Jonathan Rayner

Two notable Australian feature films of the 1990s - Muriel's Wedding (1994) and The Adventures of Priscilla, Queen of the Desert (1994) - foreground the music of ABBA in self-conscious ways, connecting the films' narratives with the group's popularity. In particular, ABBA's significance to Australian popular culture is encapsulated in the feature film that centres on their tour of Australia in the 1970s ABBA The Movie (1977). The reappraisal of the band and its renewed fashionable status in...

Cartoon

In some ways, jazz and the movies have parallel histories. Both developed around the turn of the last century on the margins of polite society - film as a novel working-class divertissement in peep shows and in vaudeville jazz as a rough, improvised march music played by downtown New Orleans blacks. They met, as Charles Berg notes, in the darkened, smoke-filled chambers of Bijou Dreams during the first decade of this century. Sitting beneath cataracts of flickering images, pianists ragged and...

Estella Tincknell

This chapter explores the music soundtrack as a central element in contemporary popular films. It argues that the classical film musical's use of diegetic musical performance to express dramatic developments or emotional intensity has been effectively replaced by a 'postmodern' model of the film score in which a pre-recorded soundtrack is foregrounded, a soundtrack which may also be ironised through parody and distanciation. In exploring the relationship between music, performance and affect...

Musical

Cinema's period of greatest mass popularity during the 1930s and 1940s coincided with the heyday of the big band era in the United States and Great Britain. The popularity of the dance bands rivalled even that of stars of the silver screen as dance halls and airwaves on both sides of the Atlantic resonated to the combination of swing, blues and ballads that characterised big band music. The most successful bandleaders became celebrities in their own right Tommy and Jimmy Dorsey, Benny Goodman,...

Introduction

This book is about musical performance on film, about the use of music within film and it is about film musicals a triple focus that articulates the complex relationship that exists between music and the cinematic text. The different ways in which musical performance and the diegetic or non-diegetic use of music overlap, intersect or operate in distinction, has been the focus for a range of academic debates and discussions since the mid 1990s. It was with these considerations in mind that we...

Illustrations

Figure 1 James Stewart in The Glenn Miller Story achieved a good likeness of the celebrated bandleader Figure 2 Promoting a craze The US poster for Twist Around the Clock Figure 3 The pleasures of Twist Around the Clock were centred on the performance of chart-toppers such as Dion Figure 4 Jack Buchanan, British cinema's 'man-about-town' Figure 5 The broken performer Loretta Lynn (Sissy Spacek)'s breakdown on stage in Coal Miner's Daughter is linked to her loss of relationship to the Country...

Television The Pop Industry And The Hollywood Musical

Though the enormous box-office success of 20th Century-Fox's The Sound of Music (1965) may have suggested otherwise, by the early 1960s the era of the so-called classical integrated large budget musical was largely over. This is not to suggest, as many have, that the musical genre ceased to have significance. On the contrary, musicals that essentially replicated the revue formula characteristic of the genre's beginnings in the late 1920s formed an important, if low budget, staple item for both...

Bruce Babington

Context A Late Developing Sub-Genre With the decline of the classical song and dance musical in the 1960s the genre's most persistant mode of survival has been the biopic. This survival is, however, embodied less in accounts of the lives of the performers or composers of the traditional mainstream popular music of the US musical than of stars of alternative forms, such as Rock (in films like The Buddy Holly Story, 1978, and Oliver Stone's The Doors, 1992) Jazz (Lady Sings the Blues, 1978, and...

Ulrike Sieglohr

The non-commercial, government subsidised West German films of the late 1960s to the early 1980s, popularly known as the New German Cinema, gained an international reputation as exciting and stylistically eclectic, with a preoccupation with the operatic a part of their idiosyncratic approach to narration.1 This chapter will explore the operatic within the confines of New German Cinema its formal structures, its modes of narration and its emotional appeal. Crucially, the choice of films is...

Ian Conrich

The cult film is generally seen as a development of postwar cinema, and includes a range of texts that can be used as sites for nostalgia, cultural allegiance and amplified pleasures, and which tend to be associated with camp, low culture, subversion, excess, the unexpected, the absurd, the eccentric, the extreme or the forbidden. Cult films effectively create communities of avid audiences who respond in ways that carry personal meaning yet are familiar and ritualistic. Most commonly, the film...

Gregory Woods and Tim Franks

In the days when 'musical' was a code word for male homosexuality - 'Is he musical ', 'Mmm, very ' - a man's relationship with music could be as revealing and compromising as the biomechanics of his sexual acts. Not only to have certain tastes, but to have 'taste' at all, could be construed as a suspiciously unmanly condition. Moreover, almost from the moment when the postStonewall gay identity was invented in the late 1960s it has been partially defined - even if ironically - in terms of a...

Niels Hartvigson

Seventy-seven Danish sound films were produced between 1931 and 1939 and of these over fifty were musical comedies deploying a content that is both romantic and populist. This chapter focuses on how the relationship between musical numbers, story-lines and themes created three specific sub-genres that dealt differently with the ideals of romantic love and political populism 'collective musical comedies', 'character musical comedies' and 'romantic musical comedies'. Before turning to the films,...

Andrea Rinke

This chapter will focus on two musicals directed by two East German filmmakers who specialised in entertainment films - Gottfried Kolditz's Revue um Mitternacht Midnight Revue, 1962 and Joachim Hasler's Hei er Sommer Hot Summer, 1968 - both of which were domestic box office hits.1 Situating my examples in the historical and generic context of East German cinema, I will investigate the reasons for the scarcity of musicals in GDR film production and explore the explanations for their...

Heather Tyrrell and Rajinder Dudrah

'In India life begins and ends with music a newborn baby is greeted into the world by songs . . . there is a song and dance when he weds and dies'.1 Prioritised in Indian cultural life, music occupies a similarly central role in its popular cinema industry, both stylistically within film texts, and during the production process. To understand how and why music is so central to Indian film, this chapter considers its presence in 'Bollywood', as popular Hindi cinema is known.2 The relationship...

Bibliography

Abusch, Alexander 1967 , Kulturelle Probleme des sozialistischen Humanismus. Beitr ge zur deutschen Kulturpolitik 1946-67 Berlin Aufbau-Verlag . Adorno, Theodor and Max Horkheimer 1977 , 'The culture industry enlightenment as mass deception', in James Curran, Michael Gurevitch and Janet Woolacott eds , Mass Communication and Society London Edward Arnold 361-95. Agde, G nter ed. 1991 , Kahlschlag Berlin Aufbau . Altman Rick ed. 1981 , Genre The Musical London New York Routledge amp Kegan Paul ....

Scott Henderson

The 1999 film, 10 Things I Hate About You, opens with a sweeping panorama of a Seattle setting, while on the soundtrack The Barenaked Ladies' song, 'One Week', is heard emanating seemingly from a non-diegetic source. This assumption is soon corrected as a car full of teenage girls pulls up to a stop sign they are all bopping their heads in time to the tune, which is now identified as coming from the car's stereo. However, this sound is quickly drowned out and replaced by Joan Jett's rendition...