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

From Screenpedia
Jump to navigationJump to search
Line 4: Line 4:
 
# '''Group 3:''' 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''?
 
# '''Group 3:''' 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''?
 
# '''Group 4:''' 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''?
 
# '''Group 4:''' 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''?
# '''Group 1:''' What connection does Sklar see between violence and romance — especially in ''In a Lonely Place''? Is this evident in ''Petrified Forest'', ''Dark Victory'' (the clip we viewed), ''The Maltese Falcon'', or other Bogart films you've seen?
+
# '''Group 1:''' What connection does Sklar see between violence and romance — especially in ''In a Lonely Place'' (see [http://www.tcf.ua.edu/EO/DV/InALonelyPlace_MurderVisualized.php ''In a Lonely Place''] and [http://www.tcf.ua.edu/EO/DV/PlayItAgainSam.php ''Play It Again, Sam''] video clips)? Is this evident in ''Petrified Forest'', ''Dark Victory'' ([http://www.tcf.ua.edu/EO/DV/DarkVictory.php see video clip]), ''The Maltese Falcon'', or other Bogart films you've seen?
 
# '''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?
 
# '''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?
# '''All Groups:''' What does Sklar see to be the importance of comedy to Bogart’s roles? Is this evident in ''The Petrified Forest'', ''Dark Victory'' (the clip we viewed), ''The Maltese Falcon'', or other Bogart films you've seen?
+
# '''All Groups:''' What does Sklar see to be the importance of comedy to Bogart’s roles? Is this evident in ''The Petrified Forest'', ''Dark Victory'' ([http://www.tcf.ua.edu/EO/DV/DarkVictory.php see video clip]), ''The Maltese Falcon'', or other Bogart films you've seen?
  
 
== Bibliography ==
 
== Bibliography ==
 +
# Robert Sklar, ''City Boys: Cagney, Bogart, Garfield'' (Princeton, NJ: Princeton University Press, 1992).
  
# Robert Sklar, ''City Boys: Cagney, Bogart, Garfield'' (Princeton, NJ: Princeton University Press, 1992).
+
==External links==
 +
*[http://www.tcf.ua.edu/Classes/Jbutler/T440/BogartFilms.php List of Bogart films, with links to video clips.]
  
 
[[Category:TCF440/540_Discussion]]
 
[[Category:TCF440/540_Discussion]]

Revision as of 15:00, 11 March 2013

Robert Sklar

  1. Group 2: 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. Group 3: 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 4: 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 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?
  5. 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?
  6. All Groups: 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?

Bibliography

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

External links