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AndreaMK

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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? Had Streisand belted more, and made it more theatrical, it would have become a very SHOWY number, rather than a heartfelt number. Here, it is still intimate between the two of them, and the audience can sense how she feels. Had she gone full out for a stage performance, it would have felt over produced, and unrealistic. Note the emotional transition moments in this scene: how do the two characters re
  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) In Question 3 I mention how the distance between Higgins and Eliza is all encompassing with their state of minds, their social status, and also physically. The filmmaking techniques help create this distance with the angles at which they shoot, giving a larger sense of distance. Similarly, I remember the Da
  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? Over the decades, the male representation seems to change with the climate of the nation. I think about Astaire and how he didn't really have that Alpha male mentality in the 30s, which was fine, because it wasn't something the climate of America needed. But as we got into pre-War musicals, American's needed to feel strength and command from men. You then get the Alpha male with the Beta Male friend who show that someone
  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? This scene looks back to the classical musicals as it portrays a "backstage" musical. It's showing the inner workings of how the theatre works. It shows the future disruptions with the brass character of Mama, which is not something we typically see from female characters. This is the introduction of Mama Rose in the film. Comment on Rosalind Russell’s entrance and performance especially as a traditionally
  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? I believe the whole purpose of the ending ballet is to take us into a different place. It is a dream sequence of what I imagine to be a recap of Jerry's life from arriving in Paris, through meeting Lis, and how he feels when he's with her. He's a painter, which is scene through the back drops of the dream. It truly sets apart his feelings in this dream from the rest of the movie. If the entire movie were in a similar, stylized app
  6. How do the pre-dance movements of O’Connor and Kelly compare to their actual dance movements? Pre-dance movements of O'Connor and Kelly seem to completely correlated with their character, as well as their style of dance. O'Connor from the get-go has this air of youth and playfulness to him, and is seen in how overly compliments the Professor, in a teasing, mocking way. Kelly stands there and is more suave, put together, and gentlemanly. (These ideas also tie in to how they are cast in other pictures as Kelly as the Alpha Male, and O'Connor as the Beta Male who is the sidekick.) Once
  7. As you reflect upon female representation in the 1950s, where do you think this film character falls in the continuum? Why? This character is hard to pin-point. With her "one of the guys," "tom boy" mentality, it makes me think about the "Buddy Musicals" with her body language and persona. It is also reminiscent of the Wartime female characters that have a strong purpose in providing for themselves, she can handle herself, wears pants, and seems tough. She certainly is not the helpless, sexy characters Marylin Monroe often played, but she also is smart, like the brunettes normally a
  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? Pulling from Top Hat in which we discussed how Fred & Ginger were in a battle of the sexes, constantly upping the others move, or showing they can do it, too, this scene is different. Here we have 3 men and 1 women, who are all doing the same steps as an ensemble. The men are not showing the lady how it's done, and she's not taking a back seat to wait to be shown. Simil
  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? When I see Petunia by the bedside, it seems like a very caring, motherly moment and she's allowing her words to reassure him and lift his spirits. It's a closeup of only the two of them, showing us the intimacy between them. When they switch to her outside hanging laundry, it switches to a more youthful side of Petunia, in which she is singing about the boy she loves. She is
  10. Thinking like a director and editor, describe how each shot spotlights key actions. The shots are set up in which Garrett and Sinatra are almost always moving away from the camera. This, to me, spotlights how Sinatra is trying to get away. Each shot, it appears as if they go further and further away form the camera, demonstrating Sinatra's desire to get further and further away from the ever persistent Garrett. It was all very well "choreographed," or edited, so the shots blend well together to keep the story moving smoothly. It’s interesting to examine how musicals segue
  11. 1.What was the first Judy Garland film you recall watching? What was your impression of her? The first Judy film I saw was Wizard of Oz when I was very young, probably 7 years old. I feel like it was the only one I saw of hers until I was a teenager where my dad introduced me to Meet Me in St. Louis. Those two films always had a sweet, naive, innocence to them. I recognized she had a great voice, a voice that seemed much more mature than her age, but other than that, I didn't think much of it. There aren't strong dances to be blown away by, so it was always just how sweet she and her
  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. In the opening scene, you see Cohan walking up stairs in which the wall is lined with portraits of the presidents. He then enters what could be the Oval Office. The parade scene is filled with everyone waving American flags with a band. 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
  13. What other aspects of battle of the sexes do you see indicated in this clip or in the film Top Hat? In the clip, a moment that stuck out as a battle of the sexes is after Ginger gets up and has shown she can hold her own, they pair is walking away from the camera, and she does a quick little tap diddy, making Fred turn around to hear the challenge, then they get more intense in their steps. It isn't much of a one-upping battle, but she is definitely keeping par, which is a new concept, since most female roles are portrayed as damsels in distress that need help. How does thi
  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)? Lubitsch's style is quite prominent in this clip. The long look at the garter's on her legs, as well as the reference to the one she found in the room, the slow look at his dresser drawer where many other guns can be seen, Alfred's entrance from a different room (aka the bedroom), and the help she requires with her zipper. All of these aspects show Lubitsch's style of the sexual aspect, but in a slight comedic form. This style a
  15. What do you notice about the interaction between the characters in these two scenes? Please give specific examples. The interaction between Eddy and Macdonald are almost those of forbidden lovers. They keep their distance at all costs, and distract with humor or more distance, if words or glances are exchanged that could be interpreted as longing, or caring. For example, in the canoe Macdonald turns around towards the end of the song and has a very pleasant look on her face, as if she's actually beginning to believe his words, then realizes her gaze and turns back around, and beings ot
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