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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? If she had performed more theatrically it would have seemed like a performance. Instead the song felt real and natural. 2. Note the emotional transition moments in this scene: how do the two characters relate to each other as the lyrics are sung? Omar's character is more focused on Barbra's character when she begins to sing. He seems more entranced and interested in her as the song progresses. 3
  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 with Gaslight, compare and contrast Cukor's theme in this scene and his techniques with another musical you have seen during this course) Both movies have the common theme of a controlling, domineering man. They also take place around the same time frame. There's also a good usage of shadows and light. The shadows and light often reflect the mood of the character(s). I love that in movies. 2. Note the emotional transition moments in
  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 beginning males seemed to be portrayed more as "performers" or perfectly tailored. Once you reach the '60s, they seem more like the kind you'd invite to dinner. More relaxed. (Honestly, it's hard to put into words exactly what I mean.) 2. What other specific qualities do you notice about Robert Preston in either or both of these clips? I LOVE Robert Preston in "The Music Man." He's super addictive to wa
  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's a vaudeville setting. It was the beginning of musicals. It shows the pushy "stage mom" in her element. 2. This is the introduction of Mama Rose in the film. Comment on Rosalind Russell’s entrance and performance especially as a traditionally trained stage and film actress. Russell commands the room. She enters with force and uses that force to propel her daughter along. She is powerful, but lovable at the
  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? Since the ballet number is all fantasy, it can be less realistic and stylized. However, the rest of the film is supposed to be real life, so it is best if it stays as realistic as possible. 2. What keeps Jerry Mulligan from being completely unlikeable in a scene in which he acts pretty darn unlikeable? He seems very approachable in his dress. He also seems humble; especially when the lady wants to buy a painting and he
  6. 1. How do the pre-dance movements of O’Connor and Kelly compare to their actual dance movements? They are on the beat with their arm movements and speech inflections. Their rhythm flows straight into their fabulous dance number. It is a seamless transition. 2. Watch the Professor all the way through and consider the role of the straight man. The professor is in a state of mixed shock and confusion throughout the number. He wants everything done seriously, and does not know what to think when Kelly and O'Connor begin acting out. He becomes a prop in their number; especially at t
  7. 1. As you reflect upon female representation in the 1950s, where do you think this film character falls in the continuum? Why? This is among the first representations of a female tomboy in the movies. It shows progression in characterization in films. 2. How do you think Doris Day grows as an actress in her various roles in the 1950s, before and after this musical? First of all, I absolutely LOVE Doris Day. Her first roles were more tomboyish, and I feel that this role is the epitome of them. In the later '50s into the '60s, she becomes a refined leading lady. 3. Does Dor
  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? The characters are all friends, and they play off of one another very well. They make fun of one another, and the scene is one of what seems like improvised creativity. It's different because it's a group putting on a fake show rather than a group putting on a real one. 2. What do you notice about the costuming of the characters that indicate cohesiveness of the ensembl
  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? You can tell that Petunia loves Joe very much. With the song being cut into a two different scenes, I believe this shows the passage of time. Joe is still getting better. 2. How would the song change if it was a woman singing about her child? Does the cultural meaning change? How? I feel that if Petunia was singing was singing to a child, she would have cried. It al
  10. 1. Thinking like a director and editor, describe how each shot spotlights key actions. The shots portray Betty's pursuit of Sinatra. He is frequently pinned against part of the set or completely caught by her. I echo others' comments when I say, "He have a chance to escape." 2. It’s interesting to examine how musicals segue into musical numbers. How does this sequence prepare us for the singing? The music crescendos and becomes quicker. That informs the viewer that a song is coming. The beat also implies that it's more of a pursuit than a romance number.
  11. 1. What was the first Judy Garland film you recall watching? What was your impression of her? My first Judy film was "Meet Me in St. Louis." I absolutely fell head-over-heels for her. I was around 13-14 at the time. Ten years later, I still adore her, and have seen MANY more of her movies. She's so talented, and she sucks you into the plot. 2. How do you view her differently after viewing these clips than you might have viewed her previously? Not really. I still see her as an incredibly talented human being. 3. What films in her later career come to mind as examples of 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 American flags, photos of ships, and patriotic patterns promote the American spirit and unity. 2. Listen carefully to the dialogue in these scenes. In what ways does the dialogue and/or the screenplay work to boost American morale? Quote specific lines of dialogue in your response. The President tells Cohan how he likes his (Cohan's) patriotism. Cohan also talks about the American
  13. 1. What other aspects of battle of the sexes do you see indicated in this clip or in the film Top Hat? Astaire first does a few steps. Then Rogers retaliates and does a few steps of her own. It's almost like a dance battle of "who can do it better?". It is as if she is saying, "Oh, really, you can do that? Well, I can too." 2. How does this film distinguish itself from other Depression era musicals we have watched or discussed this week? "Top Hat" is a cheery, upbeat, funny film. It is one of my top three favorite films of ALL time (not just in the musical category). The dancin
  14. Hi, I read that there is a recommended reading list somewhere, but I can't find it. Has anyone else found it? Thank you!
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