Difference between pages "Humphrey Bogart as Star (Discussion)" and "JCM212/Stylistic Analysis"

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== Robert Sklar ==
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==Assignment==
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#Choose a single scene in a movie, but not one we've watched in class.
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#Scene analysis: break it down shot-by-shot.
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#*List and number every shot in your scene and identify what type of framing was used (long shot, medium shot, etc.; you may use abbreviations: LS, MS, CU). Describe any significant action in the shot, using the characters' (not the actors') names. Include only the most significant dialogue; do not include every line. Include a screenshot taken from ''each'' shot. In effect, you are creating a storyboard of your scene.
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#Due Monday, February 5th, 11:59 p.m., via Blackboard/TurnItIn. Must be word-processed.
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#This is the second of two critical analyses. Each is worth 7 points toward the 100 for the semester.
  
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# '''Grad Group:''' Skar comments, "Actors who create surprise, embody contradiction, impel the spectator to hold two conflicting ideas in the head at the same time, stand a better chance." What contradictions does Bogart embody? (Sklar also calls it “doubleness.”) Are they in evidence in ''The Maltese Falcon, Dark Victory'', or ''The Petrified Forest''?
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===Sample scene breakdown===
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# '''Group 1:''' According to Sklar, how had Bogart been typecast up until the time of ''Maltese Falcon''? Is this evident in ''Dark Victory'' and ''The Petrified Forest''?<br>
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A template in a Word doc is [https://tcf.ua.edu/Classes/Jbutler/JCM311/sampledecoupage/DecoupageTemplate.doc available online].
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# '''Group 2:''' In ''The Big Sleep'', what does Bogart bring to the noir private eye besides toughness? Do you see the same things in ''Maltese Falcon''? How does Bogart’s romantic aspect change with ''The Big Sleep''? How does Sklar characterize Bogart’s on-screen persona, as embodied in ''The Big Sleep''?
 
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# '''Group 3:''' What connection does Skar see between violence and romance — especially in ''In a Lonely Place''? Is this evident in ''Petrified Forest'', ''Dark Victory'' (the clip we viewed), ''The Maltese Falcon'', or other Bogart films you've seen?
 
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# '''Group 4:''' What does Sklar see to be the importance of comedy to Bogart’s roles? Is this evident in ''The Petrified Forest'', ''Dark Victory'' (the clip we viewed), ''The Maltese Falcon'', or other Bogart films you've seen?
 
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# '''All Groups:''' What performance signs (although he does not call them that) does Sklar see in Bogart’s work? And what significance do they have?
 
  
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== Bibliography ==
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#LS exterior of Maggie's house, night.
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#MS interior. Maggie makes dinner for Joel.
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# Robert Sklar, ''City Boys: Cagney, Bogart, Garfield'' (Princeton, NJ: Princeton University Press, 1992).
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#CU Maggie talks to Joel about the night before. "Last night you were so different..."
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#CU Joel responds.
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[[Category:TCF440/540_Discussion]]
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#And so on . . .

Revision as of 16:08, 7 February 2018

Assignment

  1. Choose a single scene in a movie, but not one we've watched in class.
  2. Scene analysis: break it down shot-by-shot.
    • List and number every shot in your scene and identify what type of framing was used (long shot, medium shot, etc.; you may use abbreviations: LS, MS, CU). Describe any significant action in the shot, using the characters' (not the actors') names. Include only the most significant dialogue; do not include every line. Include a screenshot taken from each shot. In effect, you are creating a storyboard of your scene.
  3. Due Monday, February 5th, 11:59 p.m., via Blackboard/TurnItIn. Must be word-processed.
  4. This is the second of two critical analyses. Each is worth 7 points toward the 100 for the semester.

Sample scene breakdown

A template in a Word doc is available online.

  1. LS exterior of Maggie's house, night.
  2. MS interior. Maggie makes dinner for Joel.
  3. CU Maggie talks to Joel about the night before. "Last night you were so different..."
  4. CU Joel responds.
  5. And so on . . .
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