To see the other types of publications on this topic, follow the link: Musical films.
Journal articles on the topic 'Musical films'
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the top 50 journal articles for your research on the topic 'Musical films.'
Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.
You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.
Browse journal articles on a wide variety of disciplines and organise your bibliography correctly.
1
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.
Full textAbstract:
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.
2
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.
Full textAbstract:
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.
3
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.
Full textAbstract:
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.
4
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.
Full textAbstract:
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.
5
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.
Full textAbstract:
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.
6
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.
Full textAbstract:
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
7
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.
Full text
8
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.
Full textAbstract:
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.
9
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.
Full textAbstract:
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.
10
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.
Full textAbstract:
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.
11
Sheppard, W. Anthony. "An Exotic Enemy: Anti-Japanese Musical Propaganda in World War II Hollywood." Journal of the American Musicological Society 54, no. 2 (2001): 303–57. http://dx.doi.org/10.1525/jams.2001.54.2.303.
Full textAbstract:
Abstract The cinema was the most effective medium for anti-Japanese propaganda in the United States during World War II and was the site of music's most important wartime role. From shortly after Pearl Harbor to the end of the U.S. occupation of Japan in 1952, Hollywood produced a large number of films offering negative depictions of the Japanese. Music assumed multiple roles in these anti-Japanese feature films and U.S. government documentaries. Never had Orientalist and racial politics been more clearly evident in music heard by so many as in these productions. These films marshaled preexistent European music, stereotypical Orientalist signs, and traditional Japanese music against the exotic enemy. This essay analyzes some sophisticated examples of musical propaganda that offer new perspectives for the study of cross-cultural musical encounters. For many in the United States, Hollywood film music continues to shape their impressions of Japan and their perceptions of Japanese music.
12
Tieber, Claus. "Walter Reisch: The musical writer." Journal of Screenwriting 10, no. 3 (September 1, 2019): 295–306. http://dx.doi.org/10.1386/josc_00005_1.
Full textAbstract:
Academy Award-winning Austrian screenwriter Walter Reisch’s (1903‐83) career started in Austrian silent cinema and ended in Hollywood. Reisch wrote the screenplays for silent films, many of them based on musical topics (operetta films, biopics of musicians, etc.). He created the so-called Viennese film, a musical subgenre, set in an almost mythological Vienna. In my article I am analysing the characteristics of his writing in which music plays a crucial part. The article details the use of musical devices in his screenplays (his use of music, the influence of musical melodrama, instructions and use of songs and leitmotifs). The article closes with a reading of the final number in the last film he was able to make in Austria: Silhouetten (1936).
13
Salim, Muhammad Nur. "KREATIVITAS RAHAYU SUPANGGAH PADA FILM OPERA JAWA KARYA GARIN NUGROHO." Acintya Jurnal Penelitian Seni Budaya 12, no. 2 (December 7, 2020): 158–69. http://dx.doi.org/10.33153/acy.v12i2.3580.
Full textAbstract:
ABSTRACT One of the developments in film in Indonesia is the musical genre film. This genre film experienced a post-reform high point when Sherina's Adventure Film came. This point then became the beginning of the development of musical genre films that were born in the 2000s period. One of the interesting musical films is the Javanese Opera Film by Garin Nugroho. Opera Jawa is interesting because first, Opera Jawa has received various awards and nominations at both national and international levels. Second, because this film bases its musical work on Javanese gamelan or gamelan media. This second reason is the focus of this research. The research "Rahayu Suanggah's Creativity in Garin Nugroho's Javanese Opera Film" is an attempt to reveal one of the film music creation methodologies based on her creative process with Javanese karawitan media (gamelan music). The musical concepts of the musical that were carried by Rahayu Supanggah as the music director was revealed through Rahayu Supanggah's conceptual approach in Bothekan Karawitan Garap's book (2007). The results of this study; Rahayu Supanggah uses Javanese musical nuances in composing Javanese Opera music by involving songs that are composed in various variations such as; 1) single tembang, 2) pathetan, 3) nothing, 4) palaran, and 5) arrangement of traditional pieces while the illustration music consists of 1) New Composition, 2) Illustration of Traditional Music, 3) Exploration Music. Keywords: Creativity, Music, Javanese Opera, Rahayu Supanggah ABSTRAK Perkembangan film di Indonesia salah satunya pernah diwarnai oleh film genre musikal. Film genre ini mengalami titik puncak pasca reformasi ketika Film Petualangan Sherina hadir. Titik tersebut kemudian menjadi awal perkembangan film genre musikal yang lahir pada periode tahun 2000-an. Salah satu film musikal yang menarik adalah Film Opera Jawa karya Garin Nugroho. Opera Jawa menarik karena pertama, Opera Jawa mendapatkan berbagai penghargaan dan nominasi tingkat nasional maupun internasional. Kedua, karena film ini mendasarkan garapan musikalnya dengan media gamelan Jawa atau karawitan. Alasan kedua inilah yang menjadi fokus pada penelitian ini.Penelitian “Kreativitas Rahayu Suanggah dalam Film Opera Jawa Karya Garin Nugroho” merupakan upaya mengungkap salah satu metodologi penciptaan musik film yang mendasarkan proses kreatifnya dengan media karawitan Jawa (musik gamelan). Konsep-konsep musikal karawitan yang diusung Rahayu Supanggah sebagai music director diungkap melalui pendekatan konsep garap-nya Rahayu Supanggah dalam buku Bothekan Karawitan Garap (2007). Hasil penelitian ini; Rahayu Supanggah menggunakan nuansa karawitan Jawa dalam menggarap musik Opera Jawa dengan melibatkan tembang yang digarap dalam berbagai variasi seperti; 1) tembang tunggal, 2) pathetan, 3) ada-ada, 4) palaran dan 5) aransemen gendhing tradisi sedangkan musik ilustrasi terdiri dari 1) Komposisi Baru, 2) Ilustrasi Gending Tradisi, 3) Musik Eksplorasi.Kata Kunci: Kreativitas, Musik, Opera Jawa, Rahayu Supanggah
14
Bakri, Nabil. "THE INTERTEXTUAL SIGNIFICANCE OF DEAR EVAN HANSEN NOVEL ADAPTATION ON THE ORIGINAL BROADWAY MUSICAL." ANAPHORA: Journal of Language, Literary and Cultural Studies 3, no. 2 (February 7, 2021): 54–70. http://dx.doi.org/10.30996/anaphora.v3i2.3662.
Full textAbstract:
In the process of adaptation, there are major changes in the process and the final project. Changes in creative adaptation is natural. The novel adaptation of Dear Evan Hansen was published in 2017 based on the acclaimed 2015 musical with the same title. Novels often adapted into films and musicals, but an adaptation from a Broadway musical into a novel is extremely rare. Author Val Emmich worked with the creators of the musical to ensure a successful passing of essence from play to novel, ensuring the foundation of the creation of the musical which is the matter of anxiety disorders among teenagers to remain visible throughout the novel. Many scholars consider creative adaptation as less than the source material meaning that a creative adaptation translates into inferior product. This research scrutinized the process of creative adjustment in the novel through three distinct but interrelated perspectives based on the theory of adaptation by Linda Hutcheon: adaptation as a formal entity or product, adaptation as a process of creation, and adaptation as a process of reception. This research concludes that the novel adaptation transforms, deepens, and compliments the musical and its existence is justified as it contains intertextual significance.
15
Boswall, Karen. "Cinematic musicking in Mozambique." Proa: Revista de Antropologia e Arte 13 (March 1, 2024): e023020. http://dx.doi.org/10.20396/proa.v13i00.17681.
Full textAbstract:
Following Mozambique’s independence from Portugal in 1975, both music and cinema were seen as essential tools in the revolutionary construction of a new and unified national identity. A National Film Institute was created to produce and distribute films throughout the country, and in a country with 43 different languages and high levels of non-literacy, it was found that musical films were effective at transcending the cultural and linguistic barriers of the colonially divided nation. One film that exemplifies the importance of musical films at this time, is the ethnographic and reflexive musical odyssey Sing My Brother — Help Me to Sing (CANTA, 1981). This multi-modal paper focuses on a scene in this film where a man and a woman play music together in northern Mozambique to reflect on how community musicking through film contributed to the passing of knowledge then, and how forty years later 30 young Mozambicans produced their multimodal, feminist, musical and equally decolonial response
16
Yakoupov, A. N. "MUSIC COMMUNICATION: WAYS OF REPRODUCTION AND CHANNELS OF PERCEPTION OF MUSIC (historical and analytical view)." Arts education and science 1, no. 1 (2020): 24–32. http://dx.doi.org/10.36871/hon.202001003.
Full textAbstract:
In the article the means of musical communication and their evolution are considered in the historical and analytical aspect. There are two types of communication tools: acoustic, using the airspace as a channel for transmitting encoded information, and visual, which include stage design, allowing to perceive music as a kind of theatrical performance, and musical notation, graphically fixing all the components of the musical text. As the earliest means of nonwritten communication, the oral method is put forward, a vivid example of which is folklore, often called the musical memory of generations. Other examples of oral communication are cult music, improvisation and musical meditation. It is stated that musical writing, in particular, musical notation, and later printing tools created conditions for overcoming spatial and temporal barriers to the spread of music. The next step is the invention of technical sound recording, which opened a new era in the development of communications. Magnetic recording of the visual series made it possible to create concert films and opera films. The emergence of electronic and mechanical means of music recording contributed significantly to greater involvement of people in the process of musical communication.
17
Cai, X. "Aesthetics and Ideology of Chinese Musical Films." Университетский научный журнал, no. 52 (2020): 146–53. http://dx.doi.org/10.25807/pbh.22225064.2020.52.146.153.
Full text
18
Johnson, Albert. ": Astaire Dancing: The Musical Films . John Mueller." Film Quarterly 39, no. 4 (July 1986): 48–49. http://dx.doi.org/10.1525/fq.1986.39.4.04a00230.
Full text
19
Bowman, Durrell. "Dark Mirrors and Dead Ringers: Music for Suspense Films about Twins." Articles 27, no. 1 (September 13, 2012): 54–74. http://dx.doi.org/10.7202/1013161ar.
Full textAbstract:
This paper compares the modernist musical-narrative separations of The Dark Mirror (Robert Siodmak, 1946), Dead Ringer (Paul Henreid, 1964), and Sisters (Brian De Palma, 1973) with the postmodernist musical-narrative fusions of the Canadian film Dead Ringers (David Cronenberg, 1988). The two earlier films (starring Olivia de Havilland and Bette Davis, respectively) mainly conform to the aesthetic of film noir or "suspense-thriller," whereas the two later films (starring Margot Kidder and Jeremy Irons, respectively) also contain substantial elements of "horror." The musical scores of these four films (by Dimitri Tiomkin, André Previn, Bernard Herrmann, and Howard Shore) feature, in varying degrees, the meaningful placement and development of leitmotifs and titles music, changes in meaning by altering instrumentation and/or mode, gender representations, and issues of cultural hierarchy and class distinctions.
20
Blumstein, Daniel T., Richard Davitian, and Peter D. Kaye. "Do film soundtracks contain nonlinear analogues to influence emotion?" Biology Letters 6, no. 6 (May 26, 2010): 751–54. http://dx.doi.org/10.1098/rsbl.2010.0333.
Full textAbstract:
A variety of vertebrates produce nonlinear vocalizations when they are under duress. By their very nature, vocalizations containing nonlinearities may sound harsh and are somewhat unpredictable; observations that are consistent with them being particularly evocative to those hearing them. We tested the hypothesis that humans capitalize on this seemingly widespread vertebrate response by creating nonlinear analogues in film soundtracks to evoke particular emotions. We used lists of highly regarded films to generate a set of highly ranked action/adventure, dramatic, horror and war films. We then scored the presence of a variety of nonlinear analogues in these film soundtracks. Dramatic films suppressed noise of all types, contained more abrupt frequency transitions and musical sidebands, and fewer noisy screams than expected. Horror films suppressed abrupt frequency transitions and musical sidebands, but had more non-musical sidebands, and noisy screams than expected. Adventure films had more male screams than expected. Together, our results suggest that film-makers manipulate sounds to create nonlinear analogues in order to manipulate our emotional responses.
21
Yan, Yulin. "Research on the Narrative Function of Musical Symbols in Youth Movies." Frontiers in Sustainable Development 2, no. 6 (June 22, 2022): 24–29. http://dx.doi.org/10.54691/fsd.v2i6.957.
Full textAbstract:
Film is an art form that combines sound and picture, and music, as a symbolic expression, plays an increasingly important role in films. In genre films, musical notation often has its own aesthetic value and ideographic function. As an important film genre, youth-themed films have formed a set of proprietary "systems" in the process of continuous development. Its function is not only to cooperate with the picture, but also to express the meaning and textual value of the music independently in the narrative process. Through the analysis of musical symbols in youth-themed movies, this paper attempts to clarify the ideographic mechanism of music in youth movie texts, interpret the main role of musical symbols as an interpretive link in the narrative process of movies, and make Chinese genre film music more vital.
22
Platte, Nathan. "Composing Himself." Journal of Film Music 9, no. 1-2 (February 24, 2022): 107–20. http://dx.doi.org/10.1558/jfm.21421.
Full textAbstract:
The beginning of Steiner’s Hollywood career is typically overlooked in studies of the composer, in part because scrutiny of his work hinges on film scores attached to celebrated films. This article argues that Steiner’s initial years are vital in understanding how a former Broadway music director exploited musical opportunities in Hollywood to develop a new career profile grounded in composition. Through his eclectic labors at RKO Radio Pictures and his connections with commentators in the trade press, Steiner formed a new and necessary position that extended beyond the arranging of numbers for musicals to the composition of incidental music for films of various genres.
23
Nowińska, Małgorzata. "„Patrzcie, oto jest film produkcji polskiej”. Przedwojenna polska komedia muzyczna jako musical." Images. The International Journal of European Film, Performing Arts and Audiovisual Communication 31, no. 40 (January 17, 2023): 200–211. http://dx.doi.org/10.14746/i.2022.40.13.
Full textAbstract:
The article, “Look, here is a Polish film production.” Pre-war Polish musical comedy as a musical, is an attempt to prove that Polish musical comedies from the 1930s can be recognized as a local version of a classic film musical. Based on an analysis of two representative films from this period, Piętro wyżej (L. Trystan, 1937) and Zapomniana melodia (J. Fethke, K. Tom, 1938), the author proves that these productions are in line with the definition and determinants of the American genre. The historical context invoked allows the author to better describe the musical’s Polish variant and how it differs from the original. The article cites press reviews from the 1930s, based on which the author describes the evolving approach of critics and audiences to the changes in music present in these films as a result of drawing on American works. Finally, the article focuses on the importance of interwar musical comedies in Polish culture.
24
Targa, Marco. "The Music for Salon Orchestra and its Use in Silent Films." Fontes Artis Musicae 71, no. 2 (April 2024): 85–98. http://dx.doi.org/10.1353/fam.2024.a933074.
Full textAbstract:
English Abstract: Recently, the study of music in silent film has brought attention to a musical repertoire that had enormous growth between the end of the nineteenth century and the first decades of the twentieth century: salon music. This repertoire has not yet been fully investigated, although it has an evident historical importance in the development of cinematographic music and it represents a fundamental link between the nineteenth-century musical tradition of highbrow origin and the explosion of popular music genres at the beginning of the twentieth century. The main core of this repertoire is based on three typologies of pieces: transcriptions from the operatic and symphonic repertoire, original pieces in Romantic style, and dances and songs. The analytical study of this repertoire aims to bring its historical importance back into perspective, transforming it into an object of investigation with its own autonomy, rather than a phenomenon simply derived from the classical repertoire, devoid of its own interest and, therefore, negligible. The clarification of the peculiar characteristics of its musical language is fundamental to begin to outline an aesthetic of musical compilation in the silent film era. Studies of music in silent films has in fact concentrated more on the phenomenon of original scores, quantitatively marginal, while neglecting the study of compiled musical accompaniment, which was the most diffused form of accompaniment. This study, in addition to filling the historiographical gap that still exists, provides information fundamental to understanding the subsequent developments of early sound films. French Abstract: Récemment, l'étude de la musique du cinéma muet a fait émerger un répertoire musical qui a connu un essor considérable entre la fin du XIXe siècle et les premières décennies du XXe siècle : la musique de salon. Ce répertoire n'a pas encore fait l'objet d'une étude approfondie, bien que son importance historique dans le développement de la musique cinématographique soit évidente et qu'il représente un lien fondamental entre la tradition musicale du dix-neuvième siècle issue de la haute société et l'explosion des genres musicaux populaires au début du vingtième siècle. Le noyau principal de ce répertoire repose sur trois types de pièces : des transcriptions du répertoire opératique et symphonique, des pièces originales dans le style romantique, ainsi que des danses et des chansons. L'étude analytique de ce répertoire vise à remettre en perspective son importance historique, en le transformant en un objet d'étude autonome, plutôt qu'en un phénomène simplement dérivé du répertoire classique, dépourvu d'intérêt intrinsèque et, par conséquent, négligeable. Clarifier les caractéristiques particulières de son langage musical est fondamental pour commencer à esquisser une esthétique de la compilation musicale à l'époque du film muet. Les études sur la musique dans les films muets se sont en effet davantage concentrées sur le phénomène des partitions originales, marginales d'un point de vue quantitatif, au détriment de l'étude de l'accompagnement musical sous forme de compilation, qui était pourtant la forme d'accompagnement la plus répandue. Cette étude, tout en comblant le fossé historiographique qui subsiste, fournit des informations fondamentales pour comprendre les développements ultérieurs des premiers films sonores. German Abstract: In jüngster Zeit hat die Untersuchung von Stummfilmmusik die Aufmerksamkeit auf ein musikalisches Erbe gelenkt, das zwischen dem Ende des 19. und den ersten Jahrzehnten des 20. Jahrhunderts ein enormes Wachstum erlebte: die Salonmusik. Dieses Repertoire ist noch nicht vollständig erforscht, obwohl es eine herausragende historische Bedeutung für die Entwicklung der Filmmusik hat und eine grundlegende Verbindung zwischen der hochkulturellen Musiktradition des 19. Jahrhunderts und der explosionsartigen Ausbreitung populärer Musikgenres zu Beginn des 20. Jahrhunderts darstellt. Der Kern dieses Repertoires basiert auf drei Werktypologien: auf Transkriptionen aus dem Opern- und Symphonierepertoire, Originalwerken im romantischen Stil sowie Tänzen und Liedern. Die analytische Untersuchung dieses Repertoires zielt darauf ab, seine historische Bedeutung wieder in den Blick zu nehmen und es in ein eigenständiges Untersuchungsobjekt zu verwandeln. Somit vermeidet man, daraus ein nicht zu hinterfragendes Randphänomen zu machen, das einfach aus dem klassischen Repertoire abgeleitet wird, und daher vernachlässigbar ist. Die Klärung der besonderen Merkmale der musikalischen Sprache dieses Repertoires ist von grundlegender Bedeutung, um eine Ästhetik der musikalischen Zusammenstellungen im Stummfilmzeitalter zu skizzieren. Studien zur Musik in Stummfilmen haben sich bisher mehr auf das quantitativ marginale Phänomen der Originalpartituren konzentriert, während sie die Untersuchung von zusammengestellten Musikbegleitungen vernachlässigten, die die am weitesten verbreitete Form der Begleitung darstellen. Diese Studie füllt nicht nur die noch bestehende historiografische Lücke, sondern liefert auch grundlegende Informationen für das Verständnis der weiteren Entwicklung des frühen Tonfilms.
25
Mikheeva, Julia V. "Music of the Cinema of the “New Sincerity”." Problemy muzykal'noi nauki / Music Scholarship, no. 2 (July 2023): 140–49. http://dx.doi.org/10.56620/2782-3598.2023.2.140-149.
Full textAbstract:
The article presents the basic principles and features of the cinema of the “new sincerity”, which asserted itself in the 1980s and reflected an important trend of modern artistic and philosophical-aesthetic thought in the form of a departure from postmodern irony. At the same time, an important “methodological” approach for a creator of a work of art in this direction is to find a balance between sincerity and irony. A significant example of finding such a balance is the work of Finnish film producer Aki Kaurismäki. The article presents a sound analysis of the three of the most famous films that are the most representative of the producer’s style, classified by critics as the so-called “proletarian trilogy” — Shadows in Paradise (1986), Ariel (1988) and The Girl from the Match Factory (1990). In these films, Kaurismäki’s musical “lexicon” is, likewise, crystallized, presenting an original, diverse and, at the same time, surprisingly organic set of “identifying signs” of the musical atmosphere of his movies. An analysis of the features of the functioning role of the music in Aki Kaurismäki’s films (both as presented in the text and as remaining outside it) makes it possible for us to arrive at the following conclusions: the musical accompaniment of an episode of a film creates an opportunity for an indirect, often subtly ironic, but, nonetheless, sincere author’s statement, without a straightforward voicing of the meaning of the intra-frame action; a conscious personal choice of the musical material (both the musical quotations and the original compositions), combined with the visuals, contributes to the creation of polysemantic (intertextual) audiovisual images; the relationship of the film’s music with the producer’s off-screen world presents one of the important principles and an effective way of manifesting “new sincerity” in cinema, simultaneously contributing to the creation of unique artistic screen images; the use of a personal “musical lexicon” contributes to the development of the author’s artistic style in filmmaking, one manifestation of which is bringing in musical meta-quotations that stylistically unify the producer’s various films.
26
Musil, Ondřej. "Dvořák, Martinů and Gershwin as a source of inspiration for Vladimír Sís's music films." Musicologica Brunensia, no. 2 (2022): 145–61. http://dx.doi.org/10.5817/mb2022-2-7.
Full textAbstract:
Music film is a genre that largely follows its own rules. These rules are determined mainly by the conception of musical content and also by the degree of interaction between music and image. The presented study summarizes the results of analyzes of music films by Vladimír Sís created on instrumental and vocal-instrumental compositions by Dvořák, Gershwin, and Martinů. The used method of two-phase analysis is based on the musical and film analysis of selected works and their mutual comparison with emphasis on functional changes of the originally autonomous musical pieces and their content-forming potential. It also seeks to capture a common analytical basis for different types of music films, creating a universal method for basic research. The results of the analysis point to both the typical features of the music and its specific use in Sís's films, including the director's intended popularization and didactic intentions.
27
Yakoupov, A. N. "MUSIC COMMUNICATION: WAYS OF REPRODUCTION AND CHANNELS OF PERCEPTION OF MUSIC (historical and analytical view)." Arts education and science 1, no. 2 (2020): 53–61. http://dx.doi.org/10.36871/hon.202002006.
Full textAbstract:
In the article the means of musical communication and their evolution are considered in the historical and analytical aspect. There are two types of communication tools: acoustic, using the airspace as a channel for transmitting encoded information, and visual, which include stage design, allowing to perceive music as a kind of theatrical performance, and musical notation, graphically fixing all the components of the musical text. As the earliest means of nonwritten communication, the oral method is put forward, a vivid example of which is folklore, often called the musical memory of generations. Other examples of oral communication are cult music, improvisation and musical meditation. It is stated that musical writing, in particular, musical notation, and later printing tools have created conditions for overcoming spatial and temporal barriers to the spread of music. The next step is the invention of technical sound recording, which opened a new era in the development of communications. Magnetic recording of the visual series made it possible to create concert films and opera films. Even greater involvement of people in the process of musical communication was facilitated by the appearance of electronic and mechanical means of recording music. The emergence of new opportunities in the field of sound dynamics control, its timbre, influenced the development of musical thinking. A new industry of "production" has emerged with the involvement of professional musicians who own modern recording equipment and specialize in the production of "artificial" musical products. This process was accompanied by the formation of a new audience of listeners who preferred recording to live sound.
28
Chełkowska-Zacharewicz, Maria, and Mateusz Paliga. "Music emotions and associations in film music listening: The example of leitmotifs from The Lord of the Rings movies." Roczniki Psychologiczne 22, no. 2 (January 10, 2020): 151–75. http://dx.doi.org/10.18290/rpsych.2019.22.2-4.
Full textAbstract:
The aim of the present study was to investigate which musical emotions and associations appeared while listening to leitmotifs in film music. A sample of 157 participants took part in the study, in which musical associations and emotions were analysed in relation to seven groups of musical themes from The Lord of the Rings films (LOTR). The LOTR soundtrack is a good example of the use of symbols in music to represent ideas, characters, etc. The results show that both the respondents’ associations and the musical emotions they experienced were related to the characteristics of musical motifs. The results are discussed in relation to the assumed features of musical motifs composed by Howard Shore.
29
Tieber, Claus, and Anna K. Windisch. "Musical numbers in silent and early sound films." Soundtrack 12, no. 1 (November 1, 2020): 3–5. http://dx.doi.org/10.1386/ts_00008_2.
Full text
30
Sinelnikova, Valentyna, and Maksym Berezhniuk. "Folk Music in Works of Contemporary Ukrainian Audiovisual Art (Dovbush, Mavka, Povodyr): Musical and Critical Essay." Bulletin of Kyiv National University of Culture and Arts. Series in Musical Art 6, no. 2 (November 20, 2023): 177–87. http://dx.doi.org/10.31866/2616-7581.6.2.2023.291089.
Full textAbstract:
The purpose of the research is to determine the role, place, and functions of folk music in contemporary Ukrainian audiovisual products, namely in the development of the film's sound drama; to analyze the peculiarities of using folk music in Ukrainian cinema on the example of the films Dovbush (2023), Povodyr (The Guide) (2014), and the animated film Mavka (2023). The research methodology is based on an audiovisual analysis of these film examples, which makes it possible to formulate the basic principles of folk music functioning in contemporary Ukrainian cinema. The scientific novelty of the research is primarily reflected in the study’s topic, namely, the folk music tradition (vocal, instrumental, solo, group) and its role in film works. For the first time, the place and functions of folklore pieces in contemporary Ukrainian films and the influence of traditional musical material on a film's dramatic and sound solution are analyzed. Conclusions. A folk music piece can serve as a leitmotif of the entire film, a sound and visual counterpoint, as well as a kind of commentary (sound and noise supplement) to the film. Musical pieces of folklore tradition can add the necessary emotional and psychological colour to the film's plot, connect the film's scenes into a single whole, move the dramatic action forward, develop the storyline, and enhance the drama of the events. Folk music in a film contributes to the development of its plot, emphasising and accentuating the feelings, experiences, and behaviour of the characters. The use of folk vocal and instrumental music in contemporary Ukrainian films plays not only the role of accompanying the storyline of the film but also acquires extraordinary meanings in terms of emotional impact on the viewer and affirmation of Ukrainian self-identification.
31
Syukma, Indra. "Mengungkap Peran Ilustrasi Musik dalam Membangun Mood, Nuansa, dan Suasana pada Film ‘Tonggak Tuo’." Jurnal Sendratasik 12, no. 3 (September 16, 2023): 380. http://dx.doi.org/10.24036/js.v12i3.124793.
Full textAbstract:
Musical illustration plays a crucial role in establishing the mood, nuances, and atmosphere in films. This study delves into two main aspects: 1) how directors and composers apply mood, nuances, and atmosphere through musical illustration in various scenes, and 2) the significance of musical illustration in the film "Tonggak Tuo." The researcher employs a qualitative descriptive research method, presenting data in both textual and graphical forms. The primary focus of this study revolves around the role of music illustration in films as a builder of mood, nuances, and atmosphere, as per Himawan Pratista's film music illustration theory. Data collection methods encompass document review, interviews, and literature review. Analytically, this research directly observes the content of "Tonggak Tuo" to investigate the role of music illustration, employing content analysis and interpretative techniques. The results affirm that musical illustrations play a pivotal role in constructing the mood, nuances, and atmosphere within the film "Tonggak Tuo."
32
Bono, Francesco. "In the Steps of Operetta: Austrian Cinema’s Relation to History." European Journal of Multidisciplinary Studies 4, no. 1 (March 30, 2019): 80. http://dx.doi.org/10.26417/ejms-2019.v4i1-531.
Full textAbstract:
This essay intends to investigate some aspects of the multifaceted relationship between the Viennese operetta and Austrian film in the period from the 1930s to the 1950s. In particular, the essay will try to trace the influence of the operetta on the way in which Austrian films depicted the country’s history. Focusing on some of the most popular Austrian films of the period, including Willi Forst’s Operette (1940), Wiener Blut (1942) and Wiener Mädeln (1944-49), as well as Ernst Marischka’s trilogy from the late 1950s about the Austrian empress “Sissi”, the essay will critically discuss Austrian cinema’s penchant for the past, investigating the affinity of the Austrian (musical) film to the Viennese operetta, which served as its ideological and aesthetic model. In its affection for the past, Austrian cinema followed in the steps of the Viennese operetta. In contrast with the Hollywood musical genre or German musical films like Die Drei von der Tankstelle (1930) or Hallo Janine (1939), to mention just two of the most famous ones from the pre-war era, history was a key component of the Austrian Musikfilm. In Austria, the musical film overlapped with the historical genre, and it strongly influenced the country’s memory of its past. By investigating the connection between the Viennese operetta and Austrian cinema, this essay aims to provide a better understanding of Austrian films in the cultural, political and historical context in which they saw the light of day.
33
Purba, Berehme Adyatma, and Raditya Alifamughni. "Examining musical elements in Toy Story soundtrack “You’ve Got a Friend in Me”." Interlude: Indonesian Journal of Music Research, Development, and Technology 3, no. 1 (November 30, 2023): 64–75. http://dx.doi.org/10.17509/interlude.v3i1.71191.
Full textAbstract:
Animated comedy and adventure films are highly enjoyable to watch. In addition to being an enjoyable film, it is also suitable for viewers of all ages, ranging from children to adults. Furthermore, films of this genre are often sought after by families seeking weekend entertainment. In addition to being captivating to watch, films in this genre typically aim to impart a moral message. The "Toy Story" is a well-known animated comedy about friendship and adventure. It effectively conveys a message of friendship, a familiar theme to viewers. The film's soundtrack, "You've Got a Friend in Me", is highly memorable and strongly associated with the movie. This essay will examine the audio of this renowned film. In this study, we employed qualitative methodologies. Qualitative methods refer to research approaches that aim to comprehend phenomena in a research object by describing them using language. This study aims to analyze the musical composition of the film "Toy Story" theme song to understand its characteristics and elements comprehensively. Data collection was conducted through discography investigations, book reviews, and observations. Discographic study involves analyzing, describing, and explaining the results of auditory experiences. We examined the "Toy Story" theme song in audio format, accessible on platforms like Spotify and YouTube, and the musical score. The purpose was to facilitate the evaluation of the song's form, structure, and musical elements. "You've Got a Friend in Me" exhibits a higher level of complexity in terms of chords and melody than a usual song. It surpasses the average in chord complexity, melodic complexity, chord melodic tension, chord progression novelty, and chord-bass melodies.
34
Hartley, Paul. "The ‘Return to Home’: The Musical Construction of a Common Trope in New Turkish Cinema." CINEJ Cinema Journal 1 (October 6, 2011): 76–88. http://dx.doi.org/10.5195/cinej.2011.22.
Full textAbstract:
This article explores the musical component of a trope common in the films of the New Turkish Cinema. Examining scenes from four films, it outlines the dialectical struggle between the competing foci of identity enacted through the juxtaposition of urban and rural spaces, Eastern and Western socio-cultural signs, and the reclamation of a lost past. Of central importance is the treatment of how the musical scores tends to construct presentations that are paradoxical and often undo the nostalgia of these moments and how this affects the import of these moments in Turkish social life.
35
Zhurkova, D. A. "The Role of Song in Leonid Gaidai’s Films." Art & Culture Studies, no. 1 (March 2023): 104–33. http://dx.doi.org/10.51678/2226-0072-2023-1-104-133.
Full textAbstract:
The article is devoted to Leonid Gaidai’s work with soundtrack. The emphasis is made on the analysis of both original and borrowed songs in the entire filmography of the director. In the first part of the article, the author analyses the principles of Gaidai’s work with various musical genres and outlines the range of musical genres and styles used by the director. The article investigates how their meaning (reputation) changes, refracted through the prism of the comedy genre, and discusses various ways in which the director interprets the genres of an old-time sentimental gypsy romance, folk and criminal underworld songs. The second part of the article reveals the role of songs in the dramaturgy of Gaidai’s comedies. The author demonstrates that with the help of songs, Gaidai creates an interconnected musical universe both within one film and between films. The study presents the analysis of the contrast between the visual-narrative side of an episode and its soundtrack and provides a detailed examination of how Gaidai challenged stereotypes as to what characters can perform what genre songs in a comedy film.
36
Buljancevic, Rastko. "Between tradition and subversion. Treatment of folklorised musical references in the early feature films of Pedro Almodóvar." Muzikologija, no. 32 (2022): 161–81. http://dx.doi.org/10.2298/muz2232161b.
Full textAbstract:
The subject of this paper is the unconventional and highly subversive treatment of musical material of folkloric origin in the films of Pedro Almod?var: Pepi, Luci, Bom and Other Girls on the Heap (Pepi, Luci, Bom y otras chicas del mont?n, 1980) and Labyrinth of Passion (Laberinto de pasiones, 1982). These films are representative examples of the director?s experimental artistic poetics based on the interweaving of local and global cultural features. The focus is, therefore, on the folkloric elements of the Spanish and Catalan musical tradition and their transformation and recontextualisation in relation to the socio-political reality of post-fascist Spain. Consequently, well-known theatrical musical pieces and dances such as the pasodoble, zarzuela and sardana acquire transgressive qualities through an unusual play with traditional and postmodern signifiers, aimed at overthrowing conservative patriarchal authority under the Francoist regime.
37
Kwaczyńska, Olga. "Przejawy nostalgii w dziedzinie sztuki filmowej: studium przypadku musicalu filmowego." Panoptikum, no. 22 (December 17, 2019): 209–20. http://dx.doi.org/10.26881/pan.2019.22.09.
Full textAbstract:
This article deals with the notion of nostalgia, especially nostalgia appearing in the film medium, and more specifically in the American film musical. After tracing the birth of the concept of nostalgia, recalled here are the characteristics of nostalgia, which in a film musical are associated with the fashion for retro, evoking the old times, associated with a better life, prosperity, compared to contemporary times. Traces of nostalgia in the film musical can be seen especially in films from the Great Depression period, but the current fashion for nostalgia is strongly manifested for example in La La Land, the most successful musical of past years, which marked the genres renaissance.
38
Kraiński, Roman. "Muzyczny dialog "Sarabandy" i "Jesiennej sonaty" Ingmara Bergmana." Studia Scandinavica 6, no. 26 (December 28, 2022): 152–63. http://dx.doi.org/10.26881/ss.2022.26.10.
Full textAbstract:
The significant representation of Western classical music in Ingmar Bergman’s filmography is a very broad phenomenon. This article combines some findings of different researchers with Bohdan Pociej’s intermedial theory to compare two films which are distant from each other in time, but not in style – Saraband (2003) and Autumn Sonata (1978). The comparison between them is focused on their musical aspects and some non-phonic elements which refer to classical music. The aim of this analysis is not only to identify some similarities and differences between these two productions, but also to show that Bergman’s films can be compared in a strictly musical context.
39
Alkiyumi, Mohammed Talib. "The Investigation of Psychological Motives of Creative Abilities in The Omani Musical Intelligence." Harmonia: Journal of Arts Research and Education 23, no. 1 (June 29, 2023): 187–94. http://dx.doi.org/10.15294/harmonia.v23i1.39644.
Full textAbstract:
The Sultanate of Oman is characterized by a huge and creative musical heritage that remains mostly preserved. One hundred forty-two different traditional musical genres and styles (funun) have been registered in the Sultanate. This study aimed to investigate the Omanis’ musical creative achievements and the psychological motives behind Omani musical creative achievements. The present qualitative study adopted ethnographic research. The two study’s questions were answered in two stages: firstly, by analysis of relevant documents of Omani genres, and secondly stage based on analysis of documentary films and direct observations. The study showed that the Omanis created such musical achievements, including many genres, rhythms, instruments, and ways of performing. Furthermore, research has shown psychological motives that motivated Omani people to create these various genres, such as provocation of enthusiasm, meditation, religious motivations, poetic competition, and emotional motivation. For each motive, musical genres have been presented.
40
Sarkisyan, S. K. "The Musical Phenomenon in the Films of Sergey Parajanov." Critique and Semiotics 37, no. 2 (2019): 64–77. http://dx.doi.org/10.25205/2307-1737-2019-2-64-77.
Full textAbstract:
Music and cinema are two arts that have shown the most varied synthesis on semiotic and phenomenological levels during their century-old history. The permeation of these two arts has given birth to a substantially new form of their existence. That is the reason that the films and the complete creation of Sergey Parajanov are somehow situated in between these arts, between the plasticity of the cinema and the expressiveexpressiveness of the silent film. The overflowing of characteristics from one art to another does not occur to the detriment of the genre category of this particular art; in other words, the film does not cease to be film, nor is this the case with music. It would be more precise to confirm just the opposite: the permeation of the characteristics between the arts enriches each individual art, because the associative degree is augmented. This circumstance influences the perception of these arts, especially of the cinema. It acquires the capacity to actively influence the spectator, seemingly evading its basic visual rank. This genre of cinema refers to intellectual, sensual and subconscious incentives, forming at the same time a new type of spectator.
41
Sarkisyan, S. "The musical phenomenon in the films by Sergey Parajanov." Ukrainian musicology 43 (November 27, 2017): 27–40. http://dx.doi.org/10.31318/0130-5298.2017.43.0.131927.
Full text
42
Johnson, Albert. "Review: Astaire Dancing: The Musical Films by John Mueller." Film Quarterly 39, no. 4 (1986): 48–49. http://dx.doi.org/10.2307/1212499.
Full text
43
Drieu, Cloé. "Rimgaila Salys, The Musical Comedy Films of Grigorii Aleksandrov." Cahiers du monde russe 50, no. 50/4 (December 15, 2009): 817–20. http://dx.doi.org/10.4000/monderusse.7173.
Full text
44
Rudolph, Pascal. "“And All I Gotta Do Is Act Naturally”." Persona Studies 10, no. 1 (May 1, 2024): 22–41. http://dx.doi.org/10.21153/psj2024vol10no1art1852.
Full textAbstract:
This article analyses musicians’ performances on film, using the iconic Beatles film Help! (Richard Lester 1965) as a foundational case study. The study investigates distinctions between film acting and musical performance while exploring the defining characteristics of musicians’ performances within the context of cinema. Building upon established concepts of persona (Auslander 2021), metafiction and metareference (Waugh 1984; Wolf 2009), the author introduces novel conceptual frameworks of “metaperformance” and “intramedial transmediality”. “Metaperformance” refers to the doubling of the act of performance, whereas “intramedial transmediality” describes the coexistence of diverse media texts within a single media text. Due to their off-screen musical persona, musical stars in films often provoke a pronounced transtextual and transmedial network and convey an implicit claim to reality. Compared to film actors, musical stars on film frequently provide metaperformances, embodying not only (fictional) characters but also performing their (“real”) musical persona within them. Additional case studies of Ed Sheeran’s performance in Danny Boyle’s Yesterday (2019) and the Spice Girls’ performance in Bob Spiers’s Spice World (1997) further clarify these theoretical insights. Working deductively, these films serve as contemporary illustrations of the theoretical concepts under examination. The findings of this essay contribute to an enriched understanding of the intricacies in musicians’ performances on film and shed light on the interplay between music, cinema, and artists’ on-screen personas.
45
Klüppelholz, Werner. "Opéras sans chant : les films de Mauricio Kagel." Circuit 3, no. 2 (February 4, 2010): 45–64. http://dx.doi.org/10.7202/902053ar.
Full textAbstract:
L’auteur analyse ici les films de Kagel qui prennent pour point de départ le théâtre musical et plus exactement instrumental. Klüppelholz situe Kagel dans la lignée de Schönberg en ce qui a trait à l’exploitation du potentiel de l’imagination filmique. Il démontre comment les films que Kagel conçoit comme des opéras sans chant, constituent une nouveauté historique.
46
Platonova, O. A. "What Language Does the French “Musical Comedy” Speak? On Some Stylistic Experiments of the Legrand — Demy Tandem." Art & Culture Studies, no. 1 (March 2023): 220–41. http://dx.doi.org/10.51678/2226-0072-2023-1-220-241.
Full textAbstract:
The article is devoted to analysing the stylistic dialogue in the music of Michel Legrand to three films by Jacques Demy: The Umbrellas of Cherbourg (1964), The Young Girls of Rochefort (1967), and Donkeyskin (1971) created in the genre of “comédie musicale” (musical comedy, musical). In the first part of the article the author examines the French sources of the American musical (from the comedy-ballet Le Bourgeois Gentilhomme by Moliere and Lully to the operettas by Jacques Offenbach), which allow us to comprehend the deep connection of the genre with the European art of the past and to understand the naturalness of the appeal to the idea of the musical by Demy and Legrand. The second part is an introduction to Jacques Demy’s creative method which is characterized by ambivalence, constant balancing between the auteur and mass cinema, between a realistic approach and theatricality. The third part is devoted to studying the origins of Michel Legrand’s stylistic experiments (on the one hand — serious academic education, training with Nadia Boulanger; on the other— work with world-class jazz musicians), as well as to analysing three layers: jazz (improvisation, the nature of arrangements and harmonies on the example of The Umbrellas of Cherbourg), romantic (the application of the features of the genre of piano concerto in The Young Girls of Rochefort) and baroque (the use of the principles of orchestration, polyphonic forms, rhetorical figures in the Donkeyskin). The author concludes that Legrand and Demy, along with Bernstein and Sondheim, Webber and Rice, marked with their creativity the overcoming of the musical genre crisis of 1940–1950s associated with a shortage of meaningful librettos, lower quality of vocal-symphonic material, and a shift to entertainment and visual appeal to the detriment of musical dramaturgy. Despite the immutability of the basis of a musical, the director and composer expanded understanding of the genre and gave it an elegant French accent.
47
Floribert Patrick C. Endong and Eumole Princess Emike. "The Sexual Objectification of Women in the Nigerian Entertainment Industry." SIASAT 8, no. 3 (August 3, 2023): 154–65. http://dx.doi.org/10.33258/siasat.v8i3.158.
Full textAbstract:
The growing prevalence of pornography coupled with the influence of patriarchy on the Nigerian entertainment industry has made the objectification of womanhood a perceptible feature of films and musical videos produced by Nigerians. Using secondary sources and critical observations, this paper, attempts to illustrate the phenomenon of women’s sexual objectification in the Nollywood and Nigerian music industry. The paper defines the concept of women sexual objectification in the context of media production arguing that objectification is revealed by the types of camera angles and positions used in depicting women in filmic and pop video productions. The use of close-ups or medium range shots emphasizing the sexuality and sumptuousness of female characters in films or pop-videos are some of the techniques used by apologists of women’s sexual objectification. Sexual objectification thus entails making women characters in a filmic or musical production the object to be looked at or the spectacle to enjoy. The paper also shows how the sexual objectification of womanhood is manifested in selected Nollywood films and musical videos by Nigerian popular artistes. In the light of the selected pop videos and films, the paper argues that the types of camera movements and angles deployed in most Nigerian pop videos and Nollywood films are in line with the male gaze theory. These camera movements and angles systemically help depict the woman as a spectacle in itself as well as a sexual object. They also project the man as the reader of the meaning while “relegating” the woman to the status of the bearer of the meaning.
48
Tieber, Claus, and Christina Wintersteller. "Writing with Music: Self-Reflexivity in the Screenplays of Walter Reisch." Arts 9, no. 1 (January 28, 2020): 13. http://dx.doi.org/10.3390/arts9010013.
Full textAbstract:
Self-reflexivity is a significant characteristic of Austro-German cinema during the early sound film period, particular in films that revolve around musical topics. Many examples of self-reflexive cinematic instances are connected to music in one way or another. The various ways in which music is integrated in films can produce instances of intertextuality, inter- and transmediality, and self-referentiality. However, instead of relying solely on the analysis of the films in order to interrogate the conception of such scenes, this article examines several screenplays. They include musical instructions and motivations for diegetic musical performances. However, not only music itself, but also music as a subject matter can be found in these screenplays, as part of the dialogue or instructions for the mis-en-scène. The work of Austrian screenwriter and director Walter Reisch (1903–1983) will serve as a case study to discuss various forms of self-reflexivity in the context of genre studies, screenwriting studies and the early sound film. Different forms and categories of self-referential uses of music in Reisch’s work will be examined and contextualized within early sound cinema in Austria and Germany in the 1930s. The results of this investigation suggest that Reisch’s early screenplays demonstrate that the amount of self-reflexivity in early Austro-German music films is closely connected to music. Self-referential devices were closely connected to generic conventions during the formative years and particularly highlight characteristics of Reisch’s writing style. The relatively early emergence of self-reflexive and “self-conscious” moments of music in film already during the silent period provides a perfect starting point to advance discussions about the musical discourse in film, as well as the role and functions of screenplays and screenwriters in this context.
49
Papatheodorou, Theodoros, and Jessica Wolpert. "Lights! Dance! Freeze!" Proceedings of the ACM on Computer Graphics and Interactive Techniques 6, no. 2 (August 12, 2023): 1–8. http://dx.doi.org/10.1145/3597620.
Full textAbstract:
Conventionally, spectators enjoy films passively. This paper describes an interactive film installation that invites participants to use their entire body as a query to search and explore a large corpus of musical films in a novel way. Using an RGB camera, ML-based skeleton tracking technology and a unique pose and film indexing system, this installation tracks a participant's movements and mirrors them in real-time by finding matching poses among hundreds of thousands from well-known musicals. When the participant freezes in a pose, the installation instantly plays back the short film clip that begins with that pose, immersing them in the music and dance from musicals of different eras. This approach explores themes of tangible interfaces and the new possibilities that emerge from employing embodied interaction to traverse the dance pose space, which is traditionally difficult to index and interact with in real time. The pose indexing system and whole-body interaction we propose in this paper open new pathways for cultural participation, as they lend themselves to different datasets and require no technical skills from participants.
50
Amalfi, Marcello. "Composition for Films. By Theodor Adorno & Hanns Eisler. Last part." Dramaturgias, no. 22 (April 29, 2023): 320–57. http://dx.doi.org/10.26512/dramaturgias22.48295.
Full text