Academic literature on the topic 'Musical films'
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Journal articles on the topic "Musical films"
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BOMBOLA, GINA. "FromThere's Magic in MusictoThe Hard-Boiled Canary: Promoting “Good Music” in Prewar Musical Films." Journal of the Society for American Music 12, no. 2 (April 5, 2018): 151–78. http://dx.doi.org/10.1017/s1752196318000068.
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AbstractIn 1941, Paramount releasedThere's Magic in Music, a film about a soprano who sings opera in burlesque and wins a scholarship to attend Interlochen. The movie's utopian view of art music, however, caused difficulties for the studio in regard to marketing, leading to a studio-wide debate over the film's title. Archival documents positionThere's Magic in Musicas a valuable case study for investigating the transitional period of musical film production between the Great Depression and the onset of World War II, particularly with respect to operatic musicals. Just prior to the United States’ entry into the war, Hollywood moved away from the escapist fantasy of 1930s cinema toward the realism that would mark the 1940s. To reboot fading interest in musicals, studios toyed with the formula of the backstage musical to focus more on dramatic narratives and star power.There's Magic in Musicthus serves as a lens through which we might examine changes both in musical film production and in notions of “good music” at the eve of World War II.
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Lu, Xiao. "Hollywood Genre, Cultural Hybridity, and Musical Films in 1950s Hong Kong." Arts 12, no. 6 (November 8, 2023): 237. http://dx.doi.org/10.3390/arts12060237.
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Following the trauma of the Second World War, Hong Kong, under British governance, enjoyed considerable economic and political freedom to establish a local entertainment industry. Musical films became a major genre of Hong Kong’s film releases in the 1950s. Local melodramas, Hollywood musicals, celebrities, and ideals of female beauty were all present in the growth of Hong Kong musical films, which culminated in a glorious display of cinematic art. This article aims to provide insight into the popularity of Chinese-speaking musical films by examining the social, economic, and political complexity of 1950s Hong Kong, including post-war migration and colonial censorship. An in-depth analysis of Li Han-Hsiang’s The Kingdom and the Beauty demonstrates how Hong Kong studios adapted the Hollywood musical to tell Chinese stories and how Hong Kong musical films incorporated Chinese literature and music to represent cultural memory, local identity, and modern aesthetics. This case study sheds light on the localization of a Hollywood genre and the hybridization of Chinese and Western entertainment forms to appeal to a Chinese audience, thereby broadening the definition of cultural hybridity and informing the practice of Hong Kong’s musical filmmaking.
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Garber, Michael G. "Tragicomedy, Melodrama, and Genre in Early Sound Films: The Case of Two “Sad Clown” Musicals." CINEJ Cinema Journal 5, no. 2 (October 11, 2016): 53–86. http://dx.doi.org/10.5195/cinej.2016.135.
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This interdisciplinary study applies the theatrical theories of stage genres to examples of the early sound cinema, the 1930 Hollywood musicals Puttin’ on the Ritz (starring Harry Richman, and with songs by Irving Berlin) and Free and Easy (starring Buster Keaton). The discussion focuses on the phenomenon of the sad clown as a symbol of tragicomedy. Springing from Rick Altman’s delineation of the “sad clown” sub-subgenre of the show musical subgenre, outlined in The American Film Musical, this article shows that, in these seminal movie musicals, naïve melodrama and “gag” comedy coexist with the tonalities, structures, philosophy, and images of the sophisticated genre of tragicomedy, including by incorporating the grotesque into the mise en scene of their musical production numbers.
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MAGEE, GAYLE SHERWOOD. "Song, Genre, and Transatlantic Dialogue in Gosford Park." Journal of the Society for American Music 2, no. 4 (October 23, 2008): 477–505. http://dx.doi.org/10.1017/s1752196308080140.
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AbstractHidden in plain sight, the five songs in the middle of, Gosford Park (2001) prepare the audience for the untangling of sordid relationships and the resolution of a murder mystery at the end of the film. This article presents a detailed analysis of the film's central musical sequence using video captures, reception history, transcriptions, and other approaches from music history and film studies. As is shown, the close relationship between music and image reflects the fascination of US audiences with British-themed films and the equally complicated appeal of Hollywood films to British audiences. Additionally, the songs provide a surfeit of narrative information crucial to the resolution of the multiple story lines. Lastly, the songs complicate and expand the work's seemingly straightforward murder-mystery genre to include such incompatible models as the British heritage film, Hollywood musicals, melodramas, and the double feature. Informing this musical sequence, and the entire film, is a complex, reciprocal transatlantic exchange founded on mutually inaccurate, yet often irresistible, myths of history and identity.
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Duan, Xinnian. "Future Development Direction of Chinese Musical Film-By Comparing with the American Musical Film." Communications in Humanities Research 3, no. 1 (May 17, 2023): 18–23. http://dx.doi.org/10.54254/2753-7064/3/20220108.
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With the emergence of musical films in mainland China in recent years, the narrative logic, story, song and dance of musical films cannot attract audiences. This paper is to discuss the future development trend of Chinese musical film. This research compares the advantages and disadvantages of the Chinese musical film The Day We Lit Up The Sky and the American classic musical film Chicago via case studies and literature review. Aiming at the aesthetic analysis of these two musical films, this paper discusses the content, theme, song and dance, awards, box office, audience analysis and so on. The research results show that the development of Chinese film industry is later than the United States and Europe, so there is still a lot of room for progress. This paper only analyzes two musical films with different area styles. Chinese musical films should break out of the conventional plot and use a lot of star cameos to attract audiences. The use of truly high standards of music, high quality dance, high level of art and unique film content to produce Chinese song and dance film, but also need to integrate its unique Chinese characteristics, culture and thought. The development trend of Chinese musical films in the future is to walk out of a road belonging to Chinese characteristics and find a positioning and direction that belongs to China, so as to make them different from Hollywood musical films and Bollywood.
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Higueras Rodríguez, Virginia E. "De Oklahoma! a Tick, Tick...Boom! La evolución del musical desde la Edad de Oro hasta las obras rock de Jonathan Larson." Latente Revista de Historia y Estética audiovisual 20 (2022): 237–55. http://dx.doi.org/10.25145/j.latente.2022.20.09.
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Musical films do not evolve in parallel with the theatrical musicals on Broadway. It creates a gap of about a decade between the musicals on Broadway and those produced in Hollywood. In 2021 Lin-Manuel Miranda, director of the film Tick, Tick... Boom! revives Jonathan Larson, heir to the influences of the musicals of Richard Rodgers & Oscar Hammerstein II, and Stephen Sondheim
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Sommer, Sally, and John Mueller. "Astaire Dancing: The Musical Films." Dance Research Journal 19, no. 2 (1987): 41. http://dx.doi.org/10.2307/1478170.
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Tieber, Claus, and Anna K. Windisch. "Musical moments and numbers in Austrian silent cinema." Soundtrack 12, no. 1 (November 1, 2020): 7–20. http://dx.doi.org/10.1386/ts_00009_1.
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Although the film musical as a genre came into its own with the sound film technologies of the late 1920s and early 1930s, several characteristic features did not originate solely with the sound film. The ‘musical number’ as the epitome of the genre, can already be found in different forms and shapes in silent films. This article looks at two Austrian silent films, Sonnige Träume (1921) and Seine Hoheit, der Eintänzer (1926), as case studies for how music is represented without a fixed sound source, highlighting the differences and similarities of musical numbers in silent and sound films. The chosen films are analysed in the contexts of their historical exhibition and accompaniment practices, Austria’s film industry as well as the country’s cultural-political situation after the end of the monarchy. These two examples demonstrate that several characteristics of the film musical are based on the creative endeavours made by filmmakers during the silent era, who struggled, failed and succeeded in ‘visualizing’ music and musical performances in the so-called ‘silent’ films. In reconstructing their problems and analysing their solutions, we are able to gain a deeper understanding of the nature of musical numbers during the silent era and on a more general level.
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Dong, Yiru. "A Study on the Utilization Trends of Music in Films: Focusing on Malcom X(1992), Catch Me If You Can." Korean Society of Culture and Convergence 45, no. 10 (October 31, 2023): 483–503. http://dx.doi.org/10.33645/cnc.2023.10.45.10.483.
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This study aims to compare movies with distinct characteristics that utilize jazz to grasp the usage patterns of jazz in film music and to investigate the cinematic approach to the jazz genre in contemporary Hollywood films. For this research, Terence Blanchard's Malcolm X(1992), John Williams' Catch Me If You Can(2002), and Justin Hurwitz's La La Land(2016) were selected and researched; the conclusion was as follows. First, trumpeter Terence Blanchard faithfully served the cinematic function by utilizing jazz, a pillar of Black music. Second, Traditional Hollywood film composer John Williams fused symphonic sound with the jazz genre. Third, Justin Hurwitz crafted music by embracing the characteristics of the musical film. The music had a close relationship with the film's narrative structure and played a significant role throughout the film. As comparative analysis based on the research findings, the diverse cinematic approaches to the jazz genre were influenced by the film's structure and the composer's musical inclinations. According to this, distinctions appeared in the underscore, source music, and cinematic function of music depending on the film. However, they also coexisted with common elements, such as classical music's foundations and leitmotif techniques.
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SADOFF, RONALD H. "The role of the music editor and the ‘temp track’ as blueprint for the score, source music, and scource music of films." Popular Music 25, no. 2 (May 2006): 165–83. http://dx.doi.org/10.1017/s0261143006000845.
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The ‘temp track’, a temporary mock-up of a film's soundtrack, is assembled from pre-existing music prior to the real, commissioned score being composed. An integral element of the post-production process of American feature films, it survives only in its role for audience previews. Constructed by a music editor, in most cases, it is a blueprint of a film's soundtrack – a musical topography of score, songs, culture and codes in which a balance must obtain between the director's vision, the music's function, underlying requirements of genre, and the spectator's perception. This article demonstrates that the temp track informs compositional practices and the final score, and makes the argument that textual analysis would benefit from the recognition of the role of production practices. Drawing on published sources and interviews with practitioners, this article provides historical context and musical detail, and shows how productive analysis can be when it draws on practitioners' insights as well as textual analysis. Film score analysis must not begin and end with the finished film score but must utilise a more eclectic methodology which takes into account the production process. Film score analysis should reflect the constitutive nature of film and film music.
Dissertations / Theses on the topic "Musical films"
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McNelis, Timothy Robert. "Popular music, identity and musical agency in U.S. youth films." Thesis, University of Liverpool, 2010. http://livrepository.liverpool.ac.uk/1491/.
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Popular music is immensely important to the construction of identity and regulation of agency for teenagers in films and in the real world. Throughout this thesis, I shall argue that music, specifically pre-existing songs, constructs identity in a manner that is complex, fluid, and unfixed. This is especially true for teenagers, who are in such a transitional period of their lives. Film music draws on ideas circulating in popular culture to construct identity, and connotations connected with discourse around certain genres of music are of particular importance. Throughout three case study chapters, I shall discuss the cultural context of various songs and genres to suggest possible elements of identity that are available for perceivers to understand. I will be grouping films together in case study chapters based on three narrative threads: teenage girls who play guitars, white characters who use African American music to express identity and improve agency, and non-white characters whose ethnic identity is musically constructed in contradictory ways. Identity and agency are tightly entwined in filmic narratives, and music plays a key role in the construction of both. Musical agency is related to narrative agency, but it also involves characters’ access to musical performance, as well as their musical representation through source music, source score, and dramatic score. The characters with the most musical agency are those who use music to their own benefit or benefit from music in the soundtrack. Finally, I shall argue that musical agency is affected by a film’s internal contradictions – by which I mean the areas of tension between music, identity, and storyline. Characters tend to have the greatest musical agency in films where musical connotations align with other elements of character identity and the character’s treatment in the storyline. Thus, musical agency tends to be less when there are contradictions between characters’ musical performance, the music they listen to, music on the soundtrack (source music, source score, or dramatic score) that they do not choose, other elements of their identity, and their narrative behaviour unrelated to music.
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Cadalanu, Marie. "Le film musical français dans les années trenteconstitution d’un genre ?" Caen, 2016. http://www.theses.fr/2016CAEN1037.
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Si la majorité des études consacrées au film musical comme genre se concentrent sur le paradigme hollywoodien, il existe d’autres traditions de cinéma musical souvent passées sous silence du fait de leur irréductibilité à ce modèle. Le cinéma français des années trente développe ainsi, pour des raisons à la fois historiques, culturelles et techniques, toute une production de films musicaux et chantants qui ne répondent pas aux codes du musical hollywoodien et qui sont caractérisés par une inventivité et un foisonnement remarquables. La présente étude se propose de rendre justice à la spécificité et à la diversité de cette production, par le biais d’une interrogation sur la possibilité d’une approche générique similaire à celle que la doxa critique applique au musical hollywoodien. La première partie pose les bases théoriques d’un genre du film musical français, avant de proposer une typologie des divers courants de la production cinématographique musicale nationale. La deuxième partie souligne l’importance des échanges internationaux dans les films musicaux, en particulier par le biais des versions multiples. La troisième partie se concentre sur la réception contemporaine de ces films, afin d’évaluer l’importance des critères génériques dans les divers discours, de la production, de la critique et du public. Enfin, la quatrième partie propose de dépasser le carcan générique pour aborder le foisonnement sans équivalent de films à chansons dans les années trenteWhile the vast majority of musical film critics consider only the Hollywood paradigm, there are other national traditions of musical cinema, to which critics often turn a blind eye because of incompatibility with this model. Indeed, French cinema of the thirties develops, for historical, cultural and technical reasons, a wealth of musical and singing films which do not fit with the Hollywood codes of the genre and which are characterized by outstanding inventiveness and richness. The present study aims to do justice to the specificity and the diversity of this corpus, by exploring the possibility of a generic approach analogous to that which the critical doxa applies to the Hollywood musical. The first part establishes the theoretical bases for the genre of French musical film, before offering a typology of the various trends in this national musical cinematography. The second part focuses on the importance of international exchanges in these productions, particularly through the practice of creating multiple versions. The third part focuses on the contemporary reception of these films, in order to assess the importance of a generic approach in the various discourses emanating from the production companies, critics and the public. Finally, the fourth part proposes how to go beyond the generic constraints in order to tackle to the unprecedented abundance of singing productions made during the decade
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Calhoun, Claudia Y. ""When I get home, I'm fixin' to stay" : gender and domesticity in Post-World War II musical Westerns /." Connect to electronic thesis, 2005. http://ada.mtholyoke.edu/setr/websrc/pdfs/www/2006/251.pdf.
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Ria, Rodrigo Garcia Lopez. "Educação musical através dos desenhos animados Silly Symphonies /." São Paulo, 2018. http://hdl.handle.net/11449/157178.
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Orientador(a): Iveta Maria Borges Ávila FernandesBanca: Francine de Paulo Martins Lima
Banca: Kathya Maria Ayres de Godoy
Resumo: Esta pesquisa de caráter qualitativo e de natureza bibliográfica procura apresentar alguns elementos musicais presentes em duas animações das Silly Symhonies que sirvam de conteúdo para o ensino-aprendizagem de música no Ensino Fundamental Anos Iniciais. A partir dessa temática, desenvolver um material pedagógico-musical construindo e relacionando as práticas e experiências em sala de aula com a pedagogia musical. Investigar de que forma essa teoria é expressa em conceitos e traduzida em práticas e processos musicais para melhor serem transmitidos por meio de um material didático acessível e diversificado. Para tanto, fez-se necessário a apropriação de alguns conceitos diretamente ligados à escola, à mediação do professor, ao meio social, à educação musical e à formulação de ideias referentes à própria música, em si organizados da seguinte maneira: (1) a indispensável responsabilidade do professor de conhecer o meio dos alunos aos quais leciona e o caráter intercultural (Queiroz, 2015) do mesmo, evitando estigmatizações (Elias, 2000) e combatendo a violência simbólica (Bourdieu, 1992 e 2007); (2) a visão clara que o professor deve ter do seu papel mediador (Vygotsky, 1999 e 2014 e Libâneo 2013) exercido entre o conhecimento e os alunos; (3) a importante influência exercida pela arte cinematográfica junto às crianças e os jovens, através de diversos meios como as salas de cinema (Duarte, 2009 e 2013) e a TV e utilizando desses meios para aproximá-los de gêneros musicais que... (Resumo completo, clicar acesso eletrônico abaixo)
Resumen: Esta investigación de carácter cualitativo y de naturaleza bibliográfica busca presentar algunos elementos musicales presentes en dos animaciones de las Silly Symhonies que sirvan de contenido para la enseñanza y el aprendizaje de música en la educación primaria. A partir de esa temática, desarrollar un material pedagógico-musical construyendo y relacionando las prácticas y experiencias en aula con la teoría peda gógica. Investigar de qué forma esta teoría se expresa en conceptos y traducida en prácticas y procesos musicales para mejor ser transmitidos por medio de un material didáctico acc esible y diversificado. Por lo tanto, era necesario que la apropiación de algunos conceptos relacionados directamente con la escuela, la mediación del profesor, el entorno social, la ed ucación musical y la formulación de ideas relacionadas con la música misma, en si organizados de la siguiente manera: (1) la indispensable responsabilidad del profesor de conocer el medio de los alumnos a los que enseña y el carácter intercultural (Queiroz, 2015) del mismo, evitando estigmatizaciones (Elias, 2000) y combatiendo la violencia simbólica (Bourdieu, 1992 e 2007); (2) la visión clara que el profesor debe tener de su papel mediad or (Vygotsky, 1999 e 2014 e Libâneo 2013) ejercido entre el conocimiento y los alumnos; (3) la importante influencia ejercida por el arte cinematográfico junto a los niños y los jóv enes, através de diversos medios como las salas de cine (Duarte, 2009 e Fresquet, 2013) y ... (Resumen completo clicar acceso eletrônico abajo)
Abstract: The purpose of this work, of bibliographical and qualitative nature, is to design a pedagogical-musical teaching material based on Disney's Silly Symphonies pointing out musical elements embodied therein while relating classroom practices and experiences to the pedagogical theory so as to design accessible and diversified teaching material. To that end, it was necessary to apply some concepts directly linked to the school, the teacher's mediation, the social environment, music education and to the construction of ideas referring to music itself, all of them structured as follows: (1) the teacher's accountability for knowing his/her students' social background and its intercultural (Queiroz, 2015) specificities; (2) the teacher's deep awareness of his/her role as a mediator (Vygotsky, 1999 e 2014 e Libâneo 2013) between knowledge and learners; (3) the key influence cinematographic art has over children and young people across various media such as movie theatres (Duarte, 2009 e Fresquet, 2013), television and the Internet as a means to bring those audiences closer to musical genres alien to them; (4) bringing theory into practice through music activities built around Silly Symphonies as a musical reference. The appreciation of theoretical benchmarks paired with the classroom experience, so we could design activities which may help teachers willing to work with music education using cartoons or animations
Mestre
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Pierce, Kelley J. "Dance-10 : a historical investigation of musical theatre dance styles in film." Virtual Press, 1986. http://liblink.bsu.edu/uhtbin/catkey/491454.
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A broad survey of musical theatre dance styles in film from 1935 to 1985 is used as background information for this creative project. Attention is paid to developments within the art form. The contributions of choreographers Busby Berkeley, Fred Astaire, Agnes de Mille, Gene Kelly, Michael Kidd, Bob Fosse, Jerome Robbins, and Michael Peters are discussed. A detailed description is included of the process involved in translating the film choreography to a stage performance. The film choreography was presented in a lecture demonstration format designed to give the audience a short synopsis of musical film history, then illustrate the information with a performed example.
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Solomon, Roxanne Elizabeth. "A critical study of Franco Zeffirelli's La Traviata /." Access Digital Full Text version, 1987. http://pocketknowledge.tc.columbia.edu/home.php/bybib/10692782.
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Thesis (Ed. D.)--Teachers College, Columbia University, 1987.Typescript; issued also on microfilm. Sponsor: Louis Forsdale. Dissertation Committee: Raymond P. McDermott. Bibliography: leaves 217-225.
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Malone, Travis B. "Crafting Utopia and Dystopia: Film Musicals 1970-2002." Connect to this title online, 2006. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=bgsu1162486037.
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Wellborn, Brecken. "Musicals and the Margins: African-Americans, Women, and Queerness in the 21st Century American Musical." Thesis, University of North Texas, 2018. https://digital.library.unt.edu/ark:/67531/metadc1404583/.
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This thesis provides an overview of the various ways in which select marginalized identities are represented within the twenty-first century American musical film. The first intention of this thesis is to identify, define, and organize the different subgenres that appear within the twenty-first century iterations of the musical film. The second, and principal, intention of this thesis is to explore contemporary representations of African-Americans, women, and queerness throughout the defined subgenres. Within this thesis, key films are analyzed from within each subgenre to understand these textual representations.
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Phillips, Dara L. "Dancing Through Film Musicals : Narratives in Motion /." Lynchburg, Va. : Liberty University, 2006. http://digitalcommons.liberty.edu.
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Schneider, Paula. "The visual language of authenticity : mediation and musical performance in the films of the Beatles." Thesis, University of British Columbia, 2014. http://hdl.handle.net/2429/51554.
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In the context of scholarship surrounding the areas of mediation, performance, and authenticity, evidence of the media object is frequently blamed for distancing audiences from their musical idols. This thesis, which uses the films of the Beatles and as its main subjects, considers the contradiction born from the fact that while the Beatles were constantly exposed to forces of mediation - when they were not being photographed by journalists, they were in front of a television or film camera – this has not affected audiences’ willingness to interpret the band’s plethora of on-screen performances as authentic. If technology impedes authenticity, I ask why the highly stylized performance sequences in A Hard Day’s Night, for example, are still able to contribute to the Beatles’ authentic image. I contend that the representational strategies employed in the films of the Beatles creates a visual language that is an essential part of the process of authentication, and that this process transcends the boundaries usually created by the politics and aesthetic strategies associated with particular filmic modes.
I have chosen five of the Beatles’ feature-length films as subject matter for this thesis, which span a variety of filmic modes ranging from the documentary to the fictional, studio-financed narrative film. After a review of pertinent criticism in Chapter One, Chapter Two explores the Beatles’ film of 1964, including The Beatles! The First U.S. Visit (Albert and David Maysles, 1964), The Making of The Beatles! The First U.S. Visit (Smeaton, 2003), and A Hard Day’s Night (Lester, 1964). Chapter Three investigates the films of the following year, using Help! (Lester, 1965) and The Beatles at Shea Stadium (Bob Precht for ABC, 1965). Using the work of Philip Auslander, Michael Brendan Baker, Thomas Cohen, Simon Frith, Theodore Gracyk, and Jonathan Romney, I explore the ways in which the films of the Beatles deliver contemporary audiences positive insight into technology’s capacity to provide viewers with a sense of immediacy, unpredictability, and “liveness”.Arts, Faculty of
Theatre and Film, Department of
Graduate
Books on the topic "Musical films"
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Colin, Larkin, ed. The Guinness who's who of film musicals & musical films. Enfield, England: Guinness Publishing, 1994.
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Feuer, Jane. The Hollywood musical. 2nd ed. Bloomington: Indiana University Press, 1993.
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Chaplin, Saul. The golden age of movie musicals and me. Norman: University of Oklahoma Press, 1994.
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T︠S︡vetkov, I︠U︡riĭ. Vesenni︠a︡i︠a︡ skazka: Fil'm-skazka. Moskva: OOO Magnat, 2006.
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Everett, William A. The musical: A research and information guide. 2nd ed. New York: Routledge, 2011.
Find full textBook chapters on the topic "Musical films"
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Sánchez-Olmos, Cande. "Transmedia storytelling and musical films." In The Routledge Handbook to Spanish Film Music, 328–39. London: Routledge, 2024. http://dx.doi.org/10.4324/9781003174974-33.
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Powrie, Phil. "The Acoustic Wound: Reflections on the Crystal-Song in Five American Films." In When Music Takes Over in Film, 35–54. Cham: Springer International Publishing, 2023. http://dx.doi.org/10.1007/978-3-030-89155-8_3.
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AbstractThis chapter develops the concept of the ‘crystal-song’ which crystallises turning points in a film. It does not illustrate or echo what we see; rather, it articulates a privileged musical moment of intense affect, ‘wounding’ the image/music nexus as does Barthes’s punctum for the photograph. The crystal-song is the piece that stands out from the others by a combination of intensity and critical insistence. The chapter explores such moments in five recent US films. The first is the diegetically performed song that gives its title to the film in American Honey (2016) and Beautiful Boy (2018). The second explores references in the dialogue to the music we hear: a diegetic song that is referred to by the characters but not performed by them (Lady Bird, 2017); the third, a non-diegetic song in a film where performed music is constantly present and talked about (Call Me by Your Name, 2017). The final and more sustained case is a diegetically performed piano piece from La La Land (2016) which demonstrates that the musical moment does not have to be a single song with lyrics, nor the spectacular performance that is usually found in film musicals, La La Land included, but can also be a much-repeated musical motif. All of these musical moments have a critical and focal function, shaping audience affects and our perception of the narrative.
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Porter, Laraine. "All Singing! All Talking! All British! Musical Moments in Early British Talkies 1929 to 1932." In When Music Takes Over in Film, 95–114. Cham: Springer International Publishing, 2023. http://dx.doi.org/10.1007/978-3-030-89155-8_6.
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AbstractBritish silent cinema transformed to sound in June 1929, slightly ahead of Europe and a year or so behind Hollywood whose popular Al Jolson Musicals The Jazz Singer (1927) and The Singing Fool (1928) had taken British cinemas by storm. Alfred Hitchcock’s murder story (Blackmail, Alfred Hitchcock, UK) was Britain’s first official talkie and like the majority of films that followed in its wake, contained a pivotal musical moment. This article analyses the use of song and music in early British talkies as they sought to forge a new ‘talkie film language’ by combining dialogue, music and plot. It argues that these early musical moments deployed the dramatic potential of synchronised music at pivotal moments in the plot as well as using them to delineate gender and sexuality and signalling differences in class and culture through the representation of musical tastes, styles and motifs. In some cases, music freed the performers from the tyranny of early spoken dialogue, stilted scripts and primitive microphone technology. Importantly, musical interludes also created commercial opportunities from sales of the ‘song-from-the-film’, exploiting links between early talkies and the lucrative domestic gramophone and sheet music markets.
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Bhatt, Olympia. "Musical Beginnings and Trends in 1920s Indian Cinema." In The Sounds of Silent Films, 123–38. London: Palgrave Macmillan UK, 2014. http://dx.doi.org/10.1057/9781137410726_8.
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Dudrah, Rajinder. "Musical Numbers in Bollywood Cinema’s Homeland and Diaspora." In When Music Takes Over in Film, 117–39. Cham: Springer International Publishing, 2023. http://dx.doi.org/10.1007/978-3-030-89155-8_7.
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AbstractHow does Bollywood cinema depict ideas about the homeland and diaspora, and what kind of relationships can we track and decipher about diaspora culture as the cinema creates itineraries through its films and related popular cultures? In response, this chapter will use musical numbers in Bollywood cinema to draw attention to a series of representations and cultural politics about the homeland and diaspora relationship as in need of further exploration. It will look at select musical numbers from two broad types of Bollywood films that deal with the diaspora in terms of its relationship to the homeland in actual and imagined ways. The first type of diaspora film might be considered as a dominant ideology of popular Hindi cinema where the relationship between the homeland and the diaspora is represented in limited or conservative ways. In the second type of film, this relationship is shown to be contested, at the very least, and as an imaginative mode of being.
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Tieber, Claus. "The Rhythm of the Night: Abstraction and Sexuality as Destabilisers in Austrian Silent Cinema." In When Music Takes Over in Film, 75–93. Cham: Springer International Publishing, 2023. http://dx.doi.org/10.1007/978-3-030-89155-8_5.
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AbstractDiegetic music and musical performances did not start with the sound film in the late 1920s. Looking at musical moments in Austrian and German films, this chapter examines their sources in silent cinema. Two case studies, Seine Hoheit, der Eintänzer and Ein Walzertraum, provide evidence for two interrelated tendencies within musical numbers in silent cinema of the mid to late 1920s: abstraction and sexuality. Musical moments can lead to abstract images and the sublimation of sexuality gets more obvious during these moments. This chapter argues that these two tendencies are closely connected and that their potential to destabilise the form and style of a film must be seen in the sociopolitical context of post-monarchy Austria, and within the precariousness of social values of the time.
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Malsky, Matthew. "Scoring Ruttmann’s Berlin: Musical Meaning in Historical and Critical Contexts." In Today’s Sounds for Yesterday’s Films, 158–74. London: Palgrave Macmillan UK, 2016. http://dx.doi.org/10.1057/9781137466365_11.
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Beus, Yifen. "Redemption Songs: Musical Moments in Joseph Gaï Ramaka’s Karmen Geï (2001) and Flora Gomes’s Nha Fala (2002)." In When Music Takes Over in Film, 161–80. Cham: Springer International Publishing, 2023. http://dx.doi.org/10.1007/978-3-030-89155-8_9.
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Abstract One major function of musical numbers in cinema serves as utopian moments not only for the characters to temporarily step aside from the diegetic story space, but also for the audience to envision ‘what utopia would feel like’, something that may or may not be realised at the end of the film. Such a film genre has not been common in Third Cinema, a preferred style and aesthetic for many African films debuted since Ousmane Sembène, who likened the modern African filmmaker to the traditional griot: a storyteller with a movie camera, who commonly defies the mainstream commercial cinema’s escapist narrative strategy and opts for a style that ‘shoots back’ to Hollywood’s dominant centre. Joseph Gaï Ramaka’s Karmen Geï (2001) and Flora Gomes’s Nha Fala (2002) are the first two African musical films that use the genre’s conventions to integrate traditional and hybridised musical practices of the storyteller with a liberating message. The results are two pioneering films seeking to restore Africa to its proper place through a modernised means of storytelling, cinema and rescue the voice of Africa through the heroines’ ‘redemption songs’ for a hopeful vision that may be realised via the craft of the filmmaker-griot storyteller.
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Hettich, Katja. "Can You Hear the Love Tonight? Creating Cinematic Romance with Diegetic Songs." In When Music Takes Over in Film, 203–24. Cham: Springer International Publishing, 2023. http://dx.doi.org/10.1007/978-3-030-89155-8_11.
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AbstractThis chapter argues that ‘romance’ as a film genre is best conceived of as an affective experience provided not only by narrative but also by stylistic means. Against this background, it explores a particular type of musical moment in non-musical films: scenes that portray, reflect and shape conceptions of romantic love and create various forms of cinematic romance through the diegetic use of popular songs. Drawing from research on the physical and psychological effects of listening to music, the chapter points out in which aspects songs are placed in a special relationship with romance. Based on the assumption that diegetic song moments can be considered as communicative acts, it proposes starting points for analysing different forms of diegetic song moments. Using examples from films of the last decades, it shows how different narrative set-ups, ways of integrating diegetic songs, performance styles and diegetic audiences influence the shape of cinematic romance.
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Nasta, Dominique. "Musical Moments as Narrative and Emotional Catalysts in Three Silent Films by Jacques Feyder." In When Music Takes Over in Film, 57–74. Cham: Springer International Publishing, 2023. http://dx.doi.org/10.1007/978-3-030-89155-8_4.
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AbstractAs many studies have shown, the link between cinema, psychology and music played an important role both theoretically and practically during the French avant-garde of the 1920s in the work of Delluc, Epstein, Gance, Grémillon or L’Herbier. Jacques Feyder’s three films for the Franco-Russian production company Albatros—Visagesd’enfants (1925), Gribiche (1926) and Les Nouveaux Messieurs (1928)—demonstrate his unprecedented mastery of the ‘musical moment’ both in its relationship to stories involving painful situations experienced by young children and in the way it rhythms emotion and affect. Feyder’s mise en scène and spectacular crosscutting techniques crystallise them, yoking the musical moment to a dream, or a mental image, or a simple celebration in a realist pseudo-documentary décor. This chapter elucidates these musical moments using theories related to subliminal auditory perception, deferred time intervals and baseline affective charges: the latter occur in Feyder’s silent films for which no original pre-existing accompaniment is known.
Conference papers on the topic "Musical films"
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Fontes, Flaviano Dias, Giordano Ribeiro Eulalio Cabral, and Geber Lisboa Ramalho. "An open source platform to assist the creation of group playlists through artificial intelligence algorithms." In Simpósio Brasileiro de Computação Musical. Sociedade Brasileira de Computação - SBC, 2021. http://dx.doi.org/10.5753/sbcm.2021.19442.
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Recommendation systems are a constantly expanding study area, with applications in various fields such as e-commerce, films, music to promote the user’s suggestions. When we talk about music, we have more than 20 years of studies trying to solve the problem of a good generation of playlists that maximizes the satisfaction of a larger number of listeners. For automated automatic playlist generation methods focusing on a user group, we have the collaborative filter as a more assertive method to get the user’s not likely, to improve the performance of group recommendation algorithms we store the preferences of users Especially I did not like it by placing the availability of using this data as an algorithm input parameter. The platform described in This paper is intended to facilitate testing between these recommendation systems, standardizing data entry, and facilitating requests. The use of GraphQL as a framework associated with Apollo as a library, greatly facilitates the integration of these APIs, as the separation of data sources makes it possible to associate Spotify data with Deezer or Apple Music data, these data are stored in the database of the connection, so that in future requests it will no longer be necessary to consult the Spotify API, thus facilitating the consumption of data from the artificial intelligence algorithms, as well as a possible sharing of songs between services, since all services have an ISRC code to identify the songs.
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Iijima, Moeko, Yasushi Kiyoki, and Shiori Sasaki. "An Emotional Distance Calculation for Recommending Musical Films in Kansei Space." In 2019 International Electronics Symposium (IES). IEEE, 2019. http://dx.doi.org/10.1109/elecsym.2019.8901561.
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Olărescu, Dumitru. "The evolution of the documentary film, dedicated to popular music performers." In Conferința științifică internațională "Învăţământul artistic – dimensiuni culturale". Academy of Music, Theatre and Fine Arts, Republic of Moldova, 2022. http://dx.doi.org/10.55383/iadc2022.17.
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Our folk songs, coming from over centuries, still today express the deepest soul of the man’s inner world, his sentimental experiences in the middle of the world, the connections with loved ones, with his native land, with society. These musical pieces, very diverse from the melodic perspective and the ideational background, form a complex socio-cultural phenomenon, which has interested scientists, men of art and culture. Back in the 1950s, at the beginnings of our cinema, current affairs topical cinematographic magazines already included subjects about some folk music performers, such as Tamara Ceban, Maria Bieşu, Gheorghe Eşanu and some amateur singers. Since then, the creation of folk music performers has been the basis of several documentary films, made at the “MoldovaFilm” studio by the filmmakers: Emil Loteanu (“Fresco pe alb”, “Ecoul văii fierbinţi”), Andrei Buruiană (“Nicolae Sulac”, “Cantecele noastre”), Anatol Codru (“Tălăncuţa”), Ana Iuriev (“Fluieras”), Iacob Burghiu (“Surorile”), Vlad Druc (“Ploi de dor”, “Vai, sarmana turturica”), Ştefan Bulicanu (“Asa-i viata omului”) etc. We will try to elucidate the aesthetic-artistic specifics and the role of the documentary film in the preservation and valorization of the spiritual heritage of the people.
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Trindade, Graca, and Alzira Duarte. "Comparing the Consumption of Musical and Films Online between Generations X and Y in Portugal and Spain." In 2019 14th Iberian Conference on Information Systems and Technologies (CISTI). IEEE, 2019. http://dx.doi.org/10.23919/cisti.2019.8760817.
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Musil, Ondřej. "Filmová hudba jako prostředek popularizace národních hudebních tradic." In Musica viva in schola. Brno: Masaryk University Press, 2021. http://dx.doi.org/10.5817/cz.muni.p280-0028-2021-5.
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In general, the paper focuses on the potential of film music to transmit and preserve the typical features and character of national musical traditions in their authentic and stylized form. Specifically, the text introduces the musical peculiarities of selected cultures and nations, which we encounter in mainstream audiovisual works in the form of location links. The use of archival (non-original) music in some film genres is also viewed marginally. The aim of the paper is to point out the basic procedures used in film music to express the local or historical character of the narrative, musical traditions of the displayed countries and cultures, as well as the possibilities of their popularization and use in music education.
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Moura, Rute, Giordano Cabral, Jáder Abreu, Mychelline Cunha, and Horhanna Almeida. "Challenges to generate musical visualizations." In Simpósio Brasileiro de Computação Musical. Sociedade Brasileira de Computação - SBC, 2021. http://dx.doi.org/10.5753/sbcm.2021.19437.
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The technological acceleration of recent years has allowed for significant advances in data processing and the study of Music, an art with richly expressive and communicative information. In this article, we bring reports of experiences and contributions in the treatment of musical data extracted from digital MIDI and sound files, for the development of systems that generate musical visualizations.
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Beer, Axel, Martin Bierwisch, and Kristina Krämer. "Das MMM2 – Ein regionalgeschichtliches Onlinelexikon der Arbeitsgemeinschaft für mittelrheinische Musikgeschichte." In Jahrestagung der Gesellschaft für Musikforschung 2019. Paderborn und Detmold. Musikwissenschaftliches Seminar der Universität Paderborn und der Hochschule für Musik Detmold, 2020. http://dx.doi.org/10.25366/2020.108.
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Based on two printed volumes Musik und Musiker am Mittelrhein (1974, 1981), the online encyclopaedia MMM2 (published in 2018) continues the original idea of a biographical and bibliographical documentation of musicians and musical sources in the middle rhine region. Exploring local music history often means to venture off the beaten track of well-known names and institutions. While perhaps not considered a worthwhile undertaking by some, the 570 articles on musicians, composers, publishers etc. that can currently be found in MMM2 are proof of networks that have hitherto been unknown or disregarded. Filling the gaps in our knowledge of musical life and culture in this area also enables us to improve data such as catalogue entries and name authority files in the RISM database.
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Юрасовская, Н. М. "RUSSIAN TRACE IN THE FINE ART OF ART DECO." In Месмахеровские чтения — 2024 : материалы междунар. науч.-практ. конф., 21– 22 марта 2024 г. : сб. науч. ст. / ФГБОУ ВО «Санкт-Петербургская государственная художественно-промышленная академия имени А. Л. Штиглица». Crossref, 2024. http://dx.doi.org/10.54874/9785605162926.2024.10.27.
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Декоративный стиль ар-деко, родившийся во Франции как шикарный fashion- style в 1910–1930-х гг., занял все уровни проектирования жизненной среды от моды, рекламы, дизайна интерьеров и техники — до архитектуры небоскребов, кинофильмов, музыкальных ораторий, а также произведений изобразительного искусства. Немалую роль в формировании и развитии ар-деко сыграли русские художники первой трети ХХ в. Среди них важное место занимали представители отечественной эмиграции первой волны, уехавшие в годы революции из России уже состоявшимися мастерами. Долгое время в Советском Союзе они оказывались за пределами внимания историков искусства. Art Deco decorative style, born in France as a chic fashion- style, in 1910–30-ies occupied all, levels of design of the living environment from fashion, advertising, interior design and technology — to the architecture of skyscrapers, films, musical oratorios, as well as works of fine art art. Russian artists of the fi rst third of the twentieth century played a significant role in the formation and development of Art Deco. Among them, an important place was occupied by representatives of the first wave of domestic emigration, who left Russia during the years of the revolution as already accomplished masters. For a long time in the Soviet Union they were beyond the attention of art historians.
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Moura, Rute, Giordano Cabral, Horhanna Almeida, and Ricardo Scholz. "Mandrit: a system for automatic generation of musical visualizations for rhythm analysis." In Simpósio Brasileiro de Computação Musical. Sociedade Brasileira de Computação - SBC, 2021. http://dx.doi.org/10.5753/sbcm.2021.19422.
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Faced with the representational challenge of visually communicating musical information, we developed Mandrit: a system for automatic generation of musical visualizations for rhythm analysis. It uses data extracted from MIDI files to plot graphs for different songs, representing their rhythmic signatures. The system is customizable and presents new ways to visualize pace through different metrics. We aim to encourage the discussion in this field and the development of tools to generate musical visualizations, as a means to help musicians and scholars in musical analysis, teaching, composing and complementing musical performances.
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Āboliņa, Daira. "Television-Commissioned Films in the History of the Riga Film Studio. Cinematic Language and Genesis of Stylistics." In International scientific conference of the University of Latvia. University of Latvia Press, 2023. http://dx.doi.org/10.22364/ms22.01.
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The research is focused on the development of the means of artistic expression applied in the cinema of a specific time period (1966–1989), analysing the films made at the Riga Film Studio (Rīgas Kinostudija), commissioned by the Central Television of the USSR. Both innovative and formal solutions can be found in the films of that era, especially considering the creation of the two-part format. The current publication focuses on the genesis of the artistic and production processes of the film “Lielais dzintars” (“The Great Amber”, “Dziesma par Rīgu” / “A Song About Riga”, 1972), in the context of the cinema development of that time, based on the documents of the Latvian State Archives of the Latvian National Archives. The inclusion of humorous elements in the film’s narrative, the use of music, visually impressive Latvian landscapes on the screen, an international cast corresponding to the scale of the USSR, was a way to sell the film to the customer. Riga Film Studio and its authors agreed to modify the script and film several times, subjecting themselves to artistic compromises. Censorship in the USSR realized its ideological goals by idealizing the Soviet man’s way of life, destroying the narrative and aesthetics of the film “Lielais dzintars”.
Reports on the topic "Musical films"
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Winseck, Dwayne. Growth and Upheaval in the Network Media Economy in Canada, 1984-2021. Canadian Media Concentration Research Project (CMCRP), November 2022. http://dx.doi.org/10.22215/gmicp/2022.01.
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The Canadian contribution and data set prepared as part of the Global Media and Internet Concentration (GMIC) project offers an independent academic, empirical and data-driven analysis of a deceptively simple yet profoundly important question: have telecom, media and internet markets become more concentrated over time, or less? Media Ownership and Concentration is presented from more than a dozen sectors of the telecom-media-internet industries, including film, music and book industries.
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Kerrigan, Susan, Phillip McIntyre, and Marion McCutcheon. Australian Cultural and Creative Activity: A Population and Hotspot Analysis: Bendigo. Queensland University of Technology, 2020. http://dx.doi.org/10.5204/rep.eprints.206968.
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Bendigo, where the traditional owners are the Dja Dja Wurrung people, has capitalised on its European historical roots. Its striking architecture owes much to its Gold Rush past which has also given it a diverse cultural heritage. The creative industries, while not well recognised as such, contribute well to the local economy. The many festivals, museums and library exhibitions attract visitors from the metropolitan centre of Victoria especially. The Bendigo Creative Industries Hub was a local council initiative while the Ulumbarra Theatre is located within the City’s 1860’s Sandhurst Gaol. Many festivals keep the city culturally active and are supported by organisations such as Bendigo Bank. The Bendigo Writers Festival, the Bendigo Queer Film Festival, The Bendigo Invention & Innovation Festival, Groovin the Moo and the Bendigo Blues and Roots Music Festival are well established within the community. A regional accelerator and Tech School at La Trobe University are touted as models for other regional Victorian cities. The city has a range of high quality design agencies, while the software and digital content sector is growing with embeddeds working in agriculture and information management systems. Employment in Film, TV and Radio and Visual Arts has remained steady in Bendigo for a decade while the Music and Performing Arts sector grew quite well over the same period.
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Rangiwai, Byron, Marcel Croul, Allanna Goldsmith, Manaaki Fletcher, and Atareta Moses. Using Kaupapa Māori Research to Inform Practice. Unitec ePress, October 2023. http://dx.doi.org/10.34074/ocds.104.
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This paper explores the profound connections between Kaupapa Māori research and practice through the reflections of Māori practitioners. As part of a Kaupapa Māori research internship funded by Te Whatu Ora, hosted at Ngā Wai a Te Tūī, and co-led by Dr Hinekura Smith and Associate Professor Byron Rangiwai, this paper presents the perspectives of four Māori practitioners. Marcel Croul (Ngāti Tamaterā) discusses his film-editing practice in the context of a collaboration with Dr Hinekura Smith to create a short documentary on the wahine-led practice of whatuora. Allana Goldsmith (Ngāti Porou, Ngāi Tai) explores her jazz-singing practice, combining jazz music with a Māori worldview. Manaaki Fletcher (Ngāti Awa, Ngāi Tūhoe) examines the connection between Kaupapa Māori research and kapa haka, and discovers that kapa haka may be understood as a manifestation of Kaupapa Māori research. Atareta Moses (Ngāti Awa, Ngāi Tūhoe) investigates the intersections and opportunities concerning Kaupapa Māori and human-resource management.
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Kerrigan, Susan, Phillip McIntyre, and Marion McCutcheon. Australian Cultural and Creative Activity: A Population and Hotspot Analysis: Geelong and Surf Coast. Queensland University of Technology, 2020. http://dx.doi.org/10.5204/rep.eprints.206969.
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Geelong and the Surf Coast are treated here as one entity although there are marked differences between the two communities. Sitting on the home of the Wathaurong Aboriginal group, this G21 region is geographically diverse. Geelong serviced a wool industry on its western plains, while manufacturing and its seaport past has left it as a post-industrial city. The Surf Coast has benefitted from the sea change phenomenon. Both communities have fast growing populations and have benefitted from their proximity to Melbourne. They are deeply integrated with this major urban centre. The early establishment of digital infrastructure proved an advantage to certain sectors. All creative industries are represented well in Geelong while many creatives in Torquay are embedded in the high profile and economically dominant surfing industry. The Geelong community is serviced well by its own creative industries with well-established advertising firms, architects, bookshops, gaming arcades, movie houses, music venues, newspaper headquarters, brand new and iconic performing and visual arts centres, libraries and museums, television and radio all accessible in its refurbished downtown area. Co-working spaces, collective practices and entrepreneurial activity are evident throughout the region.
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Cunningham, Stuart, Marion McCutcheon, Greg Hearn, Mark Ryan, and Christy Collis. Australian Cultural and Creative Activity: A Population and Hotspot Analysis: Sunshine Coast. Queensland University of Technology, December 2020. http://dx.doi.org/10.5204/rep.eprints.136822.
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The Sunshine Coast (unless otherwise specified, Sunshine Coast refers to the region which includes both Sunshine Coast and Noosa council areas) is a classic regional hotspot. In many respects, the Sunshine Coast has assets that make it the “Goldilocks” of Queensland hotspots: “the agility of the region and our collaborative nature is facilitated by the fact that we're not too big, not too small - 330,000 people” (Paddenburg, 2019); “We are in that perfect little bubble of just right of about everything” (Erbacher 2019). The Sunshine Coast has one of the fastest-growing economies in Australia. Its population is booming and its local governments are working together to establish world-class communications, transport and health infrastructure, while maintaining the integrity of the region’s much-lauded environment and lifestyle. As a result, the Sunshine Coast Council is regarded as a pioneer on smart city initiatives, while Noosa Shire Council has built a reputation for prioritising sustainable development. The region’s creative economy is growing at a faster rate that of the rest of the economy—in terms of job growth, earnings, incomes and business registrations. These gains, however, are not spread uniformly. Creative Services (that is, the advertising and marketing, architecture and design, and software and digital content sectors) are flourishing, while Cultural Production (music and performing arts, publishing and visual arts) is variable, with visual and performing arts growing while film, television and radio and publishing have low or no growth. The spirit of entrepreneurialism amongst many creatives in the Sunshine Coast was similar to what we witnessed in other hotspots: a spirit of not necessarily relying on institutions, seeking out alternative income sources, and leveraging networks. How public agencies can better harness that energy and entrepreneurialism could be a focus for ongoing strategy. There does seem to be a lower level of arts and culture funding going into the Sunshine Coast from governments than its population base and cultural and creative energy might suggest. Federal and state arts funding programs are under-delivering to the Sunshine Coast.