Difference between revisions of "Lana Turner as Star (Discussion)"
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[[Image:BadAndBeautiful57 jpg.jpg|none|thumb|320px|"Authentic" emotion in ''The Bad and the Beautiful''.]] | [[Image:BadAndBeautiful57 jpg.jpg|none|thumb|320px|"Authentic" emotion in ''The Bad and the Beautiful''.]] | ||
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− | [[Image:LanaIoL.JPG|left|thumb|300px|A production still of Turner wearing ''haute couture'' in ''Imitation of Life''.]] | + | [[Image:LanaIoL.JPG|left|thumb|300px|A production still of Turner wearing ''haute couture'' in ''Imitation of Life'' — in a scene in which Lora meets David Edwards (Dan O'Herlihy).]] |
[[Image:IoL1959-01.jpg|none|thumb|400px|Frame grab from ''Imitation of Life'', in color.]] | [[Image:IoL1959-01.jpg|none|thumb|400px|Frame grab from ''Imitation of Life'', in color.]] | ||
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− | #Dyer contends that "Turner illustrates three of the ways that stars function cinematically (that is, within the total signifying practice of the cinema industry situated within society as a whole)". | + | #'''Group 3:''' Dyer contends that "Turner illustrates three of the ways that stars function cinematically (that is, within the total signifying practice of the cinema industry situated within society as a whole)". |
#*What does Dyer mean by "signifying practice"? | #*What does Dyer mean by "signifying practice"? | ||
#*List those three ways that stars function. | #*List those three ways that stars function. | ||
− | #What, according to Dyer, is the relationship between glamor and ordinariness? | + | #'''Group 4:''' What, according to Dyer, is the relationship between glamor and ordinariness? |
#*How does the photograph of Ava Gardener and Turner "embracing" illustrate this contrast? | #*How does the photograph of Ava Gardener and Turner "embracing" illustrate this contrast? | ||
#*How is it expressed in ''The Bad and the Beautiful''? | #*How is it expressed in ''The Bad and the Beautiful''? | ||
− | #What role does the father play in ''The B & the B'', according to Dyer? How does this relate to the off-screen representation of Turner and her father? | + | #'''Grad Group:''' What role does the father play in ''The B & the B'', according to Dyer? How does this relate to the off-screen representation of Turner and her father? |
− | #In general terms, what does ''haute couture'' (pronounce "oht koo-toor") connote? How is this specifically embodied in Turner's image—as Dyer argues regarding the ''Imitation of Life'' scene in which she meets David Edwards (Dan O'Herlihy)? | + | #'''Group 1:''' In general terms, what does ''haute couture'' (pronounce "oht koo-toor") connote? How is this specifically embodied in Turner's image—as Dyer argues regarding the ''Imitation of Life'' scene in which she meets David Edwards (Dan O'Herlihy)? |
− | #What characterizes Turner’s acting style? How is it disrupted by emotions presented as more "authentic" in ''Imitation of Life'' and ''The B & the B''? | + | #'''All Groups:''' What characterizes Turner’s acting style? How is it disrupted by emotions presented as more "authentic" in ''Imitation of Life'' and ''The B & the B''? |
#*How does Dyer make the case for the "hysterics in the car" scene as "authentic"? | #*How does Dyer make the case for the "hysterics in the car" scene as "authentic"? | ||
− | #How was Turner’s sexy-ordinary contradiction "crystallized" in four "moments" in her early career? | + | #'''Group 2:''' How was Turner’s sexy-ordinary contradiction "crystallized" in four "moments" in her early career? |
==Bibliography== | ==Bibliography== |
Revision as of 15:05, 28 April 2008
"Four Films of Lana Turner"
- Group 3: Dyer contends that "Turner illustrates three of the ways that stars function cinematically (that is, within the total signifying practice of the cinema industry situated within society as a whole)".
- What does Dyer mean by "signifying practice"?
- List those three ways that stars function.
- Group 4: What, according to Dyer, is the relationship between glamor and ordinariness?
- How does the photograph of Ava Gardener and Turner "embracing" illustrate this contrast?
- How is it expressed in The Bad and the Beautiful?
- Grad Group: What role does the father play in The B & the B, according to Dyer? How does this relate to the off-screen representation of Turner and her father?
- Group 1: In general terms, what does haute couture (pronounce "oht koo-toor") connote? How is this specifically embodied in Turner's image—as Dyer argues regarding the Imitation of Life scene in which she meets David Edwards (Dan O'Herlihy)?
- All Groups: What characterizes Turner’s acting style? How is it disrupted by emotions presented as more "authentic" in Imitation of Life and The B & the B?
- How does Dyer make the case for the "hysterics in the car" scene as "authentic"?
- Group 2: How was Turner’s sexy-ordinary contradiction "crystallized" in four "moments" in her early career?
Bibliography
- Richard Dyer, "Four Films of Lana Turner," Movie 25: 30-52.