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

From Screenpedia
Jump to navigationJump to search
(New page: ==Readings== ===Robert Sklar=== #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 b...)
 
Line 1: Line 1:
==Readings==
+
== Readings ==
===Robert Sklar===
+
 
#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''?
+
=== Robert Sklar ===
#According to Sklar, how had Bogart been typecast up until the time of ''Maltese Falcon''?
+
 
#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''?
+
# 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''?
#What connection does Skar see between violence and romance — especially in ''In a Lonely Place''?
+
# According to Sklar, how had Bogart been typecast up until the time of ''Maltese Falcon''?
#What does Sklar see to be the importance of comedy to Bogart’s roles?
+
# 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 performance signs (although he does not call them that) does Sklar see in Bogart’s work? And what significance do they have?
+
# 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 ==
#Robert Sklar, ''City Boys: Cagney, Bogart, Garfield'' (Princeton, NJ: Princeton University Press, 1992).
 
  
[[Category:TCF440/540]]
+
# Robert Sklar, ''City Boys: Cagney, Bogart, Garfield'' (Princeton, NJ: Princeton University Press, 1992).
[[Category:TCF440/540 Discussion]]
+
 
 +
[[Category:TCF440-540]] [[Category:TCF440/540_Discussion]]

Revision as of 21:13, 19 March 2008

Readings

Robert Sklar

  1. 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?
  2. According to Sklar, how had Bogart been typecast up until the time of Maltese Falcon?
  3. 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?
  4. What connection does Skar see between violence and romance — especially in In a Lonely Place?
  5. What does Sklar see to be the importance of comedy to Bogart’s roles?
  6. What performance signs (although he does not call them that) does Sklar see in Bogart’s work? And what significance do they have?

Bibliography

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