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The sound of musicals
Despite 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.
eBook
Hollywood musicals
\"Hollywood Musicals offers an insightful account of a genre that was once a mainstay of 20th century film production and continues to draw audiences today. What is a film musical? How do musicals work, formally and culturally? Why have they endured since the introduction of sound in the late 1920s? How are they more than glittery surfaces or escapist fare? Highlights include extended discussions of such celebrated musicals from the studio era as The Love Parade, Top Hat, Holiday Inn, Stormy Weather, The Gang's All Here, Meet Me in St. Louis, Cover Girl, Mother Wore Tights, Singin' in the Rain, Gentlemen Prefer Blondes, The Band Wagon, Seven Brides for Seven Brothers, and Jailhouse Rock as well as later films, such as Cabaret, All that Jazz, Beauty and the Beast, and La La Land.\"-- Provided by publisher.
Book
Screening the Male
Screening the male re-examines the problematic status of masculinity both in Hollywood cinema and feminist film theory.Classical Hollywood cinema has been theoretically established as a vast pleasure machine, manufacturing an idealized viewer through its phallocentric ideological apparatus. Feminist criticism has shown how difficult it is for the female viewer to resist becoming implicated in this representational system. But the theroies have overlooked the significance of the problem itself - of the masuline motivation at the core of the system. The essays here explore those male characters, spectators, and performers who occupy positions conventionally encoded as \"feminine\" in Hollywood narrative and questions just how secure that orthodox male position is.Screening the Male brings together an impressive group of both established and emerging scholars from Britain, the United States and Australia unified by a concern with issues that film theorists have exclusively inked to the femninie and not the masculne: spectacle, masochism, passivity, masquerade and, most of all, the body as it signifies gendered, racial, class and generatonal differences.
eBook
The Road Movie Book
The Road Movie Book is the first comprehensive study of an enduring but ever-changing Hollywood genre, its place in American culture, and its legacy to world cinema. The road and the cinema both flourished in the twentieth century, as technological advances brought motion pictures to a mass audience and the mass produced automobile opened up the road to the ordinary American. When Jean Baudrillard equated modern American culture with 'space, speed, cinema, technology' he could just as easily have added that the road movie is its supreme emblem. The contributors explore how the road movie has confronted and represented issues of nationhood, sexuality, gender, class and race. They map the generic terrain of the road movie, trace its evolution on American television as well as on the big screen from the 1930s through the 1980s, and, finally, consider road movies that go off the road, departing from the US landscape or travelling on the margins of contemporary American culture. Movies discussed include: * Road classics such as It Happened One Night , The Grapes of Wrath , The Wizard of Oz and the Bob Hope-Bing Crosby Road to films * 1960's reworkings of the road movie in Easy Rider and Bonnie and Clyde * Russ Meyer's road movies: from Motorpsycho! to Faster Pussycat! Kill! Kill! * Contemporary hits such as Paris Texas, Rain Man, Natural Born Killers and Thelma and Louise * The road movie, Australian style, from Mad Max to the Adventures of Priscilla, Queen of the Desert.
eBook
THE GAY COWBOY MOVIE
BeforeBrokeback Mountainopened theatrically in December 2005, commercial prospects were uncertain for “this ostensible gay Western,” as Todd McCarthy (2005) called it when reviewing the film at the Telluride film festival forDaily Variety.The gay male demographic was assured, of course, but the film’s potential to attract a crossover audience remained an open question. “With critical support,” McCarthy observed, “Focus [Films] should have little trouble stirring interest among older, sophisticated viewers in urban markets, but trying to cross this risky venture over into wider release reps a marketing challenge for the ages; paradoxically, young women may well constitute
Book Chapter
Telling Stories: Studies in Honour of Ulrich Broich on the Occasion of His Birthday
Telling Storiesoverturns traditional definitions of narrative by arguing that any story, whether a Bette Davis film, a jeans ad, a Jane Austen novel of a 'Cathy' comic, must be related to larger cultural networks. The authors show how meanings and subjectivity do not exist in isolation, but are manufactured by the narratives our culture reads and watches every day. They call for a critical practice that, through the fracturing of texts, can alter the grounds of knowledge and interpretation. This timely study will interest critics of narrative and culture, as well as students wanting to extend post-Saussurean theories to poopular and canonical cultures, and to the dynamics of story-telling itself.
eBook
The Manic Bodies of Danny Kaye
I examine Danny Kaye's on-screen queer persona, arguing that his manic performance style gives historical specificity to his distinctive signification of gender and sexual ambiguities. Specifically, three signature elements constitute Kaye's performances in his 1940s musicals: the doubled identities, suggesting the closet; the association of Jewishness with Broadway sophistication and effeminate masculinity; and the popularity in this period of \"Freudism\" and fantasy. I then consider how that queer persona fared in the more conservative period of the 1950s, especially in the light of Kaye's identification as a children's entertainer.
Journal Article