably comes as no surprise. From that first viewing (what I can accurately remember of it) and subsequent viewings afterwards, I was enamored with Judy Garland's portrayal of Dorothy and loved (still do) the skillful way she weaves spunk, naivete, kindness, and ingenuity into the character. Not to mention the singing and dancing; I still can't look away when she performs Somewhere over the Rainbow. 2. After viewing those two clips, the only part of my viewpoint that's changed is I now admire her more not
  12. 1. The scenes in this Daily Dose promote American values by having patriotic props in abundance and in clear view (American flags dominate nearly bit of space captured by the camera), providing two specifically American settings through the White House and a lively small town. Additionally, the set design for both these places even further contributes to the spirit of patriotism in that the White House is designed in a serious manner, with an air of grandeur whereas the small town is designed in such a way that it invokes a homey, relaxed, and joyful feeling many Americans could probably relat
  13. 1. Other aspects of battle of the sexes indicated in this clip extend not only to the clothes they wear, a metaphor for equal standing with men women were fighting for and granted in some aspects of society, and the dancing, competitive to prove women and men could perform the same tasks, but also in the smaller details, like Rogers rebuffing Astaire until he invites a playing field for her to be a part of or the handshake at the end or how they are constantly staged in such a way that they are right beside each other and always in step, even jumping off the gazebo together, a demonstration of
  14. 1. What I noticed about the Lubitsch touch is how it utilizes what would otherwise be characterized as static images/close-ups to convey the plot (useful since most of the dialogue in this scene is not in English) and to make implications that wouldn't be appropriate to voice aloud to audiences watching the film. The character of Alfred is a roguish man who seems to think on his feet and behave confidently around everyone and in the face of whatever problem he has. This understanding is aided by the props in how he carries them (the garter being hidden and also tossed around, the gun stored wi
  15. 1. In both scenes, there is noticeable distance and formality with the interactions between the men and women, but in order to convey courtship and love, both the camera and editing are used to great effect. In the first clip, even though both are together on the boat, there is still a slight barrier between them, creating a respectable distance that conveys to the audience their closeness without there being any suggestion of impropriety. In the second scene, they're further apart and the camera cuts back and forth between them to convey not only their interest in one another but also their i
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