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GenineSanderScott

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  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 Streisand would have presented "People" more theatrical, expressive, and belting, it would have felt more like an argument in a debate than the introspective, emotionally revealing song it is in the film. We learn about Fanny through this song and see a real, true vulnerability in her. Nick does too, and it is through this song that he realizes how she feels about him. Note the emotional transition moments in t
  2. 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) The use of shadows and light plays a part in both films, and are used to express the emotions at the time in the films. For instance, in our scene from "My Fair Lady," Eliza is hidden in the shadows -- in the shadow's of Higgins' success. At the same time, Eliza as a lady is just a shadow of her real, true self. T
  3. 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? I feel that with the onset of the 60's and beyond, we saw in masculine performances the rise of the Beta male. That is, they were less the "manly man," and often had qualities that we often associate as feminine -- such as being more sensitive. They did not have to be the Alpha male -- athletic, like Gene Kelly, or burly and strong, like Howard Keel. What other specific qualities do you notice about Robert Preston in
  4. 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? The scene looks backwards to classical musicals by involving the stage, much like "Broadway Melody of 1929. It also includes children auditioning and calls back to the days of Shirley Temple, Judy Garland, and Deanna Durbin. However, this scene is a bit grittier than the classic musicals and the lighting appears a little darker to me. It shows the seedier side of backstage life in a more realistic way than the backstage scenes
  5. 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? No. The ballet is Jerry's fantasy. The style and colors reflect this. If a less-than-realistic, stylized approach had been used throughout the entire movie, there would be no contrast for the ballet/fantasy. I love the mixture of the stylized ballet and scenes shot in the outside that are more realistic as it gives the film a wonderful texture. It is a beautiful film. What keeps Jerry Mulligan from being completely unlikeable i
  6. How do the pre-dance movements of O’Connor and Kelly compare to their actual dance movements? Both O'Connor and Kelly are a bit cocky and very playful in the pre-dance. As they recite the tongue-twister, they begin to bounce along to the rhythm and start to spin the Professor around, even before the music begins. Once it does, there is a seamless transition to the dance; and the dance movements flow from the previous dialogue. Brilliant! I LOVE this number! It has always been one of my favorites. Watch the Professor all the way through and consider the role of the straight man.
  7. As you reflect upon female representation in the 1950s, where do you think this film character falls in the continuum? Why? I love Calamity Jane's character. She is a tomboy who can handle anything and tackle things that even the other male characters would not (like getting the Lieutenant away from the Indians). The fact that they made her SUCH a tomboy is interesting, but typical of the time period. It would not have been the same movie if Calamity was a strong, capable female who also dressed like a "lady." That would be more like "Dynasty," which this was not. I loved the struggle Cal
  8. 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 in this scene relate to one another as more of an ensemble, rather than 1-2 stars (such as Judy and Mickey) standing out in a group. The pyramid move in the "That's Entertainment" number shows this perfectly, as each character depends upon the other for balance and support. What do you notice about the costuming of the characters that indicate cohesiveness of t
  9. 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 scene begins with Petunia waiting outside the door, clearly worrying about Little Joe. She rushes to his side and is relieved to see that he is better. She cares for him much as a mother does for a child, in a sense. However, that was the traditional role of the wife in marriage at the time. What I found particularly interesting was the lighting. When at his bedside, there i
  10. Thinking like a director and editor, describe how each shot spotlights key actions. Frank Sinatra bounds out of the locker room with Betty Garrett waiting for him. To escape, he has no place to go but to the bleachers. This leaves many places for Betty to "trap" Frank and have him squirm away. Each place of "entrapment" gives Betty another chance to get physically and sexually flirtatious with Frank. The music is very light-hearted and playful and underscores the lyrics beautifully. I also enjoyed the chase up the bleachers as the music reflected the upward movement and the downward move
  11. What was the first Judy Garland film you recall watching? What was your first impression of her? I believe that the first Judy Garland film I recall watching was "The Wizard of Oz" when I was about 4-years-old. I fell in love with Judy, and she was my childhood (and beyond) idol! I then saw her as Betsy Booth in the "Andy Hardy" film series and then in "Babes in Arms." With each film, I grew to love her and her talent more and more. How do you view her differently after viewing these clips than you might have viewed her previously? I don't view her differently. However, these clips
  12. 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 movie begins in the White House with America's President at the time, FDR. As Cohan ascends the stairs, there are pictures of several past presidents, including George Washington and Thomas Jefferson. All the while, the gentleman who is the White House butler tells Cohan that he remembers him 30 years ago when he played George Washington, Jr. After speaking with FDR, who mentions that he loves t
  13. Before I comment on the Top Hat questions, I wanted to comment on the dance sequences featuring Eleanor Powell and Ruby Keeler from the Lecture Notes. Eleanor Powell's body carriage is entirely different than Ruby Keeler's. Powell has a much more **** posture and seems to move from the waist down. Her arms are out-stretched, but more rigid. Powell performs several notable high kicks, acrobatic moves, and a myriad of turns (and I don't know how she didn't fall down at the end of the finale in "Born to Dance!" After watching the Lecture Video, I now know that Eleanor Powell began as a balle
  14. 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). The unzipped dress and the garter belt were part of the Lubitsch touch. Alfred's character is conveyed via his costume, the tux, suggesting money and sophistication. He knows how to zip his paramour's dress, indicating that he has a great deal of experience in this department. His vast collection of guns in the drawer shows that the situation has occurred several times before. Based on this scene, what are some of the things you
  15. 1. What do you notice about the interaction between the characters in these two scenes? Please give specific examples. In the first scene, they barely look at one another, yet are flirtatious. I think they play off of one another marvelously. Nelson Eddy is rather stiff, but endearingly so, in this scene. Jeannette McDonald, on the other hand, is a bit more relaxed and funny and sets up Eddy's joke delivery perfectly. 2. If you have seen either or both of these actors in other films or television shows, please share your perceptions about them. OK. If you can't tell from
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