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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''?
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| − | #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''?
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| − | #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''?
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| − | #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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| − | '''Additional questions:'''
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| − | #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?
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| − | #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?
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| − | #How does Wikipedia describe the image that Bogart built up during his time in lower-budget gangster films of the 1930s (for Warners)?
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| | == Bibliography == | | == Bibliography == |
