Mary Poppins Movie On The 60's

This paper was prepared for Introduction to Film History, Module 1 Homework Assignment, taught by Professor Stephanie Sandifer.

Walt Disney’s movie was released in 1959 but is still considered a modern version of this fairytale and is watched by many people every year.

It is easy to see why Mary Pitchford is so important to film history as she shows the development of the first major star in cinema. Mary began starring in many biograph films in a time where film wasn’t popular nor did it pay very

Pippin is a Tony-Award winning musical that captures the eyes of anyone who has the chance to see the show. It is a show like no other with tricks, stunts, and an overall show that keeps you on the edge of your seat. The music is intriguing and mystifying. Stephen Schwartz wrote the music and lyrics while the book is by Roger O. Hirson. Bob Fosse who is a legacy in the musical theatre world was the original Broadway production director. Fosse also contributed to the libretto.

New and exciting technologies have always played a huge role in the culture of American people. When the motion picture came out it was no surprise that both consumers and producers were more than happy to get in on the action. Back in the 1920’s film was still pretty new and was only in black and white with no sound, but the films were always accompanied by orchestral pieces to help set the mood. The art of movie-making has come a long way since then with the addition of not only color and audio, but new techniques and new ideas. Both The Kid and Iron Jawed Angels are very popular films about the early 1900’s. Although they share some common thoughts, but because they were made in two completely different time periods their focuses are

In the past years, Disney/Pixar has revolutionized the premise of their movies by shifting away from princesses and portraying resilient male characters as the protagonists of their highly successful animated feature films. From 1995 to 2008, Disney/Pixar released eight films, all of which included a male lead, yet these characters are arguably unlike any other protagonist in early Disney animated films. In their essay, “Post-Princess Models of Gender: The New Man in Disney/Pixar,” Ken Gillam and Shannon R. Wooden call attention to the new manner Disney/Pixar use to depict their heroic male characters in their movies. Gillam and Wooden claim that Pixar is using their movies to promote the acceptance of a new standard of masculinity capable of embracing feminine traits, as conveyed by the male characters within the films. As a viewer, it is easy to recognize the emasculation of the male protagonists within Pixar movies, however, the authors’ claim is faulty; they fail to acknowledge that society now has room for a new sympathetic man because it is straying way from a patriarchal beliefs of the past.

Based on Filmsite.org, a website that interprets and explains the history of cinemas, mentions that cinemas in the 1960s had more daring films with darker themes, horror, violence, rock ‘n’ roll and crime. There were also an influx of foreign movies and british movies. This decade in film history, was a period struggling to stay afloat as there was a decline in movies. There was a spike in reinvention of cinemas - change of styles to keep up with television and social changes.

To make those special effects in the movie you would make all human and non-magical beings less detailed. Make them dull, dark colors, little make-up. And all the magical creatures in bright bold colors double the make-up. Have all their surroundings dull in the background when they are on screen and have them stand out with the special effects. The monsters have fine detail and dark colors but they are dark VIBRANT colors so that they look ugly and scary he makes them show up when least expected so that it surprises you and makes the humans fear him so that you would fear them as well. And the goddesses will show up when needed most you make them glowing and the good guys so that they seem more beautiful than they are. You have them play the parts of fair and understanding that way they are more intriguing and have an unexplainable beauty that you feel attracted to, they are the opposite of the monsters.

When deciding what movie to do for this particular paper I faced a few issues. I knew what the requirements were, but I wanted something different and something I could have fun watching and writing as well. So, after looking around and pondering movies for weeks I finally decided on a perfect choice The 60's directed by Mark Piznarski?

According to the leadership of the Southern Baptist Convention, the Walt Disney Corporation historically stood for “basic American virtues and values” but now represents a “significant departure from Disney’s family-values image, and a gratuitous insult to Christians and others who have long supported Disney.” Their belief is that Disney entertainment products produced while Walt Disney was alive differ substantially from those produced in the post-Walt era. Through time, it is inevitable that particular things have changed since the production of Walt’s personal films from the 1920’s to the 1960’s (such as being aesthetically and cinematically advanced, in

Frank Baums, The Wizard of Oz is arguably one of the most popular films made. Even though it was released in 1939, nearly three-quarters of a century ago, the film continues to entertain audiences and speak to them in a personal way. The question that comes to the mind when analyzing this film is: What is it about this film that gives it such timelessness? When reflecting on the film’s timeless qualities, it seems clear the plot is one of the things that enable it to maintain its relevance. Primarily, the plot of The Wizard of Oz is timeless because it is such an excellent example of the heroic journey, both in literally and cinematically. This journey of self-awareness is a metaphor for growth, which is something we all search to discover

as possible and many of these effects would not achieve this. But today they still use wires in order to make actors appear to be flying; this is similar to the machine but more advanced to do modern technologies.

Marking the first use of Disney’s multiplane camera, the film also incorporates realistic depictions of animal behavior, dynamic lighting and color effects, depictions of rain, wind, and lightning, ripples, and reflections, and the use of timed sound effects to produce specific dramatic, or emotional overtones. All of these advanced animation techniques learned in producing The Old Mill would subsequently be incorporated into Disney’s feature-length animated films. Walt Disney had a vision to fulfill. While Disney did not pioneer cartoon animation, he did broaden what animation can be – feature-length films to American audiences.

What makes for a classic Hollywood film? Increasingly, films have evolved to the point where the standard by which one calls a “classic Hollywood film” has evolved over time. What one calls a classic film by yesterday’s standards is not the same as that of today’s standards. The film Casablanca is no exception to this. Although David Bordwell’s article, “Classical Hollywood Cinema” defines what the classical Hollywood film does, the film Casablanca does not exactly conform to the very definition that Bordwell provides the audience with in his article. It is true that the film capers closely to Bordwell’s definition, but in more ways than not, the film diverges from Bordwell’s definition of the typical Hollywood film.

Disney will bring the “Mary Poppins” movie once again to life after 20 years when the original was first shown starring Julie Andrews. The American film production will reprise the classic hit in a new original live-action musical.