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

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== Readings ==
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== Robert Sklar ==
  
=== Robert Sklar ===
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# '''Grad Group:''' 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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# '''Group 1:''' According to Sklar, how had Bogart been typecast up until the time of ''Maltese Falcon''? Is this evident in ''Dark Victory'' and ''The Petrified Forest''?<br>
# 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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# '''Group 2:''' 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''?
# According to Sklar, how had Bogart been typecast up until the time of ''Maltese Falcon''?
+
# '''Group 3:''' What connection does Skar see between violence and romance — especially in ''In a Lonely Place''?
# 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''?
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# '''Group 4:''' What does Sklar see to be the importance of comedy to Bogart’s roles?
# What connection does Skar see between violence and romance — especially in ''In a Lonely Place''?
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# '''All Groups:''' What performance signs (although he does not call them that) does Sklar see in Bogart’s work? And what significance do they have?
# 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 ==

Revision as of 21:36, 19 March 2008

Robert Sklar

  1. Grad Group: 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. Group 1: According to Sklar, how had Bogart been typecast up until the time of Maltese Falcon? Is this evident in Dark Victory and The Petrified Forest?
  3. Group 2: 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. Group 3: What connection does Skar see between violence and romance — especially in In a Lonely Place?
  5. Group 4: What does Sklar see to be the importance of comedy to Bogart’s roles?
  6. All Groups: 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).