Musical film

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  • Comparison Of Minnelli And Jacques Demy's Les Demoiselles De Rochebury

    750 Words  | 3 Pages

    with his musicals, carefully designed every little detail. For him, the mise-en-scene was paramount, so much so that character development would be expressed through the scenery. For example, Gene Kelly literally brings color wherever he goes in American in Paris. In Minnelli’s world, the worst thing a character can do is bring ugliness. Beauty was key. But that’s not to say that Minnelli’s films were light and fluffy. Even his airier films, like The Pirate, had tonal complexity. Demy’s musical world

  • The two decade period beginning in the late 1940s and concluding in the late 1960s represented the

    1200 Words  | 5 Pages

    1960s represented the height in popularity for the Hollywood musical. With every major production proving to be box office gold, the level of critical approval was high establishing the Hollywood musical as a genre. Born with the coming of sound, the Hollywood movie musical derived from two sources: opera and operetta, brought over by European emigres, and the American tradition of vaudeville, the inspiration behind so many “backstage” musicals, the plots of which revolved around putting on a show. The

  • Gender Roles InSaturday Night Fever And Flashdance?

    814 Words  | 4 Pages

    Gender roles that conform to age old stereotypes are often present within the musical genre. These age-old gender roles are much of the time characterized by the women playing the role of the housewife who takes care of home affairs and looks after the children, while having no control over money or her own decisions, while the man is the only working figure in the picture, and the sole provider for the family; in short, the female is the obedient follower of the dominant male. From the article

  • The Rain, Co Directed By Star Gene Kelly And Stanley Donen

    2086 Words  | 9 Pages

    Singng in The Rain, co-directed by star Gene Kelly and Stanley Donen, is based in the late 1920s telling the story of the period in film history during the transition to sound movies. The main character, Don Lockwood, tells his story in his search for fame with his best friend, Cosmo Brown. In finding fame, popularity and fortune, Don literally has it all, except for a wife or girlfriend. Until on day, upon escaping his many female fans, he jumps into, Kathy Selden’s car, where she thinks he is a

  • Comedy Makes Us Superior to Absurdity

    660 Words  | 3 Pages

    Tragedy is what comes to us in the perception of absurdity; it is when we recognize it but we hate it. However, Comedy is the acceptance of absurdity. By examining the works of Much Ado about Nothing, Dr. Horribles Sing Along Blog, and Candide we can see that only through comedy do we make ourselves the superiors of absurdity and therefore we need tragedy to keep the balance between laughter and torment sustainable. In the version of John Whedons, ‘much ado’ parts of tragedy are combined with elements

  • The Closing Musical Number Remains A Clear Example Of The Film

    1488 Words  | 6 Pages

    The closing musical number remains a clear example of the films ability to handle the social issues, contradicting the light-hearted narrative prior to it. This number makes up for its lack of integration by evoking strong sympathy for displaced WWI veterans who now face a more intangible enemy in the form of the Depression. It hearkens back to a time when the now ‘forgotten’ men were regarded as heroes and when they understood how to live their lives and, consequently, how to love their women. The

  • The Satigre Of Chicago : Propulation And Motire In Chicago

    947 Words  | 4 Pages

    Chicago is a satire on corruption, manipulation, the media and the concept of the “celebrity criminal”. Choose one or more of these ideas to discuss, making reference to key scenes and lyrics. Chicago is an American musical which has been running for 42 years, making it the second longest running Broadway show of all time. Chicago is set in the fast paced, glamorous era of the 1920’s, and follows the story of Roxie Hart, a young woman whose life-long dream is to be a star, but finds herself imprisoned

  • American University Department Of Performing Arts

    1037 Words  | 5 Pages

    University Department of Performing Arts’ production of No, No, Nanette is a musical comedy originally written, in 1925, by Otto Harbach and Frank Mandel; original music by Vincent Youmans; lyrics written by Irving Caesar and Otto Harbach; and adapted and directed by Burt Shevelove, in 1971. Performed at AU’s Greenberg Theater, No, No, Nanette was directed by Karl Kippola and music director Brandon Adams. By bringing the musical No, No, Nanette to life, Karl Kippola hopes to hare with his audience a form

  • Gurglespla

    801 Words  | 4 Pages

    discovery: a musical one. Students have found a way to exercise their right of freedom of speech through performing musical numbers during class. Although only a select few are confident enough to perform in front of such an audience, if a student starts playing, the teacher will automatically stop the class so that the rest of the students can focus on what is truly important. The new genre is called gurglespla and the number of followers are growing by the thousands per minute. The musical stylings

  • The History Of Musicals On Stage Is Broad And Extensive.There

    957 Words  | 4 Pages

    history of musicals on stage is broad and extensive. There are many different histories of stage musicals: French operettas, Grecian plays, and Roman comedies are just a few. However, I am going to focus on American musicals. The musical that many Americans are familiar with has its roots in the French and Viennese operettas of the 1800s, but take their comic style from American Variety and Minstrel Shows, which led to Vaudeville and Burlesque shows. Known to be the first American musical, “The Black