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AndPeggy

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Everything posted by AndPeggy

  1. 1. I feel as if the medium of film demands a much more intimate connection between the performer and the audience, and for the performance to accurately reflect and be influenced by that demand. In this scene, there is no need for Streisand to play to the rafters, so she can afford to tone down her delivery of the song. The camera allows us to see her emotional transition through the number by zooming in on her face and keeping her in the foreground. We are in her personal space as she expresses her feelings, so belting rather than crooning would be unnecessary and would have an opposite effec
  2. 1. Thematically, the biggest connection between the events of this scene in My Fair Lady and the film, Gaslight, is the interaction between the male and female lead characters. The term, "gaslighting", is defined as a manipulation or delegitimization of another person's feelings towards a situation, to the point where their own sanity is questioned. The latter film is the very namesake of this phenomenon. Eliza feels demeaned beyond repair at the discovery that her transformation was merely the product of a bet between Higgins and Pickering, and that the former gentleman never truly valued her
  3. 1. As the movie musical is transitioning through the 1960s and beyond, we are starting to see a broadening of not only the types of male characters seen, but also the actors capable of playing them. Gone are the hard and fast categories of "alpha" and "beta" males; actors are no longer playing a vague archetype of what sort of man they "are". Instead, with the rise in popularity of various acting techniques, performances are becoming increasingly nuanced, multi-faceted, and true-to-life, even in the fantastical world of musicals. 2. The most noticeable thing about both of Preston's perfor
  4. Anyone seeing any information/ instructions in this module when they click on it? The screen just keeps coming up blank for me, both on my desktop browser and on the Canvas app on my phone. Help!
  5. 1. As with many of the classic movie musicals in previous eras, Gypsy has a very heavy backstage element, as it is more about what happens in the lives of the performers behind the scenes, rather than the action on the stage. The scene is set during the days of vaudeville, from which many of the early movie musical actors originated and honed their skills, and whose songs created the scores for many of the first musical films. However, the scene itself could be interpreted as a metaphor for the coming disruptions occurring in Hollywood and its studio system at the time the film version of Gyps
  6. 1. I think, with such a highly-stylized scene as the ending ballet, the rest of An American in Paris can afford to have its aesthetic much more rooted in reality. To American audiences - many of whom may probably never see the real thing - the very idea of Paris is already surreal and romanticized in its vision enough, even the more bohemian, slightly grittier-looking sections as Montmartre. Gene Kelly's character is intended to represent the "everyman" in the film, and even the title of the film itself hints at the concept of a "fish out of water", however realistic-looking the world he inhab
  7. It's one of my favourites, though I feel your pain; that's how I felt about "Guys and Dolls" ... and still do, after forcing myself to watch it this week. Still not a fan. ???
  8. 1. O'Connor and Kelly's pre-dance movements are used both as a way of establishing rhythm and tempo once they begin officially segueing into the actual song, but also are played up for comedic effect. The elocutionist is taking the lesson much more seriously than they are, as they haven't quite grasped the seriousness of the logistics behind making the transition to sound pictures. Their grandiose gesturing and over-enunciation of the song's central phrase is their way of gently mocking the affected gravitas of more "serious" actors on, for example, the stage, which kind of hearkens back to Ke
  9. Luckily I was able to hole up in a Starbucks and partake of their WiFi to watch it. I've seen it a whole bunch of times but wanted to refresh my memory about certain details. It's weird because they've bumped the movie from their schedule without notice before, like during "31 Days of Oscar".
  10. Sooooo, yeah. "Gigi" isn't airing at all on TCM in my neck of the woods (Toronto, Canada) at the scheduled time (12:15 am ET). There's a non-musical film with Leslie Caron in it showing instead. It was one of the films the course recommended we watch, so, what gives?! ?
  11. 1. I feel as if the character of Calamity Jane starts off as a complete rejection of the concept of femininity in film and society in the 1950s. She is so adamantly against any of the outward trappings of womanhood in her clothing, her vocal qualities and her demeanour. Jane is so determined to prove her mettle in her extremely male-dominated line of work that she feels she has to overcompensate by completely abandoning any sense of traditional femininity. As the story progresses to the second scene, we can see that Jane has found a way to make what it means to be a "woman" (both on and off-sc
  12. Right?! I totally got that same impression! Like guys, complete egalitarianism is pretty much what socialism is based on. You're doing it wrong! ?
  13. 1. The most noticeable aspect of how the four characters relate to one another here in The Band Wagon, as opposed to other musicals, is that they all seem to collectively be working towards the same objective in their performance. In music theatre - and in theatre in general - we are often taught that certain songs or scenes are used by a character to get what they want or need from another individual(s) in the story. In earlier movie musicals, that type of interaction is often strictly between the character who is "selling" their objective, and the character who is their intended target. They
  14. Yeah, it seemed to work better when accessing the Badges tab directly from the app's sidebar. Thanks! ?
  15. 1. The song does an excellent job at highlighting Petunia's warmth and innate sense of nurturing. Her unconditional love for her husband is what fuels her to create a perpetual nest of cozy domesticity, even in the face of certain hardship and struggle. We see her finding delight in taking laundry off the line, but it's not the mere task she revels in; it's what that task represents. She will take pleasure in doing the laundry for the rest of her life, if it means the shirts worn by the man she loves so dearly - one of which she embraces as if embracing Joe himself - are among it. 2. I fe
  16. Anyone else having trouble getting their Week 2 quiz badge? The app displays a message that a badge hasn't been released for the quiz module yet. Is this correct?
  17. 1. The most notable thing to me re: the shots used in this sequence is how it's made very clear who the camera is meant to focus on: Betty Garrett. The way that it follows her every move - even so far as to stay steadily trained on her as Frank Sinatra literally slides out of frame, until she follows him - highlights her intention to call the shots in both her and Sinatra's characters' romantic future. It is as if the camera - and in turn, the audience - is already sold on the idea of the two of them ending up together, and is faithfully tagging along for the chase, as if to say, "What the hel
  18. 1. My first impression of Judy was, like many people, from watching The Wizard of Oz multiple times as a child. It was my only real, sustained exposure to Judy's work for a very long time, and the biggest takeaway from her performance in that film was that she was someone who exuded such a rare earnestness and vulnerability in every line she spoke and every line she sang. She was 1000% in her feelings at all times; her voice always sounding like she was on the verge of tears at any given moment. It's an honesty and purity that draws you right in and allows you to trust her completely as she co
  19. 1. The image that stood out to me the most in this scene as a symbol of American values is the scene where Cohan and the valet are walking up the stairs in the White House, flanked by portraits of past Presidents, while the valet reminisces about seeing Cohan for the first time while working under Teddy Roosevelt. The background serves as a hearkening back for audiences as to the legacy of the Presidency at this time: image after image of men who were entrusted to uphold and preserve democracy for the people they served. As this portion of the scene concludes, Cohan is ushered into the Oval Of
  20. 1. Regarding the clip specifically, the "battle of the sexes" is illustrated through the way the dance number is structured. As the lecture notes point out, this is not the typical couple's dance with the man and woman swaying cheek to cheek. In fact, Astaire and Rogers don't even truly make physical contact until she is able to prove that she can match him, step for step. As much as she may be starting to like him, she is not here to be wooed or swept off her feet; she's here to work. Regarding the movie as a whole, the spine of the film is the two main characters ruminating on the idea of
  21. The fact that Powell started off in ballet speaks volumes when you watch her in her big tap number in Born To Dance. The lines her body makes are so precise, and she's able to stop and hit these poses mid-dance for a split second, and hit them exactly, multiple times in a row. You can see the attention to technique and form completely permeate her dancing, down to the smallest isolation of a toe tip. With Keeler, she might not have the same technical flair - I guess she'd be what would have been defined as a "hoofer" at the time - because she puts her whole body into every movement, so th
  22. 1. The one example that stood out to me the most re: Lubitsch's influence was when the camera goes into a close-up, tracking shot of Chevalier carrying the revolver over to be put away in a drawer, filled with other revolvers. It's a very clear indicator to the audience that this is not the first woman - married or otherwise - he has been caught in flagrante delicto with, and his calm demeanour during the whole scene means he knows exactly how it ultimately plays out. The revolvers are the notches in his proverbial bedpost, and this is yet another instance of him going through the motions whi
  23. I'm going to come right out and say it, though ... Buddy Ebsen steals every scene he's in in this film. Not only hilarious, but his dancing is sublime. Not gonna lie, I think I've just developed a bit of an old-timey crush on young Jed Clampett.
  24. 1. The thing that stands out to me the most is how connected the two actors are to each other emotionally, despite having next to no connection to each other physically or visually. In both the canoe scene and the saloon scene, neither Eddy nor MacDonald directly look at each other, yet both are so acutely aware and are intensely feeling and reacting to what the other is saying and/ or doing. The closest modern day equivalent that I can compare this sort of interaction to would be having a conversation via text or direct message, rather than face to face, or even, say, video conferencing. All
  25. 1. Absolutely. If you contrast the stylistic techniques in the clip with The Broadway Melody - which was made right before the Depression - everything about them has an escapist quality meant to keep you fully immersed in the world of the film: the soft focus of the camera lens, the incidental music covering all of the transitions, the way money flows through the characters' fingers (no one is buying that many orchids at one time in 1936!). Some of these things might be attributed to advances in filmmaking in the seven years between the two films, but Ziegfield definitely covers its subject m
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