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P. Kel

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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? Had Streisand been more theatrical and expressive, the essence of her character would’ve then been represented as a far less emotional, thoughtful, naive and vulnerable character. It’s Streisand’s facial expressions and lack of physical movement that contribute the song’s emotional and relatable weight. 2. Note the emotional transition moments in this scene: how do the two characters relate to each other as the lyr
  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) The framing of the actor, particularly Audrey Hepburn, can stand alone as a portrait. The camera serves the actor and not the other way around. From the fast tracking of Hepburn as she sits upright on the couch to the slow dolly move of her as she gets up off of the couch, to the different areas of light, sh
  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? Based on this clip, it’s actually become more toned down. There is no dance choreography, just blocking, the singing has been incorporated into the acting to better serve the character and not necessarily the audience - directly. 2. What other specific qualities do you notice about Robert Preston in either or both of these clips? His truth to acting takes precedence within his performance, even over the musical n
  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? This scene reflects back to classical musicals in the sense of its inclusion of the stage performance reminiscent of vaudeville and theatrical broadway musical acts. It also involves the behind the stage concept, costuming, music and process of the earlier musicals. Looking forward, it showcases the youthful acts over seasoned pros. The wardrobe of Russell’s is on par with the timeline of the 60’s and the film is shot in
  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? I would think that because Minnelli understood the color palettes and tone of the film, it was a proper call to maintain the conscious styling choices throughout the entirety of the film. For the most part, he kept a bit of an embellished, stylized realism that helped to serve as a visual consistency and familiarity to the viewer. 2. What keeps Jerry Mulligan from being completely unlikeable in a scene in which he acts pretty da
  6. 1. How do the pre-dance movements of O’Connor and Kelly compare to their actual dance movements? The pre-dance movements at the start of the clip are still indicative of the capacity to accentuate the cadence of the rhythmic enunciation of the words. They already find the music within the alliteration of the words. You can especially tell with O’Connor’s nodding of his head on the counts as the Professor speaks in rhythm. 2. Watch the Professor all the way through and consider the role of the straight man. The straight man is just as important as the pitcher to the batter…a defi
  7. 1. As you reflect upon female representation in the 1950s, where do you think this film character falls in the continuum? Why? Calamity Jane is serving for the female representation of American women as an example for women coming out of their strong, independent roles within society during the wartime era to once again, begin assuming the more traditional feminine roles of women prewar. It’s a reminder or reintroduction of the days of the more feminine American woman. 2. How do you think Doris Day grows as an actress in her various roles in the 1950s, before and after this musical?
  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? The interaction between the characters is cohesive. Each time a character takes action within the dance number, its purpose is to build and set up a complete goal within the number, for example, how they all work together with the standing door prop to reveal the rest of the cast. It differs from earlier musicals in the sense that everyone is featured equally within the numbe
  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? In the beginning of the clip, I noticed that Petunia was waiting for better or worse with hope for Joe. Her reaction in contrast to her friend’s at Joe’s bedside, was one of confidence and loyalty knowing that Joe would somehow get better, also displaying her faith in him and in God. She continues to carry the same commitment to Joe by taking care of him as he heals and not le
  10. 1. Thinking like a director and editor, describe how each shot spotlights key actions. The direction of each shot plays well into the setting of a ballpark (also a key to the national support for the audiences as an American pastime - also given that Garrett’s character is the most dominant figure within the scene juxtaposed with a male dominated sport like baseball), but sets up the perfect dynamic between Garrett and Sinatra. Beginning in the hallway, Sinatra emerges confidently, tossing the baseball in his hand before entering the space of the hallway - just like with decisions - leave
  11. 1. What was the first Judy Garland film you recall watching? What was your first impression of her? The first Judy Garland film that I’ve watched in its entirety was The Wizard of Oz. As a youngster, she had the talent to encompass the appropriate emotion at any given time during any given scene. She played very wholesome, but was also just as concerned, stern, thoughtful, frightened, curious, considerate and vulnerable - everything that Dorothy was supposed to be in such a whimsical tale. I specifically remember how smooth her singing style was. Her voice sounded so mature and seasoned.
  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. First, the clip opens up in the White House - more specifically with our characters ascending a long, grand staircase leisurely walking and talking effortlessly from the bottom as they casually reach the top. In the foreground, we see an aged Irishman, now an American treasure, walking alongside a black secretary. In the background, we see the framed portraits of distinguished forefathers of Ame
  13. 1. What other aspects of battle of the sexes do you see indicated in this clip or in the film Top Hat? I noticed that in this clip, Rogers doesn’t say anything to Astaire. She initiates her contact with him by whistling. He’s doing all the work in the scene trying to court her. She’s wearing riding pants with a riding stick, hinting to a sign of authority and command. Many times within the dance number, it’s ambiguous as to who is leading and who is following. During the routine, she spins him around as he does to her which is usually a definitive choreographed move for the male lead. At
  14. The distinct performance styles of Powell and Keeler are definitely evident. Powell's performance in the first clip was phenomenal. Her facial expressions, acting, timing, the ability to land her direction and blocking all while successfully completing such intricate tap dance choreography was so fluid. She made use of the space as well as the background characters in the scene. She was the center of the production value within the entire clip. Minimal props, yet the scene had a sense of being filled with a large number due mostly in part by Powell's professional dance and athletic abilities w
  15. 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)? The Lubitsch touch reveals to the movie audience additional insight into the characters’ backstory and situation within the scene. It also allows the movie audience to take ownership by ‘discovering’ certain items that serve as non-linear reminders to the crucial points within the arc of the scene. The props go on to include a preconceived idea of the hidden intent of each character. For example, the origin of the garter was unkno
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