Study your flashcards anywhere!

Download the official Cram app for free >

  • Shuffle
    Toggle On
    Toggle Off
  • Alphabetize
    Toggle On
    Toggle Off
  • Front First
    Toggle On
    Toggle Off
  • Both Sides
    Toggle On
    Toggle Off
  • Read
    Toggle On
    Toggle Off

How to study your flashcards.

Right/Left arrow keys: Navigate between flashcards.right arrow keyleft arrow key

Up/Down arrow keys: Flip the card between the front and back.down keyup key

H key: Show hint (3rd side).h key

A key: Read text to speech.a key


Play button


Play button




Click to flip

21 Cards in this Set

  • Front
  • Back
what were busby berkeleys poetics
- music is visual
- diegetic music
- musical numbers independent of story
- relational editing transitions
- cinematic camera
- eroticism
2 examples of music as geometric pattern
gold diggers of 1933
footlight parade
who was busby berkley
how did berkely work with other directors
musical numbers indep of story

often a "2 director system" (director of story and busby berkeley)
goal of relational editing
make the long musical numbers look like a continuous shot, dont notice cuts
example of using relational editing
42nd street
when they look up, cut to a shot from above
purpose of 42nd street stills
transitions covered with relational editing
camera in busby berkeley

cinematic (not proscenium, enters the performance space)
moving camera
overhead shots

footlight parade (waterfall still, also moving actors towards camera)
why did he use different camera angles
to differentiate from theater
what was berkeley's camera trademark
overhead shots
how did berkeley push what he could get away with


gold diggers (dancers changing)
im young & healthy
what nubmer shows eroticism
im young and healthy
42nd street
who were the 2 types of musicals
busby berkeley

fred astaire, ginger rogers
where did fred astaire and ginger rogers startidea for partnership
the flying rio
what was astaire and rogers' first success
top hat
char of fred astaire and ginger rogers
1. non-diegetic music
2. music and dance integral to story (part of romance and courtship)
3. proscenium/moving cam (to cover fa and gr movement)
4. long shots (capture whole routines)
5. long takes (maintain performance flow and capture talent
was music and dance integral part of fagr stories
yes, development of romance/courtship
why was there proscenium & moving camera for fagr
moving camera solely to capture movement of the 2
why were there long shots for fagr
capture all of dancers' bodies
why were there long takes (fagr)
maintain performance flow (capture talent)
astaire-rogers clip/
swing time