www.filmmusik.uni-kiel.de Kieler Beiträge zur Filmmusikforschung

www.filmmusik.uni-kiel.de
Kieler Beiträge zur Filmmusikforschung / Bibliographien
Copyright für diese Ausgabe by Hans J. Wulff.
Letzte Änderung: 30.3.2008.
ISSN 1866-4768.
Film-Musical. Eine Arbeitsbibliographie
Komp. v. Hans J. Wulff
Bibliographie:
Feuer, Jane: The Hollywood musical. An annotated bibliography. In: Genre: The Musical. Ed. by
Rick Altman. London/Boston: Routledge & Kegan Paul 1981, pp. 208-215.
Bücher und Artikel
Agajanian, Rowana : „Nothing Like Any Previous Musical, British or American“. The Beatles‘ film,
A Hard Day‘s Night. In: Windows on the sixties. Exploring key texts of media and culture. Ed. by
Anthony Aldgate, James Chapman & Arthur Marwick. London/New York: I.B. Tauris 2000, pp. 91113.
Altman, Charles F.: The American film musical: paradigmatic structure & mediatory function. In:
Wide Angle 2,2, 1978, pp. 10-17.
￢
Repr. in: Genre: The Musical. Ed. by Rick Altman. London/Boston: Routledge & Kegan Paul
1981, pp. 197-207.
Altman, Rick (ed.): Genre: The Musical. London/Boston: Routledge & Kegan Paul 1981.
￢
Rev. (Neupert, Richard) in: Velvet Light Trap, 20, Summer 1983, p. 56.
Altman, Rick: The American Film Musical. Bloomington, IN: Indiana University Press 1987, x, 386
pp.
Altman, Rick: The Musical. In: The Oxford History of World Cinema. Ed. by Geoffrey NowellSmith. Oxford: Oxford University Press 1996, pp. 294-303.
Altman, Rick: The American Film Musical as Dual-Focus Narrative. In: Hollywood Musicals. The
Film Reader. Ed. by Steven Cohan. London/New York: Routledge 2002, pp. 41-51.
Ames, Chistopher: Movies About the Movies. Hollywood Reflected. Lexington: University of
Kentucky Press 1997, pp. 52-79.
Anderson, Tim: Which voice best becomes the property?: ties-ups, intertexts, and versioning in the
production of My Fair Lady. In: USC Spectator 17,2, 1997, pp. 74-91.
Anderson, Trudy: Why Stalinst musicals? In: Discourse 17,3, Spring 1995, pp. 38-48.
Arbuthnot, Lucie / Seneca, Gail: Pre-Text and Text in Gentlemen Prefer Blondes. In: Hollywood
Musicals. The Film Reader. Ed. by Steven Cohan. London/New York: Routledge 2002, pp. 77-85.
Arcagni, Simone: Dopo carosello. Il musical cinematografico italiano. Alessandria: Ed. Falsopiano
2006, 287 pp. (Falsopiano cinema.).
Auster, Al: Gotta sing|: gotta dance| new theory and criticism on the musical. In: Cineaste 11,4, 1983,
pp. 30-35.
Aylesworth, Thomas G.: History of the Movie Musical. Greenwich/London: Bison/Hamlyn 1984.
Babington, B. / Evans, P.W.: Blue Skies and Silver Linings: Aspects of the Hollywood Musical.
Manchester: Manchester University Press 1985.
Babington, Bruce / Evans, Peter William: Blue Skies and Silver Linings: Aspects of the Hollywood
Musical. Manchester/Dover: Manchester University Press 1985.
Barrios, Richard: A Song in the Dark: The Birth of the Musical Film. New York: Oxford University
Press 1995, xii, 493 pp.
Baxter, Joan: Television musicals. Plots, critiques, casts and credits for 222 shows, written for and
presented on television, 1944-1996. Jefferson, NC [...]: McFarland 1997, XI, 204 pp.
Beadley, Edwin M.: The First Hollywood Musicals. A critical filmography of 171 features, 1927
through 1932. Jefferson/NC: McFarland 2004.
Belach, Helga [Hrsg.]: Wir tanzen um die Welt. Deutsche Revuefilme 1933-1945. Retrospektive 1979
/ Internat. Filmfestspiele, Berlin. Hrsg. v.d. Stiftung Deutsche Kinemathek. München/Wien: Hanser
1979, 271 pp.
Bellour, Raymond:. To analyse, to segment. In: Quarterly Review of Film Studies 1,3, Aug. 1976,
pp. 331-353.
￢
Neu übers. als: „Segmenting/analyzing“ in: Genre: The Musical. Ed. by Rick Altman.
London/Boston: Routledge & Kegan Paul 1981, pp. 102-133.
Belton, John: The Backstage Musical. In: Movie 24, Spring 1977, pp. 36-42.
Benet, Vicente J.: Remains of the body in the classical Hollywood musical. In: Cinemas: Revue
d’Etudes Cinematographiques 7,1/2, 1996, pp. 151-165.
Bidaud, Anne-Marie: Le discours ideologique dans la comedie musicaleamericaine. In: Cinéma 78
C78,236/237, Aug./Sept. 1978, pp. 38-60.
Biesty, Patrick: The myth of the playful dancer. In: Studies in Popular Culture 13,1, 1990, pp. 73-88.
Binh, N.T.: La comedie musicale. In: CinémAction, 68 [3], 1993, pp. 26-33.
Bizet, J.A.: Le musical américain. In: Cinéma 74, Fév. 1974, pp. 34-55.
Block, Geoffrey: The Broadway Canon from ‚Show Boat‘ to ‚West Side Story‘ and the European
Operatic Ideal. In: Journal of Musicology 11,4, 1993, S. 525ff.
Bloom, Ken: Hollywood Song: The Complete Film & Musical Companion. 1.2.3. New York: Facts
On File 1995, xii, 1504 pp.
Bowles, Stephen E.: Cabaret and Nashville: the musical as social comment. In: Journal of Popular
Culture 12,3, 1978, pp. 550-556.
Bradley, Edwin M.: The First Hollywood Musicals: A Critical Filmography of 171 Features, 1927
through 1932. Jefferson, NC: McFarland 1996, xiii, 386 pp.
￢
Rev. (Banfield, Stephen). In: Historical Journal of Film, Radio and Television 19,2, 1999, pp.
267-268.
Braudy, Leo: The world in a frame. What we see in films. New York: Anchor/Doubleday 1976.
￢
Enth. ein Kap. über: „Musicals and the energy from within“.
Brion, Patrick: La comédie musicale. Genève: Éd. Liber 1997, 119 pp. (Cinéma.).
Brustellin, Alf: Das Singen im Regen. Über die seltsamen Wirklichkeiten im amerikanischen FilmMusical. In: Film, 12, 1969, pp. 10-20.
￢
Repr. In: Materialien zur Ästhetik des Films. Hrsg. v. Dieter Prokop. 1971, pp. 454-474.
Bukatman, Scott: The syncopated city: New York in musical film (1929-1961). In: USC Spectator
18,1, 1997, pp. 8-23.
Burton, Jack: The Blue Book of Hollywood Musicals: Songs from the Sound Tracks and the Stars
Who Sang Them Since the Birth of the Talkies a Quarter-Century Ago. Watkins Glen, NY: Century
House 1969.
￢
Zuerst: New York: Century House 1953.
Carter, Tim: Oklahoma! New Haven [...]: Yale University Press 2007, XIX, 327 S.
Casper, Joseph Andrew: Vincente Minnelli and the film musical. South Brunswick, [N.J.] : A.S.
Barnes 1977.
Chion, Michel: La Comédie Musicale. Paris: Cahiers Du Cinéma 2002.
Chaplin, Saul: The Golden Age of Movie Musicals and Me. Normal, Okl.: University of Oklahoma
Press 1994.
Chumo, Peter N., II.: Dance, flexibility, and the renewal of genre in Singin' in the Rain. In: Cinema
Journal 36,1, 1996, pp. 39-54.
Clark, John R. / Morris, William E.: Scherzo, forte, and bravura: satire in America's musical
theatre. In: Journal of Popular Culture 12,3, 1978, pp. 459-481.
Clover, Carol J.: Dancin’ in the Rain. In: Hollywood Musicals. The Film Reader. Ed. by Steve
Cohan. London/New York: Routledge 2002, 157-173.
Cohan, Steven: ‘Feminizing’ the Song-and-Dance Man: Fred Astaire and the spectacle of
masculinity in the Hollywood musical. In: Hollywood Musicals. The Film Reader. Ed. by Steve
Cohan. London/New York: Routledge 2002, pp. 87-101.
Cohan, Steven (ed.): Hollywood Musicals. The Film Reader. London/New York: Routledge 2002,
viii, 212 pp.
￢
Repr. with corrections 2004, viii, 212 pp. (In Focus : Routledge Film Readers.).
Cohan, Steven: Incongruous Entertainment: Camp, Cultural Value and the MGM Musical. Durham,
NC: Duke University Press 2005, viii, 368 pp.
Cohen, Daniel: Musicals. Greenwich, Conn.: Bison Books 1984.
Collins, Jim: Toward defining a matrix of the musical comedy. The place of the spectator within the
textual mechanisms. In: Genre: The Musical. Ed. by Rick Altman. London/Boston: Routledge &
Kegan Paul 1981, pp. 134-146.
Collins, Jim M.: The Musical. In: The Handbook of American Film Genres. Ed. by Wes D. Gehring.
Westport: Greenwood Press 1998, pp. 269-284.
Conrich, Ian (ed.): Film's musical moments. Edinburgh: Edinburgh University Press 2006, XIII, 226
pp. (Music and the Moving Image.).
Cottrill, Tim: Camera movement in the musical. In: Filament, 3, 1983, pp. 4-5.
Cutts, John: Bye-bye musicals. In: Films and Filming 10,2, Nov. 1963, pp. 42-45.
Dagneau, G. / Garel, A.: Quelques reflexions sur cinq "musicals" en reedition. In: Révue du Cinéma,
314, Fév. 1977, pp. 86-95.
Decker, Todd R.: Black/White Encounters on the American Musical Stage and Screen (1924--2005).
Ph.D.-Thesis, Ann Arbor, MI: University of Michigan, 2007, 511 pp.
￢
This dissertation examines occasions when black and white performers playing black and
white characters sing or dance together in a musicalized dramatic narrative. Grouped here
under the term black/white encounter, I consider such instances of interracial performance in
four adjacent domains: the Broadway stage, Hollywood musical films, early television
variety shows, and the American opera stage. The chronological reach of the study extends
from the 1920s to the present, taking up each domain at a time when it was, arguably,
indicative of race relations more generally in American culture. The principal examples of
black/white encounter studied here are the 1927 Broadway musical Show Boat (music by
Jerome Kern, book and lyrics by Oscar Hammerstein II), Fred Astaire's solo dances on film,
television, and sound recordings from the 1930s to the 1960s, and the 2005 opera Margaret
Garner (music by Richard Danielpour, libretto by Toni Morrison). Each is treated in an
independent, self-contained chapter. Beyond the unifying notion of a particular type of
interracial performance in narrative contexts, each case study expands on the notion of
black/white encounter in ways appropriate to the specific genres under consideration. How
works and performances centered on black/white encounters came to be made is treated at
length by way of archival research in Parts One and Two. A generic encounter between an
African American literary genre and the American opera stage, dominated as it is by a canon
of mainly nineteenth-century European operas, is a central question in Part Three. In all three
parts, the conditions of possibility for black and white Americans to share a song or dance on
stage or screen are seen to change in ways that run parallel or in contrast to larger trends
across a contentious, but ultimately progressive century that saw the transformation of race
relations in the United States. [Dissertation Abstracts International - DAI-A 68/02, Aug 2007]
Deer, Harriet / Deer, Irving: Musical comedy: from performer to performance. In: Journal of
Popular Culture 12,3, 1978, pp. 406-420.
Delamater, Jerome: Performing Arts: The Musical. In: American film genres: Approaches to a
critical theory of popular film. Ed. by Stuart Kaminsky. Dayton, Ohio: Pflaum 1974.
Delamater, Jerome: Busby Berkeley: an American surrealist. In: Wide Angle 1,1, 1979, pp. 24-29.
Delamater, Jerome: Dance in the Hollywood Musical. Ann Arbor, MI: UMI Research Press 1981.
￢
Rev. (Telotte, J.P.) in: Post Script: Essays in Film and the Humanities 2,2, 1983, pp. 62-64.
Deleyto, Celestino: Self-consciousness and the classical text: an analysis of Swing Time. In: Film
Criticism 16,3, 1992, pp. 17-33.
Domarchi, Jean: Evolution du film musical. In: Cahiers du Cinéma 9,54, 1955, pp. 34-39.
Donnelly, Kevin J.: Sir Cliff Richard and British pop musicals. In: Journal of Popular Film and
Television 25,4, 1998, pp. 146-154.
Donnelly, Kevin J.: Entertainment and Dystopia. In: Robynn Stillwell and Bill Marshall (eds.):
Musicals: Hollywood and Beyond. Exeter/Portland, Oregon: Intellect 2000, pp.171-179.
Donovan, Timothy P.: Annie Get Your Gun: a last celebration of nationalism. In: Journal of Popular
Culture 12,3, 1978, pp. 531-539.
Druxman, Michael B.: The Musical. From Broadway to Hollywood. South Brunswick: Barnes /
London: Yoseloff 1980.
Dunne, Michael: American film musical themes and forms. Jefferson, NC [...]: McFarland 2004, VII,
215 pp.
Dyer, Richard: A Star Is Born and the construction of authenticity. In: Star Signs. Ed. by Christine
Gledhill. London: BFI Education 1982.
Dyer, Richard: Entertainment and Utopia. In: Movie, 24, Spring 1977, pp. 2-13.
￢
Repr. in: Genre: The Musical. Ed. by Rick Altman. London/Boston: Routledge & Kegan Paul
1981, pp. 175-189.
￢
Repr. in: Hollywood Musicals. The Film Reader. Ed. by Steven Cohan. London/New York:
Routledge 2002, pp. 19-30.
Dyer, Richard: “The Sound of Music”. In: Movie, 23, 1976/77, pp. 39-49.
Elsaesser, Thomas: Vincente Minnelli. In: Brighton Film Review, 15, Dec. 1969, pp. 11-13; 18,
March 1970, pp. 20-22.
￢
Repr. in: Genre: The Musical. Ed. by Rick Altman. London/Boston: Routledge & Kegan Paul
1981, pp. 8-27.
Everett, William A.: The musical. A research and information guide. New York [...]: Routledge
2004, XII, 232 pp. (Routledge Music Bibliographies.).
Feffer, Steve: „Despite all the amputations, you could dance to the rock and roll station“: Staging
authenticity in Hedwig and the Angry Inch. In: Journal of Popular Music Studies 19,3, Sept. 2007, pp.
239-258.
￢
Über: Hedwig and the Angry Inch (USA, 2001, John Cameron Mitchell).
Fehr, Richard / Vogel, Frederick G.: Lullabies of Hollywood. Movie music and movie musical,
1915-1992. Jefferson [...]: McFarland 1993, 366 pp.
Feuer, Jane: The Self-Reflective Musical and the Myth of Entertainment. In: Quarterly Review of
Film Studies, August 1977, pp. 313-326.
￢
Repr. in: Film genre reader. Ed. by Barry Keith Grant. Astin: University of Texas Press 1986,
pp. 329-343
￢
Repr. in: Genre: The Musical. Ed. by Rick Altman. London/Boston: Routledge & Kegan Paul
1981, pp. 159-174.
￢
Repr. in: Hollywood Musicals. The Film Reader. Ed. by Steven Cohan. London/New York:
Routledge 2002, pp. 31-40.
Feuer, Jane: The Theme of Popular vs. Elite Art in the Hollywood Musical. In: Journal of Popular
Culture 12,3, 1978, pp. 491-499.
Feuer, Jane: Hollywood Musicals: Mass Art as Folk Art. In: Jump Cut, 23, Oct. 1980, pp. 23-25.
Feuer, Jane: The Hollywood Musical. Bloomington, Ind.: Indiana University Press 1982.
￢
2nd ed. 1993, xviii, 154 pp.
￢
Rev. (Chisholm, Brad) in: Velvet Light Trap: a Critical Journal of Film and Television 20,
Summer 1983, pp. 55-56.
￢
Rev. (Anderegg, Michael) in: North Dakota Quarterly 51,2, 1983, pp. 173-177.
￢
Rev. (Rosenbaum, Jonathan) in: Film Quarterly 36,4, 1983, pp. 54-55.
￢
Rev. (Delamater, Jerry) in: Journal of Film and Video 35,1, 1983,pp. 65-6.
Fieschi, Jacques: Dossier: le rêve a l'écran. Ḿ3moire musicale. In: Cinématographe, 34, Jan. 1978,
pp. 14-18.
Fischer, Lucy: The image of woman as image: The optical politics of Dames. In: Film Quarterly , 30,
Fall 1976, pp. 2-11.
￢
Repr. in: Genre: The Musical. Ed. by Rick Altman. London/Boston: Routledge & Kegan Paul
1981, pp. 70-84.
Fischer, Lucy: Shall we dance? Feminist cinema remakes the musical. In: Film Criticism 13,2, 1989,
pp. 7-17.
Flinn, Carol: The "problem" of femininity in theories of film music. In: Screen 27,6, 1986, pp. 56-72.
Flinn, Caryl: Strains of Utopia. Gender, Nostalgia, and Hollywood Film Music. Princeton: Princeton
University Press 1993.
Flügel, Trixi Maraile: Das Musical im Rahmen des klassischen Hollywood-Kinos. Alfeld/Leine:
Coppi Vlg. 1997, 191 S. (Aufsätze zu Film und Fernsehen. 52.).
Fordin, Hugh: The World of Entertainment: Hollywood's Greatest Musicals. New York: Doubleday
1975.
Fordin, Hugh: M-G-M's greatest musicals. The Arthur Freed Unit. New York: Da Capo Press 1996,
X, 566 pp.
Fraser, Peter: The musical mode: putting on The Red Shoes. In: Cinema Journal 26,3, 1987, pp. 4454.
Freed, Arthur: Making musicals. In: Films and Filming, 2, Jan. 1956, pp. 9-12.
Fumento, Rocco: Those Busby Berkeley and Astaire-Rogers depressionmusicals: two different
worlds. In: American Classic Screen 5,4, 1981, pp. 15-18.
Gabella, Fabrizio: Busby di Broadway. In: Cinema Sessanta 36,5/6, Suppl. 1995, pp. 1-31.
Gallafent, Edward: Astaire & Rogers. New York: Columbia University Press 2002, 256 pp. (Film &
Culture.).
Geraths, Armin / Schmidt, Christian Martin (Hrsg.): Musical. Das unterhaltende Genre. Laaber:
Laaber Vlg. 2002 (Handbuch der Musik im 20. Jahrhundert. 6.).
Giachetti, Romano: L'evasione impura del nuovo musical americano. In: Cinema Nuovo 27,
May/June 1978, pp. 183-93.
Giles, Dennis: Show-Making. In: Movie, 24, Spring 1977, pp. 14-25.
￢
Repr. in: Genre: The Musical. Ed. by Rick Altman. London/Boston: Routledge & Kegan Paul
1981, pp. 85-101.
Godfrey, Lionel: A heretic‘s look at musicals. In: Films and Filming 13,6, March 1967, pp. 5-10.
Grant, B.K.: The Classic Hollywood Musical and the ‘Problem’ of Rock ‘n’ Roll. In: Journal of
Popular Film and Television 13,4, 1986, pp. 195-205.
Green, Stanley: Encyclopedia of the Musical Film. New York: Oxford University Press 1981, 344
pp.
Griffin, Sean: The Ganǵs All Here: Generic versus Racial Integration in the 1940s Musical. In:
Cinema Journal 42,1, 2002, pp. 21-45.
Hanisch, Michael: Vom Singen im Regen. Filmmusical gestern und heute. Berlin: Henschelverlag
Kunst und Gesellschaft 1980, 295 pp.
Hasbany, Richard: The musical goes ironic. The evolution of genres. In: Journal of American
Culture, 1, Spring 1978, pp. 120-137.
Hasbany, Richard: Saturday Night Fever and Nashville: exploring the comic mythos. In: Journal of
Popular Culture 12,3, 1978, pp. 557-571.
Hay, James: Dancing and deconstructing the American dream. In: Quarterly Review of Film Studies
10,2, 1985, pp. 97-117.
Hemming, Roy: The Melody Lingers On: the Great Songwriters and their Movie Musicals. NY:
Newmarket Press 1986.
Henderson, Brian: Musical Comedy of Empire. In: Film Quarterly 35,2, Winter 1981-82, pp. 2-16.
Herzog, Amy: Dreams of difference and songs of the same : the image of time in musical film. Diss.
Rochester, NY, Univ. of Rochester 2004, VIII, 273 pp.
Hirsch, Julia Antopol: The Sound of Music: the Making of America’s Favorite Movie. Chicago, Ill.:
Contemporary Books 1993.
Hirschhorn, Clive: The Hollywood Musical. London: Octopus / New York: Crown 1981.
Hischak, Thomas S.: The American Musical Film Song Encyclopedia. Westport, Conn.: Greenwood
Press 1999.
Hischak, Thomas S.: Film it with music. An encyclopedic guide to the American movie musical.
Westport, Conn. [u.a.] : Greenwood Press 2001, x, 464 p.
Hischak, Thomas S.: Through the screen door. What happened to the Broadway musical when it
went to Hollywood. Lanham, MD [...]: The Scarecrow Press 2004, IX, 311 pp.
￢
Rez. v. Diana Calderazzo. In: Theatre Journal 58,4, Dec. 2006, pp. 715-716.
Hoberman, John: The Communist musical. In: Film Comment 33, July/Aug. 1997, pp. 32-37.
Hodgkinson, A.W.: 42nd Street new deal: Some thoughts about early film musicals. In: Journal of
Popular Film 4, 1975, pp. 33-47.
Jablonski, Edward: Filmmusicals. In: Films in Review 6,2, Feb. 1955, pp. 56-69.
Jordan, Chris: Gender and class mobility in Saturday Night Fever and Flashdance. In: Journal of
Popular Film and Television 24,3, 1996, pp. 116-122.
Jubin, Olaf: Unterschätzte Filmgattung. Aufbereitung und Rezension des Hollywood Musicals in
Deutschland. Bochum: Brockmeyer 1995, 496 S. (Bochumer Studien zur Publizistik- und
Kommunikationswissenschaft. 80.).
Kehr, David: Can‘t stop the musicals. In: American Film 9,7, 1984, pp. 32-37.
Kidd, Michael: The camera and the dance. In: Films and Filming 2, Jan. Jan. 1956, p. 7.
Kitano, Keisuke: An examination of Busby Berkely's extraordinary films of the early 1930's. In:
Iconics 2, 1992, pp. 139-174.
Kloos, Reinhard / Reuter, Thomas: Körperbilder. Menschenornamente in Revuetheater und
Revuefilm. Frankfurt: Syndikat 1980, 121 pp.
Knight, Arthur L.: Dis-integrating the musical. African American musical performance and the
American musical film, 1927-1959. Diss. 1998, X, 163 pp.
￢
Microfiche-Ausg.: Ann Arbor, Mich.: University Microfilms Internat., 1998. 4 Mikrofiches.
Kobal, John: Gotta Sing Gotta Dance. A Pictorial History of Film Musicals. London/Sydney/New
York/Toronto: Hamlyn 1973.
￢
Zuerst London: Hamlyn 1971. Repr. 1972, 1983.
Koebner, Thomas: „Wenn Fortuna winke, winke macht“. Die Tonfilm-Operette: Das bedeutendste
Kino-Genre in der Endzeit der Weimarer Republik." In seinem: Wie in einem Spiegel. Schriften zum
Film III. St.Augustin: Gardez! Vlg. 2003, pp. 13-44.
￢
auch in: Diesseits der ‚Dämonischen Leinwand‘. Neue Perspektiven auf das späte Weimarer
Kino. Hrsg. v. Thomas Koebner. München: Text + Kritik 2003, pp. 341-372.
Koerner, Julie: Hollywood Musicals. New York: Friedman / Fairfax 1993.
Krueger, Miles (ed.): The movie musical from Vitaphone to 42nd Street. As reported in a great fan
magazine. New York: Dover 1975.
Krueger, Miles: Movie musicals in the thirties. In: High Fidelity and Musical America 24, April
1974, pp. 66-72.
Kydrýnski, Lucjan: Kino muzyczne. Przewodnik po filmach muzycznych 1927-1992. Warszawa:
Wydawn. Artystyczne i Filmowe 1993, 279 pp.
Labanyi, Jo: Race, gender and disavowal in Spanish cinema of the early Franco period: the
missionary film and the folkloric musical. In: Screen 38,3, 1997, pp. 215-231.
Lach, Pamella R.: Dancing Dreams: Performing American Identities in Postwar Hollywood
Musicals, 1944--1958. Ph.D.-Thesis, The University of North Carolina at Chapel Hill 2007, 372 pp.
￢
With the pressures of the dawning Cold War, postwar Americans struggled to find a balance
between conformity and authentic individualism. Although musical motion pictures appeared
conservative, seemingly touting traditional gender roles and championing American
democratic values, song-and-dance numbers (spectacles) actually functioned as sites of
release for filmmakers, actors, and moviegoers. Spectacles, which film censors and red-
baiting politicians considered little more than harmless entertainment and indirect forms of
expression, were the least regulated aspects of musicals. These scenes provided relatively safe
spaces for actors to play with and defy, but also reify, social expectations. Spectacles were
also sites of resistance for performers, who relied on their voices and bodies--sometimes at
odds with each other--to reclaim power that was denied them either by social strictures or an
oppressive studio system. Dancing Dreams is a series of case studies about the role of
spectacle--literal dances but also spectacles of discourse, nostalgia, stardom, and race--in
inspiring Americans to find forms of individual self-expression with the potential to challenge
prevailing norms. It explores how Gene Kelly tried to broaden definitions of dance and art to
make a case for the heterosexual male dancer; how Judy Garland used her performances to
strike back at studio executives who tried to mold her femininity; how racial stereotypes and
the Hollywood politics of race limited Oscar Hammerstein's liberal messages of racial
inclusion and cooperation; and how fantasy dances could remold nationality and gender.
Musical motion pictures thus expand the definition of rebellion to include the sort of private,
and often, quiet forms of personal resistance that occurred throughout the 1950s, and helps us
to understand better the radical potential of postwar America (Dissertation Abstracts
International - DAI-A 68/06, Dec 2007).
Lahusen, Thomas: From Laughter 'Out of Sync' to Post-Synchronized Comedy: How the Stalinist
Film Musical Caught up with Hollywood and Overtook It. In: Socialist Cultures East and West: A
Post-Cold War Reassessment. Ed. by Dubravka Juraga and M. Keith Booker. New York: Praeger,
2002, pp. 31-42.
Lawson-Peebles, R. (ed.): Approaches to the American Musical. Exeter: Exeter University Press
1996.
Leff, Leonard: Come on Home with Me: 42nd Street and the Gay Male World of the 1930s. In:
Cinema Journal 39,1, 1999, pp. 3-22.
Licata, Sal: From Plymouth Rock to Hollywood in Song and Dance: Yankee mythology in the film
musical. In: Film and History 4,1, Feb. 1974, pp. 1-3.
Lippe, Richard: New York, New York and the Hollywood musical. In: Movie, 31/32, Winter 1986,
pp. 95-100.
Lockhart, Freda Bruce: The seven ages of the musical. In: International Film Annual, 1, 1957, pp.
107-115.
Lusted, David: Film as industrial product. Teacing a reflexive movie. In: Screen Education 16,
Autumn 1975, pp. 26-30.
￢
Über Singin‘ in the Rain.
Lynch, Richard Chigley: Movie Musicals on Record: A Directory of Recordings of Motion Picture
Musicals, 1927-1987. Westport, CO/London: Greenwood Press 1989, x, 445 pp. (Discographies. 32.).
￢
Fortschreibung: 1985-1995. Westport, Conn. [...]: Greenwood Press 1996, XI, 254 pp.
(Discographies. 68.).
Malone, Travis B.: Crafting utopia and dystopia: Film musicals from 1970-2002. Ph.D. Thesis,
Bowling Green, OH: Bowling Green State University, Theatre and Film, 2006, ix, 297 pp.
￢
With the end of the Hollywood studio era, big budget blockbuster musicals had to find ways
to compete in the economic and cultural marketplace. Historical events such as the rise of
television, the Civil Rights movement, the Vietnam War, and the Watergate scandal
influenced the way American audiences saw, and continue to see, the world. Film, theatre,
and other artistic disciplines helped audiences understand, cope, and criticize societal
changes. As audience perceptions changed, the film musical faced a crisis. In an attempt to
maximize profits, Hollywood business practices forced an evolutionary branch in the
development of the musical. One fork took the genre towards the embodiment of capitalistic
and cultural excess as pointed to by Altman, Dyer, and others. These film musicals attempt
to present Utopia. Film musicals such as Grease (1978), Beauty and the Beast (1991), and
Evita (1996) are large spectacles that utilize the high concept business model, as outlined by
Justin Wyatt, to please audience expectations by managing conflict at the expense of
presenting the story world as a utopia. The other branch of film musical exemplified in the
films of Cabaret (1972) and All That Jazz (1979) criticize the price paid by an individual in
pursuit of ideals that lie beyond dominant social values. The dystopic film musical connects
with audiences and critics by drawing on the cynicism and skepticism of contemporary
historic and cultural events to forward a clearly dystopic view of society. This study utilizes
an interdisciplinary approach to analyze the connection between selected film musicals and
the American culture for which they were produced. The study shows that from 1970- 2002
film musicals promoted and marketed visions of Utopia that were reflective of specific
historical moments rather than ahistorical utopia ideals. While a film like Grease shows that
Utopia is the ideal high school experience, later films like Moulin Rouge! (2001) and
Chicago (2002) depict imagination as a utopia to escape otherwise dystopic social realities.
The interdisciplinary critical frames applied in this study allow scholars to examine the fluid
nature of the boundaries between film, theatre, and mass entertainment. [Dissertation
Abstracts International, DAI-A 67/10, p. 306, Apr 2007]
Marshall, Bill / Stilwell, Robynn (eds.): Musicals: Hollywood and Beyond. Portland, Oreg./Exeter:
Intellect TM. 2000, iv, 187 pp.
Masson, Alain: *** In: Positif 180, Avril 1976, pp. 48-54.
￢
Engl.: George Sidney. Artificial brilliance / the brilliance of the artifice. In: Genre: The
Musical. Ed. by Rick Altman. London/Boston: Routledge & Kegan Paul 1981, pp. 28-40.
Mast, Gerald: Can’t Help Singin’. The American Musical on Stage and Screen. Woodstock:
Overlook Press 1987.
Matthew-Walker, Robert: From Broadway to Hollywood. The musical and the cinema. London:
Sanctuary Publ. 1996, 225 pp.
McMillan, Brian: Complicitous Critique: Dancer in the Dark as Postmodern Musical. In: Discourses
in Music 5,2, Fall 2004, URL: http://discourses.ca/v5n2a1.html.
McVay, Douglas: The art of the actor. In: Films and Filming 12, Sept. 1966, pp. 43-50.
￢
Film- vs. Theatermusicals.
McVay, J. Douglas: The Musical Film. London: Zwemmer 1967.
￢
Zugl. New York: A.S. Barnes 1967.
Medhurst, Andy: The musical. In: The Cinema Book. Ed. by Pam Cook. London: BFI 1992, pp. 106112.
Mellencamp, Patricia: Spectacle and spectator. Looking through the American musical comedy. In:
Cine-Tracts 1, Summer 1977, pp. 28-35.
Mellencamp, Patricia: Sexual Economics: Gold Diggers of 1933. In: Hollywood Musicals. The Film
Reader. Ed. by Steven Cohan. London/New York: Routledge 2002, pp. 65-76.
Miller, Marc: Of tunes and toons. The movie musical in the 1990s. In: Film genre 2000. New critical
essays. Ed. by Wheeler Winston Dixon. New York: State University of New York Press 2000, pp. 4562.
Missiaen, Jean-Claude: Cyd Charisse: du ballet classique a la comedie musicale. Paris: Editions
Henri Veyrier 1978, 286 pp.
Mizejewski, Linda: Ziegfeld girl. Image and icon in culture and cinema. Durham [...]: Duke
University Press 1999, X, 241 pp.
Monder, Eric: George Sidney's hi-tech Vaudeville show. In: Film Comment 30 July/Aug. 1994, pp.
50-59.
Mordden, Ethan: The Hollywood Musical. New York: St. Martin’s Press 1981.
Mueller, John: The filmed dances of Fred Astaire. In: Quarterly Review of Film Studies 6,2, 1981,
pp. 135-54.
Mueller, John: Fred Astaire and the integrated musical. In: Cinema Journal 24,1, 1984, pp. 28-40.
Muir, John Kenneth: Singing a new tune. The rebirth of the modern film musical. New York, NY:
Applause Theatre & Cinema Books 2005, IX, 357 pp.
Mundy, John: Popular Music on Screen: From the Hollywood Musical to Music Video. Manchester:
Manchester University Press 1999.
Mundy, John: The British musical film. Manchester: University of Manchester Press 2007, 272 pp.
Neale, Steave: Genre and Hollywood. London/New York: Routledge 2000, pp. 104-112.
Mnewton, Douglas: Poetry in fast and musical motion. In: Sight and Sound 22, July-Spt. 1952, pp.
35-37.
Pally, Marcia: Daning for their lives. In: Film Comment 20,6, Nov.-Dec. 1984, pp. 51-55.
Papadimitriou, Lydia: The Greek film musical. A critical and cultural history. Jefferson, NC:
McFarland 2006, 192 pp.
Parish, James Robert / Pitts, Michael R.: Hollywood Songsters. A Biographical Dictionary.
London/New York: Garland 1991.
Parish, James Robert / Pitts, Michael R.: The Great Hollywood Musical Pictures. Metuchen, N.J.:
The Scarecrow Press 1992.
Patrick, Robert / Haislip, William: Thank Heaven for Little Girls‘: An examnination of the male
chauvinist musical. In: Cineaste 6,1, 1973, pp. 22-25.
￢
Musicals als Medium männlichen Chauvinismus.
Pattullo, Lauren: Narrative and spectacle in the Hollywood musical: contrasting the choreography of
Busby Berkeley and Gene Kelly. In: Research in Dance Education 8,1, April 2007, pp. 73-85.
Pechter, William S.: Movie musicals. In: Commentary 53,5, 1972, pp. 77-81.
Perez, M.: Le musical avant Busby Berkeley. In: Positif, 144-145, Nov.-Déc. 1972, pp. 48-53.
Perez, M.: Une fusée pointée vers les planches. Eleanor Powell, des "Scandales de 1935" à la
"Broadway Melody de 1940." In: Positif, 190, Fév. 1977, pp. 32-41.
Polan, Dana B.: "It could be Oedipus Rex": denial and difference in The Bandwagon or, the
American musical as American gothic. In: Cine-tracts 4,2-3, 1981, pp. 15-26.
Pollach, Andrea (Hrsg.): Singen und Tanzen im Film. Wien: Zsolnay 2003, 256 pp.
Pruzzo, Piero: Musical americano in cento film. Genova: Le Mani 1995, 218 pp. (Storia del Cinema.
5.).
Rabinowitz, Paula: Commodity fetishism: Women in Gold Diggers of 1933. In: Film Reader, 5,
1982, pp. 141-149.
Rabourdin, D.: Un cinéma du plaisir: de Born to Dance à Words and Music. In: Cinéma 77, 224/225,
Aug./Sept. 1977, pp. 124-133.
Rickard, Sue: Movies in disguise: Negotiating courtship and patriarchy through the dances of Fred
Astaire and Ginger Rogers. In: Robert Lawson-Peebles (ed.): Approaches to the American Musical.
Exeter: University of Exeter Press 1996, pp.72-88.
Rinke, Andrea: Eastside stories: Singing and dancing for socialism. In: Film History: An
International Journal 18,1, 2006, pp. 73-87.
Ritter, Kelly: Spectacle at the disco: "Boogie Nights," soundtrack, and the new American musical.
In: Journal of Popular Film and Television 28,4, 2001, pp. 166-175.
Robards, Brooks: California dreaming: Dream sequences in Hollywood musicals, melodramas, and
horror movies. In: Beyond the stars. 2. Plot conventions in American popular film. Ed. by PaulLoukides & Linda K. Fuller. Bowling Green, Ohio: Bowling Green State University Popular Press 1991,
pp. 114-129.
Roberts, Shari: ‘The Lady in the Tutti-Frutti Hat’: Carmen Miranda, a spectacle of ethnicity. In:
Cinema Journal 32,3, 1993, pp. 3-23.
Roth, Mark: Some Warner musicals and the spirit of the New Deal. In: Velvet Light Trap, 17, Winter
1977, pp. 1-7.
￢
Repr. in: Genre: The Musical. Ed. by Rick Altman. London/Boston: Routledge & Kegan Paul
1981, pp. 57-69.
Rubin, Martin: Showstoppers: Busby Berkeley and the Tradition of Spectacle. New York: Columbia
University Press.
Sanjjek, R.: Pennies From Heaven: The American Popular Music Business in the Twentieth Century.
New York: Da Capo 1996.
￢
Zuerst 1988.
Santos Fontenla, César: El musical americano. [Madrid]: Akal [1973].
Schatz, Thomas: The Musical. In: Hollywood Genres. New York: Random House 1981, pp. 186-220.
Scher, S.N.: The American film musical. Golden age, neglected art. In: Audience 7, Apr.-May 1975.
Scheurer, Timothy E.: The aesthetics of form and convention in the movie musical. In: Journal of
Popular Film 3,4, Fall 1974, pp. 307-324.
￢
Repr. in: Genre: The Musical. Ed. by Rick Altman. London/Boston: Routledge & Kegan Paul
1981, pp.
Scheurer, Timothy E.: "I'll sing you a thousand love songs": a selected filmography of the musical
film. In: Journal of Popular Film and Television 8,1, 1980, pp. 60-67.
Schubert, Gisela: Hollywoods „große“ Musik. Beobachtungen an Musical-Filmen. In: Musiktheorie
8,1, 1993, S. 57ff.
Schultz, Jacque: Catagories of song. In: Journal of Popular Film and Television 8,1, 1980, pp. 1525.
Sennett, Ted: Hollywood Musicals. New York: Abrams 1981.
Shout, John D.: The film musical and the legacy of show business. In: Journal of Popular Film and
Television 10,1, 1982, pp. 23-26.
Shusterman, Richard: Country musicals: A philosophical study. In: Nagl, Ludwig (Hrsg.):
Filmästhetik. Berlin: Akademie Vlg. / Wien: Oldenbourg 1999, pp. 244-267 (Wiener Reihe: Themen
der Philosophie. 10.).
Siefert, Marsha: Image/music/voice: song dubbing in Hollywood musicals. In: Journal of
Communication 45,2, 1995, pp. 44-64.
Silverman, Stephen M.: Dancing on the ceiling. Stanley Donen and his movies. New York: Knopf
1996, XIX, 390 pp.
Skotarczak, Dorota: Od Astaire'a do Travolty. Amerykański musical filmowy w kontekście historii
Stanów Zjednoczonych. Poznán: Inst. Historii UAM 1996, 155 pp. (Publikacje Instytutu Historii
UAM. 8.).
Smith, Susan: The Musical. Race, Gender and Performance. London/New York: Wallflower 2005.
Smoodin, Eric: Art/work: capitalism and creativity in the Hollywood musical. In: New Orleans
Review 16,1, 1989, pp. 79-87.
Solomon, Stanley J.: Beyond formula. American film genres. New York: Harcourt Brace Jovanovich
1976.
￢
Enth. ein Kap. über Musicals.
Sonnenshein, Richard: Dance: its past and its promise on film. In: Journal of Popular Culture 12,3,
1978, pp. 500-506.
Spiegel, Ellen: Fred and Ginger meet Van Nest Polglase. In: The Velvet Light Trap, 10, Fall 1973, pp.
17-22.
￢
Über die Art-Déco-Ausstattung vieler Hollywood-Musicals.
Springer, John: All talking! All singing! All dancing! New York: Citadel Press 1966.
￢
Vor allem Film- und Produktionsbilder.
Springer, John: They Sang! They Danced! They Romanced! Hollywood Musicals from the Advent of
Sound Until Today. New York: Carol Publishing 1991.
Stacy, Jan / Syvertsen, Ryder: Rockin‘ Reels. An Illustrated History of Rock&Roll Movies.
Chicago, Ill.: Contemporary Books 1984.
Stearns, M. / Stearns, J.: Jazz Dance: The Story of American Vernacular Dance. New York: Da
Capo 1994.
￢
Zuerst 1968.
Stern, Lee Edward: The movie musical. New York: Pyramid Publ. 1974, 159 pp.
￢
Ital. Ausg.: Il musical. Milan: Libri Edizioni 1977.
￢
Dt. Ausg.: Der Musical Film [!]. München: Heyne 1979, 192 pp. (Heyne Filmbibliothek. 10.).
Sutton, Martin: Patterns of Meaning in the Musical. In: Genre: The Musical. Ed. by Rick Altman.
London/Boston: Routledge & Kegan Paul 1981, pp. 190-196.
Taylor, John Russell / Jackson, Arthur: The Hollywood Musical. London: Secker & Warburg 1971.
Telotte, J.P.: A sober celebration: song and dance in the "new" musical. In: Journal of Popular Film
and Television 8,1, 1980, pp. 2-14.
Telotte. J.P.: Narrative strategy in the Asaire-Rogers films. In: Journal of Popular Film and
Television 8,3, Fall 1980, pp. 15-24.
Telotte, J.P.: A sober celebration. Song and dance ion the ‚new‘ musical. In: Journal of Popular Film
and Television 8,1, Spring 1980, pp. 2-14.
Telotte, J.P.: A "Gold Digger" aesthetic: the depression musical and its audience. In: Post Script:
Essays in Film and the Humanities 1,1, 1981, pp. 18-24.
Telotte, J.P.: The movie musical and what we ain‘t heard‘yet. In: Genre 14, 1981, pp. 505-520.
Telotte, J.P.: Self and society: Vincente Minnelli and musical formula. In: Journal of Popular Film
and Television 9,4, 1982, pp. 181-193.
Telotte, J.P.: All That Jazz. Expressionism on its own terms. In: Journal of Popular Film and
Television 11,3, 1983, pp. 104-113.
Telotte, J.P.: Ideology and the Kelly-Donen musicals. In: Film Criticism 8,3, 1984, pp. 36-46.
Telotte, J.P.: The New Hollywood Musical: From Saturday Night Fever to Footloose. In: Stephen
Neale (Ed.): Genre and Contemporary Hollywood. London: Britsih Film Institute 2002, pp. 48-61.
Thiel, Wolfgang: Alt-Wien auf Berlinerisch? Anmerkungen zur Tonfilmoperette Der Kongreß tanzt
(1931). In: Wien - Berlin. Stationen einer kulturellen Beziehung. Saarbrücken: Pfau 2000, S. 170ff.
Thomas, Tony: Harry Warren and the Hollywood Musical. Secaucus, NJ: Citadel Press 1975.
Thomas, Tony: That's Dance! A Glorious Celebration of Dance in the Hollywood Musical.
Harmondsworth: Penguin 1985.
Tinkcom, Matthew: Working like a homosexual: camp visual codes and the labor of gay subjects in
the MGM Freed Unit. In: Cinema Journal 35,2, 1996, pp. 24-42.
Todd, A.: From Chaplin to Kelly. In: Thatre Arts 35, Aug. 1951, pp. 50-51.
￢
Tanzgeschichte.
Tomicek, Harry: Hollywood on parade. Zum amerikanischen Filmmusical der dreißiger Jahre.
Wien: Österreichisches Filmmuseum 1980, 31 pp. (Retrospektive der Viennale.).
Tončeva, Cvetana: Baz Lurman - s neiz ivjanata nostalgija po kino-mjuzikăla (s pochvati ot radiournalistikata). [Baz Lurmans Hang zum Film-Musical - mit Techniken zum Radiojournalismus.] In:
Bălgarsko muzikoznanie ( Sofija: Izd. na BAN) 27,2-3, 2003, S. 145-162.
Traubner, Richard: The sound and the Fuehrer. In: Film Comment 14, July/Aug. 1978, pp. 17-23.
Turim, Maureen: Gentlemen consume blondes. In: Wide Angle 1,1, 1979, pp. 52-59.
Turim, Maureen: Symmetry/asymmetry and visual fascination. In: Wide Angle 4,3, 1981, pp. 38-47.
Turk, Edward Baron: Deriding the voice of Jeanette MacDonald: notes on psychoanalysis and the
American film musical. In: Camera Obscura, 25/26, Jan./May 1991, pp. 224-249.
Vallance, Tom: The American musical. New York: Barnes 1970.
￢
Lexikon. Theaterdominiert, aber auch Film behandelnd.
Vaughan, David: Dance in the cinema. In: Sequence , 6, Winter 1948-49, pp. 6-13.
Vaughan, David; After the ball. In: Sight and Sound 26, Autumn 1956, pp. 89-91.
￢
Über die Freed-Musicals als „lyrics of the American cinema“.
Vogel, Frederick G.: Hollywood musicals nominated for best picture. Jefferson, NC: McFarland
2003, x, 374 S.
Michael Wedel: Towards an Archeology of the Early German Music Film. In: Dominique Nasta / D.
Huvelle (éds.): Le son en perspective: nouvelles recherches / New Perspectives in Sound Studies,
Frankfurt [...]: Peter Lang 2004.
Michael Wedel: Der deutsche Musikfilm. Archäologie eines Genres 1914-1945. München: Ed. Text
+ Kritik 2007, 476 S.
￢
Zugl.: Diss., Universität Amsterdam 2005.
Wildbihler, Hubert / Völkleien, Sonja: The Musical: An International Annotated.
München/London: K.G. Saur 1986.
Willett, Ralph: From Gold Diggers to Bar Girls: A Selective History of the American Movie
Musical. In: R. Lawson-Peebles (Hrsg.), Approaches to the American Musical. Exeter: University of
Exeter Press 1996, pp. 44-54.
Wills, Nadine: 110 per cent woman. The crotch shot in the Hollywood musical. In: Screen 42,2,
2001, pp. 121-141.
Witte, Karsten: Visual pleasure inhibited: aspects of the German revue film. In: New German
Critique, 24/25, Fall/Winter 1981/82 [1983], pp. 238-263.
Woll, Allen L.: Songs from Hollywood Musical Comedies, 1927 to the Present: A Dictionary. New
York: Garland 1976, XLVII, 251 pp. (Garland Reference Library of the Humanities. 44.).
Woll, Allen L.: The Hollywood Musical Goes to War. Chicago: Nelson-Hall 1983.
Wood, Michael: Darkness in the Dance. In: America in the Movies, or “Santa Maria, It Had Slipped
My Mind“. New York: Basic Books 1975, pp. 146-164 (ch. 7).
Wood, Robin: Art and ideology. Notes on Silk Stockings. In: Film Comment 11,3, May-June 1975,
pp. 28-31.
￢
Repr. in: Genre: The Musical. Ed. by Rick Altman. London/Boston: Routledge & Kegan Paul
1981, pp. 57-69.
Redaktionelle Notiz:
Eine erste Fassung dieser Bibliographie erschien in: Medienwissenschaft / Hamburg: Berichte und
Papiere 68, 2007: Musical.