Choreographer Busby Berkeley’s Contributions to Film

The contribution of choreographer Busbie Berkeley to the creation of the movie Berkeley is not about focusing on dancing. He envisioned a pattern of overall movement made with the body on which he was moving. He uses choreography as a design and visual mathematics technique and combines it with the knowledge of the movie to incorporate his vision into the big screen. This versatile person's skill has a high demand for Hollywood musicals to fully appreciate their possibilities and seek dance in the movies. William Berkeley Enos was born in Los Angeles on November 29, 1895.

In the 1930s, people paid attention to dance. Born in Los Angeles, Busby Berkeley organized or supervised nineteen movie musicals in the 1930s and created a unique and sensual kaleidoscope of a bird's-eye dancer. As Berkeley used a motion camera with a movie like 42 nd Street (1933), the audience became a member of a choreographer. He began using a diving crane and took a picture from a groove under the stage or took a camera on a special track and took a bold shot. He is also imaginative. His stylized "video" props include neon violins, large flowers and waterfalls.

From 1930 until the end of the Second World War, Busby Berkeley explained and supervised the music number scene in detail in nearly 30 movies. His success in this era is not surprising - as his surreal, spectacular and fine-grained kaleidoscope vision provides a fascinating addiction to the country's luck. Busby Berkeley's music program is mathematically accurate. Many of his formation uses nature and mathematical biology patterns. Likewise, Berkeley often likes floral dancers' aerial photography - to study the same pattern of Fibonacci numbers they claim.

In the original era, music was produced as a mixture of European operetta and American song and dance and concert hall. The director representing this period is Busby Berkeley. His movies do not pay attention to conspiracy, it is a career of singing and dancing. This is pure wonder and sexy. Sex is provided by gaze (Hayward, 2000). From the 1950s to the 1970s, the musical became more realistic, the theme was racial discrimination, and illegal acts were dealt with. For example, the story of the West whose story is based on Romeo and Juliet is wonderful and fat on Saturday night. Other movies have returned to traditional narrative structures like Barbra Streisand and Voice of Music (1965) (Hayward, 2000).