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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 in this scene is supposed to be an intimate moment shared between the two characters as well as an self-examination for Fanny as she's debating over her feelings for Nicky. If Streisand had portrayed it more theatrically, it would've not only lost the sense of intimacy that's being depicted in scene, but it also would have completely changed the meaning of the song from tender and almost whimsical to somewhat g
  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) Even though both films have very different themes, they both have quite a few similarities that might be worth exploring. For example, both are set in turn-of-the-century London during the height of class distinction, both of the main female characters are being manipulated and verbally abused by overly cont
  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? One of the most noticeable changes in masculine performances is that there seems to be more focus on expression and less on dominance. In the past, the idea of the leading man was generally dominant in terms of both performance and portrayal. In most early musicals, we often saw the leading men such as Fred Astaire and Bing Crosby play the suave, sophisticated hero who always got the girl all while managing to sing or dance
  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? In a way, it pays homage to the backstage musical first developed in The Broadway Melody (1929) and 42nd Street (1931) by highlighting the whole aspect of vaudeville and how the conception of modern show business started. It also shows it's colors as a modern musical by trying to push the envelope with subject matter, even at the very beginning! For example, as seen in the clip, we are first introduced to the characters and w
  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? Not really, throughout most of the film we see more realistic settings to describe the look and feel of Paris during the era in which it was made. Even though some of the settings are a bit stylized, we get a chance to observe the sights and sounds of the city itself. Characteristics such as the streets, cafés, people and their culture all come to life right before our eyes, even in a seemingly mundane way. Essentially, the point of
  6. 1. How do the pre-dance movements of O’Connor and Kelly compare to their actual dance movements? In the pre-dance movements, it's obvious that neither of the characters are really interested in the elocution lesson and are mainly there just to poke some fun. You can see how O'Connell's character clearly mocks the professor with his silly facial expressions without any qualms whatsoever. Of course, Kelly's character tries to pay attention to the lesson, but ends up getting swept up into O'Connell's jeering and jesting. Once they join forces together transitioning into the dance everything
  7. 1. As you reflect upon female representation in the 1950s, where do you think this film character falls in the continuum? Why? Well, depending on the fact that we see female representation in most films during the 50s portrayed as being mostly feminine and glamorous, I believe that the character of Calamity Jane and Doris Day's portrayal of her is a nice contrast. Mostly because it's a good depiction of what women could really do in terms of being strong and hardworking especially during this time. In the first clip, we see Jane as stage coach scout who protects the stage from being attac
  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? Not only is the scene putting emphasizes on the themes of being community driven and offering inclusion, but it also points out the theme of the world-is-your-oyster mentality. The possibilities seem absolutely limitless and everything is viewed with a sense of positivity and endless enthusiasm. Which makes sense since World War II had finally ended and the Allied Powers won.
  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 song simply expresses and acknowledges Petunia's utter love and devotion to Little Joe despite how he's treated her in the past. We can see from the beginning of the scene as she rushes to her husband's bedside when she discovers he's alive and well after suffering a near fatal gunshot wound. She continually proclaims her praises and affirmations to God for answering her
  10. 1. Thinking like a director and editor, describe how each shot spotlights key actions. In terms of shooting and editing for this sequence, everything's just laid out perfectly. The way the wide and close-ups coincide with the actions being conveyed and the way they were initially shot really exhibits the set-up of the scene itself. As we can see from the very beginning, Betty Garrett's character, Shirley is obviously quite interested in Frank Sinatra's character, almost to a point were it becomes increasingly uncomfortable to watch. The best way this sense of discomfort and practically cl
  11. 1. What was the first Judy Garland film you recall watching? What was your first impression of her? Like everyone else, the very first Judy Garland film I ever saw was The Wizard of Oz. I was about eight years old and my parents and I were in the local Rent-A-Center to purchase some furniture. I was extremely bored like most eight year olds would be in this type of situation, so I went to look for something to do while my parents were talking to the salesman. Right away, I noticed that they were playing a movie on one of the television displays and so I plopped myself on one of the chairs
  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. Well, at the beginning of the scene, we open up with the main character of George M. Cohan coming to the White House to meet the President. Right away, the audience is introduced to the two most significant symbols in America. The White House, which is represents our country's freedom and sense of democracy. And, the President himself, which represents not only leadership but the consciousness a
  13. 1. What other aspects of battle of the sexes do you see indicated in this clip or in the film Top Hat? It's very plain to see that Astaire's character is trying very hard to woo Rogers' character, but she somewhat apprehensive about the prospect of being in a relationship. This is mainly due to the fact the Astaire character simply sees her as nothing but a woman and therefore must fill the conventional role. Based on this and the fact that he may never truly see her as an equal, she attempts to resist his advances. But, it isn't until they dance together in a seemingly simplistic fashion
  14. 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)? It's pretty obvious that Lubitsch had quite a knack for subtle humor and sensual innuendo as well as sharp visual wit. The way he manipulates the flow of the scene with just a few props and limited dialogue is quite impressive considering this was when sound films were just starting. It's quite apparent he got his start in the silent era because the scene mainly plays out like a silent film normally would with the way the actors s
  15. 1. What do you notice about the interaction between the characters in these two scenes? In the first clip, the characters seem to be quite playful in their interactions with the sense of flirtation that's being presented in the scene. The subtle humor and cheeky banter indicate that although on the surface they may seem ambivalent towards one another in reality, they're simply masking their true feelings for each other. Plus the fact that Nelson Eddy's character sort toys with Jeanette MacDonald's character by dropping that line about how he used his love song to woo other woman and could
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