Kelly apprised to create moods and character insight within his dancing. He worked with lighting, camera techniques and special effects. He was one of the first to use split screens, double images, live action with animation and is credited as the person who made the ballet form commercially acceptable to film audiences. We can see this in two places. One, is how he staged his Singin’ in the Rain dance number in the rain, he stated that this was inspired how kids danced in the rain when they were young. This helps the audience look into his character and the uplifting joy that he is feeling since he is now tap dancing in the rain like a giddy child. The second place is when he danced with a little mouse named Jerry which added momentum to his career. In this, he dances with an animated mouse and goes where no one has even gone before, human and animation interaction, especially dancing, which can be seen today in movies like Mary Poppins.
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Kelly never categorized his dancing style and once said, "I don't have a name for my style of dancing...It's certainly hybrid...I've borrowed from the modern dance, from the classical, and certainly from the American folk dance – tap-dancing, jitterbugging...But I have tried to develop a style which is indigenous to the environment in which I was reared.” His dancing can also be called quite athletic. This type of dancing can be sourced back to his teenage days of being an extraordinary athlete. Kelly also wanted to break social barriers and wanted to integrate more men into dancing. Kelly can often be found dancing in a sailor's uniform, work clothes or casual wear. This is because he wanted to make dancing seem more public friendly, and masculine. He expressed his joy in tap numbers like “Singin’ in the Rain” and “I’ve Got Rhythm” from American In Paris, but used ballet and modern dance to portray romantic feelings like in "Heather on the Hill" from Brigadoon or "Our Love Is Here to Stay" from An American in Paris.
Kelly tried to use the camera in the best way possible. His dancing opened up the space of the camera without jumping from frame to frame. In 1951, he summed up his vision as follows: "If the camera is to make a contribution at all to dance, this must be the focal point of its contribution; the fluid background, giving each spectator an undistorted and altogether similar view of dancer and background. To accomplish this, the camera is made fluid, moving with the dancer, so that the lens becomes the eye of the spectator, your eye.”
Kelly tried to use the camera in the best way possible. His dancing opened up the space of the camera without jumping from frame to frame. In 1951, he summed up his vision as follows: "If the camera is to make a contribution at all to dance, this must be the focal point of its contribution; the fluid background, giving each spectator an undistorted and altogether similar view of dancer and background. To accomplish this, the camera is made fluid, moving with the dancer, so that the lens becomes the eye of the spectator, your eye.”