In The Oxford Handbook of the Hollywood Musical, leading scholars examine the history of a defining film genre from its very roots to the present, analyzing its tropes and problems over the past 8 decades of film history.
In The Oxford Handbook of the Hollywood Musical, leading scholars examine the history of a defining film genre from its very roots to the present, analyzing its tropes and problems over the past 8 decades of film history.Hinweis: Dieser Artikel kann nur an eine deutsche Lieferadresse ausgeliefert werden.
Dominic Broomfield-McHugh is Professor of Musicology at the University of Sheffield. He has published widely on the Broadway and Hollywood musicals, including seven previous books, and has collaborated with many of the world's leading arts organizations, ranging from the Sydney Opera House to the Library of Congress.
Inhaltsangabe
* Introduction * Acknowledgements * I The Conventions of Breaking into Song and Dance * Chapter 1--Expressive Thresholds and Anomalous Utterances * LLOYD WHITESELL * Chapter 2--"Make Like You're Singing It": Performing Musical Texture in Judy Garland's Early Films * DOMINIC SYMONDS * Chapter 3--Revealing the Subconscious: The Dream Ballet in Movie Musicals * KARA GARDNER * Chapter 4--Singing and Dancing in Widescreen: The Extreme Aesthetics of the Mid 1950s Studio Musical Number * TODD DECKER * II The Musical's Othering Impulse * Chapter 5--From Snow White to the Snow Queen: Voicing the Disney Princess * COLLEEN MONTGOMERY * Chapter 6--"Going Places": Musical Latins in Latin Musicals * DESIRÉE J. GARCIA * Chapter 7 --Performing Whiteness Through the First-Generation American Immigrant Experience from Viennese Nights to Perfect Pitch * WILLIAM EVERETT * Chapter 8 --"Cabenenic, Carabenic, Castalenic, Harlemenic": Reclaiming Blackness in Lena Horne's film musicals * HANNAH ROBBINS * Chapter 9--"I'd Do Anything" or Export Strategies for a Culturally Specific Product: Dubbing, Subtitling and Cutting the Hollywood Musical for the German-Austrian Market * OLAF JUBIN * III Production Histories * Chapter 10--"Hear the beat of dancing feet": 42nd Street (1933) and the "New" Film Musical * TIM CARTER * Chapter 11--When Fred Lost Ginger: Thoughts on the Genesis and Legacy of A Damsel in Distress * GEOFFREY BLOCK * Chapter 12--"The Perfect Nanny": Casting in Disney's Mary Poppins and the Children's Musical * MEGAN WOLLER * Chapter 13--Developing the Screenplay for Singin' in the Rain * ANDREW BUCHMAN * Chapter 14--Night and Day the Musical * CLIFF EISEN * IV Stars * Chapter 15--The Problem of Playing Oneself: Oscar Levant and the Hollywood Musical * NATHAN PLATTE * Chapter 16--"Hard to Replace": The Shadow of Judy Garland and the Artistic Remarriage of Fred Astaire and Ginger Rogers in The Barkleys of Broadway * DOMINIC BROOMFIELD-McHUGH * Chapter 17--"The Same Story Told Over and Over:" The Mythology of Stardom in the Musical A Star is Born Films * JULIE LOBALZO WRIGHT * Chapter 18--The Auteur as Ghost Star: Vincente Minnelli's Framings of Judy Garland * RAYMOND KNAPP * Chapter 19--Esther Williams' Latin Lovers * STEVEN COHAN * V After the Studio System * Chapter 20--Xanadu and the Musical's History of Failure * MARTHA SHEARER * Chapter 21--'An Inescapable Failure:' The Little Prince, Realism, and the Golden Age * KATHRYN JAYASURIYA * Chapter 22--Yentl, Barbra Streisand, and Music of the Mind * PAUL LAIRD * VI Musical Renaissance, Musical Reflexivity * Chapter 23--Theatricality, Artifice, and Affective Space in the Works of Baz Luhrmann * ROBYNN J. STILWELL * Chapter 24--Musical Television: Smash, the Backstager, and the Broadway Musical on TV * JANE FEUER * Chapter 25--The Virtuosic Camera: Nostalgia, Technology, and the Contemporary Hollywood Musical * HANNAH LEWIS * Chapter 26--P.T. Barnum Reinvented for the Twenty-First Century * JAMES LEVE
* Introduction * Acknowledgements * I The Conventions of Breaking into Song and Dance * Chapter 1--Expressive Thresholds and Anomalous Utterances * LLOYD WHITESELL * Chapter 2--"Make Like You're Singing It": Performing Musical Texture in Judy Garland's Early Films * DOMINIC SYMONDS * Chapter 3--Revealing the Subconscious: The Dream Ballet in Movie Musicals * KARA GARDNER * Chapter 4--Singing and Dancing in Widescreen: The Extreme Aesthetics of the Mid 1950s Studio Musical Number * TODD DECKER * II The Musical's Othering Impulse * Chapter 5--From Snow White to the Snow Queen: Voicing the Disney Princess * COLLEEN MONTGOMERY * Chapter 6--"Going Places": Musical Latins in Latin Musicals * DESIRÉE J. GARCIA * Chapter 7 --Performing Whiteness Through the First-Generation American Immigrant Experience from Viennese Nights to Perfect Pitch * WILLIAM EVERETT * Chapter 8 --"Cabenenic, Carabenic, Castalenic, Harlemenic": Reclaiming Blackness in Lena Horne's film musicals * HANNAH ROBBINS * Chapter 9--"I'd Do Anything" or Export Strategies for a Culturally Specific Product: Dubbing, Subtitling and Cutting the Hollywood Musical for the German-Austrian Market * OLAF JUBIN * III Production Histories * Chapter 10--"Hear the beat of dancing feet": 42nd Street (1933) and the "New" Film Musical * TIM CARTER * Chapter 11--When Fred Lost Ginger: Thoughts on the Genesis and Legacy of A Damsel in Distress * GEOFFREY BLOCK * Chapter 12--"The Perfect Nanny": Casting in Disney's Mary Poppins and the Children's Musical * MEGAN WOLLER * Chapter 13--Developing the Screenplay for Singin' in the Rain * ANDREW BUCHMAN * Chapter 14--Night and Day the Musical * CLIFF EISEN * IV Stars * Chapter 15--The Problem of Playing Oneself: Oscar Levant and the Hollywood Musical * NATHAN PLATTE * Chapter 16--"Hard to Replace": The Shadow of Judy Garland and the Artistic Remarriage of Fred Astaire and Ginger Rogers in The Barkleys of Broadway * DOMINIC BROOMFIELD-McHUGH * Chapter 17--"The Same Story Told Over and Over:" The Mythology of Stardom in the Musical A Star is Born Films * JULIE LOBALZO WRIGHT * Chapter 18--The Auteur as Ghost Star: Vincente Minnelli's Framings of Judy Garland * RAYMOND KNAPP * Chapter 19--Esther Williams' Latin Lovers * STEVEN COHAN * V After the Studio System * Chapter 20--Xanadu and the Musical's History of Failure * MARTHA SHEARER * Chapter 21--'An Inescapable Failure:' The Little Prince, Realism, and the Golden Age * KATHRYN JAYASURIYA * Chapter 22--Yentl, Barbra Streisand, and Music of the Mind * PAUL LAIRD * VI Musical Renaissance, Musical Reflexivity * Chapter 23--Theatricality, Artifice, and Affective Space in the Works of Baz Luhrmann * ROBYNN J. STILWELL * Chapter 24--Musical Television: Smash, the Backstager, and the Broadway Musical on TV * JANE FEUER * Chapter 25--The Virtuosic Camera: Nostalgia, Technology, and the Contemporary Hollywood Musical * HANNAH LEWIS * Chapter 26--P.T. Barnum Reinvented for the Twenty-First Century * JAMES LEVE
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