The Musical As Event Modes Of Address In Contemporary Film Musicals

Master's Thesis from the year 2014 in the subject American Studies - Miscellaneous, grade: 1,0, University of Göttingen (Philosophische Fakultät), language: English, abstract: At the beginning of the year 2010, movie critic Bob Mondello triumphantly declared “It's going to be another musical decade,” noting the way the previous ten years have prompted a movie musical “resurgence” paving the road for a bright music-filled future. When looking at the history of musicals over the course of time, this does not always seem to be the case. In spite of the fact that the film musical was an audience favorite during its “Golden Age” era (1927 until the mid-1950s) and celebrating great successes such as 42nd Street (1933) or Singin’ in the Rain (1952), it seems to have deteriorated in quality and reputation. Since recent movie musicals apparently have hit a different, more successful, nerve with audiences, the question is why the genre now sees an uplift in box office numbers. Which elements of recent movie musicals keep audiences glued to the screen? How do they work in tapping into audiences’ emotions, prompting them to participate? This thesis will be influenced by the methodology of reception study scholar Janet Staiger. Staiger’s 1992 Interpreting Film: Studies in the Historical Reception of American Cinema and Perverse Spectators (2000) reconsider the way audiences make sense of films. With her historical materialist approach taking into account all “traces” of audiences interacting with filmic material, she sets out to find an understanding of why certain films prove to be successful with audiences at certain times (Kemper). She investigates the “modes of address and exhibition,” “establishes the identities and interpretative strategies and tactics brought by spectators to the cinema” and acknowledges cultural groups such as fans who “produce their own conventionalized modes of reception” (23; emphasis in original). It is the purpose of this thesis, then, to take up the approach of looking at the “contact zone” (Kemper) between films and audiences in order to investigate filmic addresses fostering audience engagement. In doing so, an assortment of recent film musicals that have achieved considerable box office success including Moulin Rouge!, Across the Universe, Hairspray, and Mamma Mia! will be analyzed with regard to particular addresses picked up by audiences, thereby creating the “event” of movie-going. The central question investigated here then asks: Which elements of a particular film are focused on by critical reports and how do these elements shape the movie-going experience, participation, and engagement of viewers?

Since the turn of the millennium, films such as Chicago (2002) and Phantom of the Opera (2004) have reinvigorated the popularity of the screen musical. This edited collection, bringing together a number of international scholars, looks closely at the range and scope of contemporary film musicals, from stage adaptations like Mamma Mia! (2008) and Les Miserables (2012), to less conventional works that elide the genre, like Team America: World Police (2004) and Quentin Tarantino's Kill Bill (2003/04). Looking at the varying aesthetic function of soundtrack and lyric in films like Disney's wildly popular Frozen (2013) and the Fast and the Furious franchise, or the self-reflexive commentary of the 'post-millennial rock musical', this wide-ranging collection breaks new ground in its study of this multifaceted genre.

This volume brings together a series of essays that interrogate the notion of figuration in Indian cinemas. The essays collectively argue that the figures which exhibit maximum tenacity in Indian cinema often emerge in the interface of recognizable binaries: self/other, Indian/foreign, good/bad, virtue/vice, myth/reality and urban/rural.

Twenty-First Century Musicals stakes a place for the musical in today’s cinematic landscape, taking a look at leading contemporary shows from their stage origins to their big-screen adaptations. Each chapter offers a new perspective on a single musical, challenging populist narratives and exploring underlying narratives and sub-texts in depth. Themes of national identity; race, class and gender; the ‘voice’ and ‘singing live’ on film; authenticity; camp sensibilities; and the celebration of failure are addressed in a series of questions including: How does the film adaptation provide a different viewing experience from the stage version? What themes are highlighted in the film adaptation? What does the new casting bring to the work? Do camera angles dictate a different reading from the stage version? What is lost/gained in the process of adaptation to film? Re-interpreting the contemporary film musical as a compelling art form, Twenty-First Century Musicals is a must-read for any student or scholar keen to broaden their understanding of musical performance.

D?espite having had its obituary written many times, the movie musical remains a flourishing twenty-first century form, and as this volume demonstrates, one that exists far beyond the confines of Broadway and Hollywood. The Sound of Musicals examines the films, stars, issues and traditions of the genre from the 1930s to the present day. Featuring sixteen original essays by leading international scholars, this illuminating collection addresses the complex history and global variety of the movie musical, and considers the delight and passionate engagement that musicals continue to inspire in audiences around the world. The contributors address key issues for understanding the movie musical: questions of genre and generic traditions; questions of history, bringing fresh perspectives to a consideration of Classical Hollywood musicals; and the musical beyond Hollywood, looking at alternatives to the Hollywood model from the 'New Hollywood' and American independent cinema to Bollywood and other national musical traditions. Individual chapters consider key musical stars such as Frank Sinatra, Julie Andrews and Barbra Streisand; film-makers including Robert Altman and Christophe Honoré, and classic musicals such as South Pacific (1958) and Hairspray (1988). In his introduction to the volume, Steven Cohan addresses the significance and enduring appeal of this multi-faceted genre, and considers its recent renaissance with movies such as the High School Musical franchise, and the success of the television series Glee.

The musical has been called "the most popular form of entertainment in the world." This work examines the subjects, themes, and contemporary relevance of Hollywood musicals through their long popularity, placing each show in historical and political context and analyzing it in detail. A chapter is devoted to how Golddiggers of 1933 (1933) and Stand Up and Cheer (1934) deal with the economic crises of the Depressions. Another addresses race issues by examining the prevalence of blackface minstrelsy in the 1930s and 1940s, looking at productions like Swing Time (1936) and Dixie (1943). Rock and roll culture, which started in the 1950s and threatened America with teenage sex and rebellion, is addressed through such hits as Girl Crazy (1943), Bye Bye Birdie (1963), and Grease (1978). The work also explores dance as a signifier of character, the geography of musicals (such as New York or "the South"), fantasy settings, Fred Astaire and Gene Kelly, and the musical biopic (mentioning biographies of such figures as Ziegfeld, Cohan, Rogers and Hart, Cole Porter, and Jerome Kern). A later chapter discusses intertextuality in such shows as Singin' in the Rain (1952), which refers to many earlier musicals; Kiss Me Kate (1953) which refers to Taming of the Shrew; and All That Jazz (1970) which refers to the life and work of Bob Fosse. The work concludes with an examination of the continuing popularity of the musical with such hits as Moulin Rouge (2001) and Chicago (2002). Instructors considering this book for use in a course may request an examination copy here.

The Thirteenth Edition of this powerhouse best-selling text maintains its tradition as the most comprehensive, up-to-date guide to the music industry in all of its diversity. Readers new to the music business and seasoned professionals alike will find David Baskerville, Tim Baskerville, and Serona Elton′s handbook the go-to source, regardless of their specialty within the music field. Music Business Handbook and Career Guide is ideal for introductory courses such as Introduction to the Music Business, Music and Media, and other survey courses as well as more specialized courses such as the Record Industry, Music Careers, Artist Management, and more. The fully updated Thirteenth Edition includes a comprehensive discussion of the streaming revolution, where this predominant form of music consumption stands today and is heading in the future. Rapid changes in music licensingare addressed and how they impact creators, musical work performance licensing, compulsory and negotiated mechanicals, and sound recording licenses. The new edition also analyzes the changing picture of music video and shows how music video has been upended by on-demand streaming. Lastly, there is all-new coverage of COVID-19and how the concert industry has been impacted as well as digital advances that have been made.