Difference between revisions of "Humphrey Bogart as Star (Discussion)"

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== Readings ==
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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?
  
=== Robert Sklar ===
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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?
# 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, The Petrified Forest'' and/or ''The African Queen''?
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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?
# According to Sklar, how had Bogart been typecast up until the time of ''Maltese Falcon''?
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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)?
# 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''?
 
# What connection does Skar see between violence and romance — especially in ''In a Lonely Place''?
 
# What does Sklar see to be the importance of comedy to Bogart’s roles?
 
# What performance signs (although he does not call them that) does Sklar see in Bogart’s work? And what significance do they have?
 
  
 
== Bibliography ==
 
== Bibliography ==
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# Robert Sklar, ''City Boys: Cagney, Bogart, Garfield'' (Princeton, NJ: Princeton University Press, 1992).
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#Wikipedia contributors, "Humphrey Bogart," ''Wikipedia, The Free Encyclopedia'', https://en.wikipedia.org/w/index.php?title=Humphrey_Bogart&oldid=888300452 (accessed March 18, 2019).
  
# Robert Sklar, ''City Boys: Cagney, Bogart, Garfield'' (Princeton, NJ: Princeton University Press, 1992).
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==External links==
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*[https://tvcrit.org/Classes/Jbutler/T440/BogartFilms.php List of Bogart films, with links to video clips.]
  
[[Category:TCF440-540]] [[Category:TCF440/540_Discussion]]
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[[Category:JCM412/512 Discussion]]

Latest revision as of 16:25, 9 March 2020

  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?
  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?
  3. In The Big Sleep, what does Bogart bring to the noir private eye besides toughness (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?
  4. 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:

  1. What connection does Sklar see between violence and romance — especially in In a Lonely Place (see In a Lonely Place and Play It Again, Sam video clips)? Is this evident in Petrified Forest, Dark Victory (see video clip), The Maltese Falcon, or other Bogart films you've seen?
  2. What does Sklar see to be the importance of comedy to Bogart’s roles? Is this evident in The Petrified Forest, Dark Victory (see video clip), The Maltese Falcon, or other Bogart films you've seen?
  3. How does Wikipedia describe the image that Bogart built up during his time in lower-budget gangster films of the 1930s (for Warners)?

Bibliography

  1. Robert Sklar, City Boys: Cagney, Bogart, Garfield (Princeton, NJ: Princeton University Press, 1992).
  2. 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