Humphrey Bogart as Star (Discussion) - Revision history

Jeremy Butler: Undo revision 3573 by Jeremy Butler (talk)

2020-03-09T16:25:13Z

Undo revision 3573 by Jeremy Butler (talk)

Jeremy Butler: removed questions

2020-03-08T13:36:38Z

removed questions

Jeremy Butler: removed groups

2020-03-08T13:36:01Z

removed groups

Jeremy Butler: updated

2020-03-08T13:34:24Z

updated

ScreenAdmin: 22 revisions imported

2019-08-14T21:31:11Z

22 revisions imported

Jeremy Butler at 14:29, 18 March 2019

2019-03-18T14:29:33Z

Jeremy Butler: added wikipedia question

2019-03-18T14:29:16Z

added wikipedia question

Jeremy Butler at 14:42, 6 March 2019

2019-03-06T14:42:27Z

Jeremy Butler: added more groups

2019-03-06T14:40:39Z

added more groups

Jeremy Butler at 14:19, 23 April 2018

2018-04-23T14:19:26Z

← Older revision		Revision as of 16:25, 9 March 2020
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		+	#Sklar 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''?
		+	#According to Sklar, how had Bogart been typecast up until the time of ''Maltese Falcon'' and how does he modify this into a "new screen persona" as Sam Spade? Is his old stereotyping evident in ''Dark Victory'' and ''The Petrified Forest''?
		+	#In ''The Big Sleep'', what does Bogart bring to the noir private eye besides toughness ([https://vimeo.com/345082721 see video clip])? 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''?
		+	#What performance signs (although he does not call them that) does Sklar see in Bogart’s work? And what significance do they have?
		+
		+	'''Additional questions:'''
		+	#What connection does Sklar see between violence and romance — especially in ''In a Lonely Place'' (see [https://vimeo.com/345058542 ''In a Lonely Place''] and [https://vimeo.com/345053323 ''Play It Again, Sam''] video clips)? Is this evident in ''Petrified Forest'', ''Dark Victory'' ([https://vimeo.com/345099241 see video clip]), ''The Maltese Falcon'', or other Bogart films you've seen?
		+	#What does Sklar see to be the importance of comedy to Bogart’s roles? Is this evident in ''The Petrified Forest'', ''Dark Victory'' ([https://vimeo.com/345099241 see video clip]), ''The Maltese Falcon'', or other Bogart films you've seen?
		+	#How does Wikipedia describe the image that Bogart built up during his time in lower-budget gangster films of the 1930s (for Warners)?

	== Bibliography ==		== Bibliography ==

← Older revision		Revision as of 13:36, 8 March 2020
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−	#Sklar 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''?
−	#According to Sklar, how had Bogart been typecast up until the time of ''Maltese Falcon'' and how does he modify this into a "new screen persona" as Sam Spade? Is his old stereotyping evident in ''Dark Victory'' and ''The Petrified Forest''?
−	#In ''The Big Sleep'', what does Bogart bring to the noir private eye besides toughness ([https://vimeo.com/345082721 see video clip])? 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''?
−	~~#What performance signs (although he does not call them that) does Sklar see in Bogart’s work? And what significance do they have?~~
−
−	~~'''Additional questions:'''~~
−	#What connection does Sklar see between violence and romance — especially in ''In a Lonely Place'' (see [https://vimeo.com/345058542 ''In a Lonely Place''] and [https://vimeo.com/345053323 ''Play It Again, Sam''] video clips)? Is this evident in ''Petrified Forest'', ''Dark Victory'' ([https://vimeo.com/345099241 see video clip]), ''The Maltese Falcon'', or other Bogart films you've seen?
−	#What does Sklar see to be the importance of comedy to Bogart’s roles? Is this evident in ''The Petrified Forest'', ''Dark Victory'' ([https://vimeo.com/345099241 see video clip]), ''The Maltese Falcon'', or other Bogart films you've seen?
−	~~#How does Wikipedia describe the image that Bogart built up during his time in lower-budget gangster films of the 1930s (for Warners)?~~

	== Bibliography ==		== Bibliography ==

@@ Line 1: / Line 1: @@
-# '''Groups 5 and 1:''' Sklar 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''?
+#Sklar 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''?
-# '''Groups 6 and 2:''' According to Sklar, how had Bogart been typecast up until the time of ''Maltese Falcon'' and how does he modify this into a "new screen persona" as Sam Spade? Is his old stereotyping evident in ''Dark Victory'' and ''The Petrified Forest''?
+#According to Sklar, how had Bogart been typecast up until the time of ''Maltese Falcon'' and how does he modify this into a "new screen persona" as Sam Spade? Is his old stereotyping evident in ''Dark Victory'' and ''The Petrified Forest''?
-# '''Group 3:''' In ''The Big Sleep'', what does Bogart bring to the noir private eye besides toughness ([https://vimeo.com/345082721 see video clip])? 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''?
+#In ''The Big Sleep'', what does Bogart bring to the noir private eye besides toughness ([https://vimeo.com/345082721 see video clip])? 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''?
-# '''Group 4:''' What performance signs (although he does not call them that) does Sklar see in Bogart’s work? And what significance do they have?
+#What performance signs (although he does not call them that) does Sklar see in Bogart’s work? And what significance do they have?
-'''All Groups:'''
+'''Additional questions:'''
 #What connection does Sklar see between violence and romance — especially in ''In a Lonely Place'' (see [https://vimeo.com/345058542 ''In a Lonely Place''] and [https://vimeo.com/345053323 ''Play It Again, Sam''] video clips)? Is this evident in ''Petrified Forest'', ''Dark Victory'' ([https://vimeo.com/345099241 see video clip]), ''The Maltese Falcon'', or other Bogart films you've seen?
 #What does Sklar see to be the importance of comedy to Bogart’s roles? Is this evident in ''The Petrified Forest'', ''Dark Victory'' ([https://vimeo.com/345099241 see video clip]), ''The Maltese Falcon'', or other Bogart films you've seen?

@@ Line 1: / Line 1: @@
 # '''Groups 5 and 1:''' Sklar 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''?
 # '''Groups 6 and 2:''' According to Sklar, how had Bogart been typecast up until the time of ''Maltese Falcon'' and how does he modify this into a "new screen persona" as Sam Spade? Is his old stereotyping evident in ''Dark Victory'' and ''The Petrified Forest''?
-# '''Group 3:''' In ''The Big Sleep'', what does Bogart bring to the noir private eye besides toughness ([http://tcf.ua.edu/EO/DV/BigSleep.php see video clip])? 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''?
+# '''Group 3:''' In ''The Big Sleep'', what does Bogart bring to the noir private eye besides toughness ([https://vimeo.com/345082721 see video clip])? 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''?
 # '''Group 4:''' What performance signs (although he does not call them that) does Sklar see in Bogart’s work? And what significance do they have?
 '''All Groups:'''
-#What connection does Sklar see between violence and romance — especially in ''In a Lonely Place'' (see [http://www.tcf.ua.edu/EO/DV/InALonelyPlace_MurderVisualized.php ''In a Lonely Place''] and [http://www.tcf.ua.edu/EO/DV/PlayItAgainSam.php ''Play It Again, Sam''] video clips)? Is this evident in ''Petrified Forest'', ''Dark Victory'' ([http://www.tcf.ua.edu/EO/DV/DarkVictory.php see video clip]), ''The Maltese Falcon'', or other Bogart films you've seen?
+#What connection does Sklar see between violence and romance — especially in ''In a Lonely Place'' (see [https://vimeo.com/345058542 ''In a Lonely Place''] and [https://vimeo.com/345053323 ''Play It Again, Sam''] video clips)? Is this evident in ''Petrified Forest'', ''Dark Victory'' ([https://vimeo.com/345099241 see video clip]), ''The Maltese Falcon'', or other Bogart films you've seen?
-#What does Sklar see to be the importance of comedy to Bogart’s roles? Is this evident in ''The Petrified Forest'', ''Dark Victory'' ([http://www.tcf.ua.edu/EO/DV/DarkVictory.php see video clip]), ''The Maltese Falcon'', or other Bogart films you've seen?
+#What does Sklar see to be the importance of comedy to Bogart’s roles? Is this evident in ''The Petrified Forest'', ''Dark Victory'' ([https://vimeo.com/345099241 see video clip]), ''The Maltese Falcon'', or other Bogart films you've seen?
 #How does Wikipedia describe the image that Bogart built up during his time in lower-budget gangster films of the 1930s (for Warners)?
@@ Line 14: / Line 14: @@
 ==External links==
-*[http://www.tcf.ua.edu/Classes/Jbutler/T440/BogartFilms.php List of Bogart films, with links to video clips.]
+*[https://tvcrit.org/Classes/Jbutler/T440/BogartFilms.php List of Bogart films, with links to video clips.]
 [[Category:JCM412/512 Discussion]]

@@ Line 11: / Line 11: @@
 == Bibliography ==
 # Robert Sklar, ''City Boys: Cagney, Bogart, Garfield'' (Princeton, NJ: Princeton University Press, 1992).
-#Wikipedia contributors, "Humphrey Bogart," ''Wikipedia, The Free Encyclopedia', https://en.wikipedia.org/w/index.php?title=Humphrey_Bogart&oldid=888300452 (accessed March 18, 2019).
+#Wikipedia contributors, "Humphrey Bogart," ''Wikipedia, The Free Encyclopedia'', https://en.wikipedia.org/w/index.php?title=Humphrey_Bogart&oldid=888300452 (accessed March 18, 2019).
 ==External links==

← Older revision	Revision as of 21:31, 14 August 2019
(No difference)

← Older revision		Revision as of 14:19, 23 April 2018
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	*[http://www.tcf.ua.edu/Classes/Jbutler/T440/BogartFilms.php List of Bogart films, with links to video clips.]		*[http://www.tcf.ua.edu/Classes/Jbutler/T440/BogartFilms.php List of Bogart films, with links to video clips.]

−	[[Category:~~TCF440~~/~~540_Discussion~~]]	+	[[Category:JCM412/512 Discussion]]