By Bill Marshall, Robynn Stilwell
The profound impression of the Hollywood musical throughout geographical and cultural limitations has lengthy been overlooked. This unique number of essays seeks to begin a brand new serious debate via impending vintage Hollywood movies from views corresponding to 'musicology'. Broadening the scope of past reports, this quantity additionally examines the style within which ecu cinema appropriated the musical to create new meanings. It presents an cutting edge analyzing of the effect of the musical on early life tradition, and its endorsement in glossy dance video clips and the tune video.
The quantity covers the topics of:
• track and Structure
• Classical Hollywood Musical Cinematic Practice
• megastar Texts
• eu Musical Forms
• Minority Identities
• early life Cultures
This is an enjoyable and useful textual content for college kids on measure classes in movie and track. Thought-provoking and authoritative, it's going to even be a welcome source for these discovering and instructing within the sector.
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Extra resources for Musicals: Hollywood and Beyond
None of this will work at a premodern moment. Consider this: In presenting his argument to President Bush that the United States should not pre-emptively attack Iraq, Secretary of State Colin Powell was advised to reduce his position to one page and then be prepared to further condense that one page into a five-minute oral presentation. Message? This is not a moment when reading and criticism are in flower. We, in fact, went to war in spite of what knowledge was readily available. No, this is not a time to experiment with boundaries between the discursive and the nondiscursive, between reason and imagination, between fact and fiction, between creativity and criticism.
But it doesn’t multiplex reality. The whole world has gone screwball in these comedies, and everybody in the audience is trying to put it back together and having no chance of doing that. But in the postmodern world, the whole world doesn’t stay whole. ——— ——— Off Camera: KEY GRIP: Break. Hey guys, meet our film editor. Favorite comedy of all time? FILM EDITOR: Naturally it’s a film I edited. The Coen brothers’ The Big Lebowski (1998), which these two characters should talk about as an example of a postmodern comedy, but they won’t get around to it until I edit all their chat down.
And your comic sense comes out of the reality you’re in. The awareness of all this is what I call the postmodern awareness. And all these worlds are in motion, some just emerging, some fading, some clashing, some so privileged we assume they represent the whole world. It’s like saying screwball comedy captures reality as it is. Not melodrama, or tales of the wild West, or sci-fi, or mystery, or romance. But screwball. In the postmod view, all of a sudden at a certain time Hollywood put on a screwball lens and began to filter the world in that way.