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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.
Author : G. Andrew Stuckey Publisher : Hong Kong University Press Page : 160 pages File Size : 41,8 Mb Release : 2018-08-17 Category : Performing Arts ISBN : 9789888390816
Metacinema in Contemporary Chinese Film by G. Andrew Stuckey Pdf
Depictions within a movie of either filmmaking or film watching are hardly novel, but the dramatic expansion of the reach of the metacinematic into contemporary Chinese cinemas is nothing short of remarkable. To G. Andrew Stuckey, the prevalence of metacinematic features forms the basis of a discourse on film arising from the films themselves. Such a discourse, in turn, outlines the boundaries of the possible for film in China as aesthetic or sociopolitical practice. Metacinema also draws our attention to the presence of the audience, people actively responding to a film. In elucidating the affective responses elicited by the metacinematic mode in the viewers, Stuckey argues that metacinema reflects ways of being in the world that audiences may take up for themselves. The films studied in this book are drawn across the full spectrum of Chinese films made in mainland China, Hong Kong, and Taiwan during the 1990s and 2000s, from award-winning conceptual art films to popular crowd pleasers, blockbusters to low-budget productions, and documentary-style social realist exposé projects to studio assembly-line investments. The recurrence of the metacinematic across this broad range of works is indicative of its relevance to Chinese films today, and the analysis of these diverse examples allows us to gauge the cultural, social, and aesthetic implications of Chinese cinemas as a whole. “Stuckey surveys a broad swath of contemporary Chinese cinema, from popular blockbusters to elite art films, around the theme of metacinema, yielding new insights into both previously neglected films and those already acknowledged as contemporary classics. The result is a fascinating dive into the growing and diversifying cinema culture of China today.” —Jason McGrath, University of Minnesota “Stuckey’s brilliant work, Metacinema in Contemporary Chinese Film, offers insightful close analyses of films by key directors from the PRC (Jiang Wen, Lou Ye, Jia Zhangke, and Li Yu), Hong Kong (Peter Chan), and Taiwan (Tsai Ming-liang). This clearly written book is essential reading for scholars and students of Chinese cinemas. Stuckey’s study of genre and metacinema makes it a must-read for anyone interested in cinema.” —Michelle Bloom, University of California, Riverside
Music in Contemporary Indian Film by Jayson Beaster-Jones,Natalie Sarrazin Pdf
Music in Contemporary Indian Film: Memory, Voice, Identity provides a rich and detailed look into the unique dimensions of music in Indian film. Music is at the center of Indian cinema, and India’s film music industry has a far-reaching impact on popular, folk, and classical music across the subcontinent and the South Asian diaspora. In twelve essays written by an international array of scholars, this book explores the social, cultural, and musical aspects of the industry, including both the traditional center of "Bollywood" and regional film-making. Concentrating on films and songs created in contemporary, post-liberalization India, this book will appeal to classes in film studies, media studies, and world music, as well as all fans of Indian films.
Music in Contemporary French Cinema by Phil Powrie Pdf
This book explores composed scores and pre-existing music in French cinema from 1985 to 2015 so as to identify critical musical moments. It shows how heritage films construct space through music, generating what Powrie calls “third space music,” while also working to contain the strong women characters found in French heritage films through the use of leitmotifs and musical cues. He analyses fiction films in which the protagonists perform at the piano, showing how musical performance supports the performance of gender. Building on aspects of musical performance, and in particular the use of songs performed in films, Powrie uses a database of 300 films since 2010 to theorize the intervention of music at critical moments as a “crystal-song”. Applying Roland Barthes’s concept of the “punctum” and Gille Deleuze’s concept of the “crystal-image,” Powrie establishes the importance of the crystal-song, which reconfigures time as a crystallization of past, present and future.
The Musical as Event. Modes of Address in Contemporary Film Musicals by Amelie Meyer Pdf
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?
The Routledge Companion to the Contemporary Musical by Jessica Sternfeld,Elizabeth L. Wollman Pdf
The Routledge Companion to the Contemporary Musical is dedicated to the musical’s evolving relationship to American culture in the late twentieth and early twenty-first centuries. In the past decade-and-a-half, international scholars from an ever-widening number of disciplines and specializations have been actively contributing to the interdisciplinary field of musical theater studies. Musicals have served not only to mirror the sociopolitical, economic, and cultural tenor of the times, but have helped shape and influence it, in America and across the globe: a genre that may seem, at first glance, light-hearted and escapist serves also as a bold commentary on society. Forty-four essays examine the contemporary musical as an ever-shifting product of an ever-changing culture. This volume sheds new light on the American musical as a thriving, contemporary performing arts genre, one that could have died out in the post-Tin Pan Alley era but instead has managed to remain culturally viable and influential, in part by newly embracing a series of complex contradictions. At present, the American musical is a live, localized, old-fashioned genre that has simultaneously developed into an increasingly globalized, tech-savvy, intensely mediated mass entertainment form. Similarly, as it has become increasingly international in its scope and appeal, the stage musical has also become more firmly rooted to Broadway—the idea, if not the place—and thus branded as a quintessentially American entertainment.
Philosophical Considerations on Contemporary Music by Giacomo Fronzi Pdf
The musical universe of the 20th and 21st centuries is a force-field in which styles, instruments, personalities and stories can be found that are ascribable to conceptual frameworks that may differ greatly one from another. Such complexity cannot be traced back to single theories or all-encompassing interpretations, but may be tackled, philosophically, starting from certain characteristics. This book identifies nine such characteristics: namely, Extremes, Noise, Silence, Technology, Audience, Listening, Freedom, Disintegration, and New Media. Each of these permits us to open up unforeseen philosophical-cultural paths and interpret, in its multifarious variety, the developments of contemporary music, profoundly interwoven with the history of thought, culture and society.
Perspectives on Contemporary Music Theory by Bryan Parkhurst,Jeffrey Swinkin Pdf
Kevin Korsyn is a renowned music theorist, musicologist, and pedagogue who has taught at the University of Michigan since 1992. He has published widely and influentially in areas as diverse as Beethoven and Brahms studies, chromatic tonality, disciplinarity and metatheory, history of theory, musical meaning and hermeneutics, poststructuralism (deconstruction, intertextuality, etc.), and Schenkerian theory and analysis. Because of the scope and caliber of his published work, and also his legacy as a pedagogue, Korsyn has had a profound impact on the field of music theory, along with the related fields of historical musicology and aesthetics. This book, a festschrift for Korsyn, comprises essays that constellate around his numerous scholarly foci. Represented in the volume are not only familiar music-theoretical topics such as chromaticism, form, Schenker, and text-music relations, but also various interdisciplinary topics such as deconstruction, disability studies, German Idealism, posthumanism, and psychoanalysis. The book thus reflects the increasingly multifaceted intellectual landscape of contemporary music theory.
Performing in Contemporary Musicals by David Sisco,Laura Josepher Pdf
Performing in Contemporary Musicals brings into sharp focus the skills performers must possess when tackling shows that are newly written, in development, or somewhere in between. The authors bust myths about contemporary musical theatre and analyze the development timelines of musicals from around the world. They also explore how performers can become invaluable to a creative team by developing the skills needed to move a new musical forward including: contemporary acting and singing techniques, dramaturgy, quickly picking up new material, and collaboration. Each chapter features insightful industry interviews, recommended activities, an extensive reading list, and an online companion for further study. This textbook is the only comprehensive resource that provides an overview of the development process of a new musical while guiding musical theatre performers to be fruitful collaborators in a new works scenario.
Alex North, Film Composer by Sanya Shoilevska Henderson Pdf
"Alex North's life and work are the focus of this book. The first part deals with his early life growing up in Chester, Pennsylvania, and Philadelphia, his studies at Juilliard in New York and in Russia and Mexico, his early experiences in modern dance, documentaries, and theater, and his major work in film.".
Notes on the Writing of A Gentleman's Guide to Love and Murder by Robert L. Freedman Pdf
The most frequently asked question about writing musicals is, "Which comes first, the music or the lyrics?" As anyone on Broadway will tell you, the answer is, "The book." Tony-winning book writer Robert L. Freedman takes you through the process of writing a new musical, including story structure, song placement, dialogue, character development, and more that led to the creation of A Gentleman's Guide to Love and Murder, the 2014 Best Musical Tony winner. With candor and insight, Freedman describes the challenging and rewarding growing pains of what the critics called "Hilarious!" and "Ingenious!" and said "Ranks among the most inspired and entertaining new musical comedies I've seen in years."
Hearing Film offers the first critical examination of music in the films of the 1980s and 1990s and looks at the burgeoning role of compiled scores in the shaping of a film. Also includes 11 musical examples.
Silent Films/Loud Music discusses contemporary scores for silent film as a rich vehicle for experimentation in the relationship between music, image, and narrative. Johnston offers an overview of the early history of music for silent film paired with his own first-hand view of the craft of creating new original scores for historical silent films: a unique form crossing musical boundaries of classical, jazz, rock, electronic, and folk. As the first book completely devoted to the study of contemporary scores for silent film, it tells the story of the historical and creative evolution of this art form and features an extended discussion and analysis of some of the most creative works of contemporary silent film scoring. Johnston draws upon his own career in both contemporary film music (working with directors Paul Mazursky, Henry Bean, Philip Haas and Doris Dörrie, among others) and in creating new scores for silent films by Browning, Méliès, Kinugasa, Murnau & Reiniger. Through this book, Johnston presents a discussion of music for silent films that contradicts long-held assumptions about what silent film music is and must be, with thought-provoking implications for both historical and contemporary film music.
Write in Tune: Contemporary Music in Fiction by Erich Hertz,Jeffrey Roessner Pdf
Contemporary popular music provides the soundtrack for a host of recent novels, but little critical attention has been paid to the intersection of these important art forms. Write in Tune addresses this gap by offering the first full-length study of the relationship between recent music and fiction. With essays from an array of international scholars, the collection focuses on how writers weave rock, punk, and jazz into their narratives, both to develop characters and themes and to investigate various fan and celebrity cultures surrounding contemporary music. Write in Tune covers major writers from America and England, including Don DeLillo, Jonathan Franzen, Zadie Smith, and Jim Crace. But it also explores how popular music culture is reflected in postcolonial, Latino, and Australian fiction. Ultimately, the book brings critical awareness to the power of music in shaping contemporary culture, and offers new perspectives on central issues of gender, race, and national identity.
