Hollywood Musicals, The Film Reader

Articles examine the musical in relation to its generic form and conventions, the relationship between narrative and spectacle, gender and feminism, camp production and reception, stardom, and representations of race and ethnicity.

Autorentext

Steven Cohan

Inhalt

Introduction: Musicals of the Studio Era PART I: Generic Forms - Introduction 1. Richard Dyer, 'Entertainment and Utopia' 2. Jane Feuer, 'The Self-reflective Musical and the Myth of Entertainment' 3. Rick Altman, 'The American Film Musical as Dual-Focus Narrative' 4. Martin Rubin, 'Busby Berkley and the Backsatge Musical' PART II: Gendered Spectacles - Introduction 5. Patricia Mellencamp, 'Sexual Economics: Gold Diggers of 1933' 6. Lucie Arbuthnot and Gail Seneca, 'Pre-text and Text in Gentlemen Prefer Blondes' 7. Steven Cohan, 'Feminizing the Song-and-Dance Man: Fred Astaire and the Spectacle of Masculinity in the Hollywood Musical' PART III: Interventions - Introduction 8. Richard Dyer, 'Judy Garland and Camp' 9. Matthew Tinkcom. 'Working Like a Homosexual: Camp Visual Codes and the Labor of Gay Subjects in the MGM Freed Unit' 10. Pamela Robertson. 'Feminist Camp in Gold Diggers of 1933' 11. Shari Roberts, 'The Lady in the Tutti-Fruti Hat: Carmen Miranda, A Spectacle of Ethnicity' PART IV: Radical Displacements - Introduction 12. Carol J Clover, 'Dancing in the Rain' 13. Michael Rogin 'New Deal Blackface' 14. Linda Mizejewski, 'Beautiful White Bodies'