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  1. The technical problems took up about half the time of the telecast. I think that--if there isn't a significant improvement in the tech capabilities for another class--it would work better to to just have the students submit the questions and to have the moderators answer them on the air. I appreciate the work of Dr. Ament and Dr. Edwards in putting the activity together and doing the best they could to keep on topic while dealing with all the technical challenges.
  2. 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? Fanny is hesitant at first, implying the "a great guy like you is talking to a nothing girl like me" dichotomy that affects her relationship with Nicky for a long time. She's quietly explaining her feelings to him and beginning to realize them herself. In the arc of the show, one wants to build to the loud self-expression of "Don't Rain on My Parade" and the emotional journey of "My Man". 2. Note the emotional tr
  3. Explore any common themes and film making 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 turn-of-the-century, London-based films center around a woman living in a large, fascinating house serving as both a home and a cage (run by a controlling man). Note the emotional transition moments in this scene, how the actors portray them, and how Cukor supports them. What we don't see in
  4. 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 general, the masculine performances changed with the styles of music--relaxed jazz (Bing Crosby in Going Hollywood), stalwart operetta (Nelson Eddy in Naughty Marietta), charming standards (Fred Astaire in Easter Parade), rebellious rock and roll (Elvis Presley in Jailhouse Rock), and rough-edged rock (Kris Kristofferson in A Star is Born). I'd put Robert Preston's performance in The Music Man in a category of consummate pr
  5. In what ways does this scene look backward to classical musicals and how does it look ahead to new disruptions that we now know will happen in the movie musical? The film has the lush cinematography, sets, and costumes of the classic era. To me the grittier elements (edgy lyrics, disruptive characters) not only look forward but hearken back to a pre-code era of musicals like Applause (1929) and 42nd St. (1933). 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. M
  6. 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 As others have noted, the many flags, the portraits, the naval/military imagery and being in the White House itself all establish the glorification of the U.S.A. and the importance of the military and leadership. 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.
  7. 1. What other aspects of battle of the sexes do you see indicated in this clip or in the film Top Hat? Ginger/Dale being in clothing resembling more-traditional male clothing seems to set up a "challenge of equals" situation. In the sexist world of the 1930s (and even in the 2010s), women dressed in traditional men's clothing is considered chic and empowering, while men dressed in traditional women's clothing is considered humorous and emasculating. 2. How does this film distinguish itself from other Depression era musicals we have watched or discussed this week? As others
  8. 1. Humor, class, and sexuality abound in the typically-Lubitsch scene. One of the funniest elements is that I thought at first the woman was Chevalier's jealous wife, but--while she WAS jealous of whoever had owned that garter--we learn that it's the woman's husband banging on the door (implying that she too was cheating with Chevalier)! 2. The 2 gunshots make us realize that's it's a real gun really firing (bringing drama to the comedic, sexy scene). We learn later, of course, that it wasn't loaded! 3. I think Chevalier's attitude of "I can calmly get through this seemingly-dis
  9. Cagney's stylized dancing (so on view in "Yankee Doodle Dandy") seems like a natural extension of his aggressive, punchy screen persona. His rat-a-tat-tat tap dancing in the office scene takes us by surprise! His years of dancing in Vaudeville and Broadway no doubt helped him come off so naturally in his all-too-few screen dancing appearances. I think Cagney's marvelous in "Footlight Parade"!
  10. What do you notice about the interaction between the characters in these two scenes? Please give specific examples. If you have seen either or both of these actors in other films or television shows, please share your perceptions about them. What do these clips tell you about the male/female relationships as they are depicted in the films during this era? What norms might you expect are supported under the Hollywood Film Code? 1. As one of the quotes Dr. Ament included suggests, it's MacDonald's and Eddy's wonderful voices that touch each other, not their bodies! They both se
  11. 1. MGM was already the Tiffany's of movie studios ("More stars than there are in the heavens"), so they KNEW how to produce a first-class musical by 1936! The luscious costumes, the period sets, the clean photography, and those glamorous stars all looked their best. 2. While one might think Depression-era audiences might have appreciated seeing themselves represented realistically in films, it seems they preferred the escape of seeing a heightened reality (as in "Top Hat" or "The Gay Divorcee") or the glory of a past era (as in "The Great Ziegfeld" or "Naughty Marietta"). 3. Cert
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