It Ain’t Simply a Song and Dance: Reflections of Hollywood Mus

[szmacblog]

Viewing response 8: Karmen Geï

An analysis of the film Karmen Geï, modern Senegalese adaptation of Carmen, directed by Joseph Gaï Ramaka, reveals a bold and multifaceted portrayal of sexuality and gender identity. This interpretation aligns with Cheryl Stobie's ideas explored in her work "'She Who Creates Havoc is Here': A Queer Bisexual Reading of Sexuality, Dance, and Social Critique in Karmen Geï." The film challenges conventional norms through the character of Karmen and makes use of "carnivalesque", which Stobie recognizes as a tool for queer power, and feminine expression. Karmen’s bisexual character and liberated self-expression defy categorization, particularly within the context of Senegalese society. Stobie's queer lens highlights this aspect, suggesting Karmen's relationships and actions as a critique of the limitations imposed by a monosexual perspective.

Consider the opening scene where Karmen dances for an audience and the dancing scene between Karmen and Angelique when they are in prison. Stobie argues that Karmen's defiance of traditional sexual and gender binaries disrupts the established order. These performances transcend mere seduction and serve as a way of exploring our identities, and at the same time, they celebrate eroticism, pushing viewers to confront their own preconceptions about desire and identity. The film challenges a society that attempts to control and regulate human expression. Karmen Gei is political resistance in the shape of choreography and music.

[szmacblog]

Viewing response 7: Cabaret

Bob Fosse's 1972 film Cabaret utilizes mise-en-scene to create a distinct nightclub atmosphere to explore complex themes of gender expression, sexuality, and subculture.  Similarly, in her essay titled “We Walk Among You: Trans Identity Politics Goes to the Movies”, Cowan explores how Cabaret uses the nightclub setting to challenge our ideas of queerness and erotism. This atmosphere of “lighthearted” exploration masks a deeper truth and the playfulness is a manufactured escape, mirroring the fleeting happiness that Sally and Brian find in their escapades with Maximilian. It's a happiness built on ignoring the harsh realities—the rise of the Nazi regime—that lie outside the cabaret doors.

As previously stated, costume is a central mechanism the film uses to bend our preconceptions of gender. Sally often wears traditionally masculine attire like suits and bowler hats, challenging conventional notions of femininity; while some of the other performers do drag and wear very eccentric and flamboyant outfits. Moreover, the lyrics in Mein Herr and Willkommen plus other songs sung at the club emphasize themes of sexual liberation and breaking taboos. Through costuming, makeup, and set design, the film portrayed the cabaret as a refuge for those who challenged societal beliefs of the time and continues to be an example of using cinema as a way of exploring complex topics. 

[szmacblog]

Viewing response 6: Les parapluies de Cherbourg

Les parapluies de Cherbourg explores the intersection between Melodrama and Fairy tale style films. The iconic "I Will Wait for You" scene in the Jacques Demy film stands as a pivotal moment, capturing the essence of love, separation, and the enduring power of longing. Through the lens of genre analysis, particularly the intersection of fairy tale and melodrama, this scene reveals a deeper layer of emotional resonance. Drawing upon film scholar Anne E. Duggan's work, we can see how Demy masterfully blends these genres. The scene unfolds at the train station, a setting imbued with a sense of both anticipation and finality. Soft lighting bathes the characters, creating a romanticized atmosphere reminiscent of a fairy tale. The use of vibrant colors, particularly the iconic red umbrella carried by Geneviève, further adds to this dreamlike quality. These elements elevate the scene beyond a simple depiction of a goodbye, transforming it into a larger-than-life representation of heartbreak.

Duggan's analysis highlights how Demy utilizes formal elements to shape the scene's emotional impact. The meticulously crafted mise-en-scène, with its soft lighting and picturesque backdrop, evokes a heightened reality often found in fairy tales. Furthermore, the scene embraces a melodramatic quality, emphasizing the characters' powerful and conflicting emotions. Through careful attention to cinematography, lighting, and sound, Demy elevates the scene from mere realism to a timeless tale of love and loss. The characters' emotions are amplified, highlighting the heartbreak of their separation. This scene serves as a microcosm of the film's central themes.

[szmacblog]

Viewing response 5: School Daze

The "Madame Re-Res" scene in Spike Lee's "School Daze" is probably the turning point and most famous scene in the film, showcasing a vibrant and confrontational dance-off that explores the complexities of race and identity amongst students in a HBCU.

The scene brings together two rival factions: the Gamma Rays and the Jigaboos. This physical separation reflects the deeper ideological divide between those who prioritize assimilation and those who celebrate Black culture. The opposing ideals are expressed through contrasting lyrics. Jigaboos sing about not abiding by white beauty standards while the Rays reflect a desire to conform to these and criticize the Jigaboos for expressing their culture. This performative aspect highlights the conscious choices characters make regarding how they want to present their Blackness, and of course, it further emphasizes the theme of colorism within the Black community. As expressed in the article by Jenkins, the use of music and dance in this film allows Lee to explore these issues in a way that transcends literal dialogue and connects with the audience in a personal way.

[oxyfilmmusical-sp24]

Viewing response 4: Dharamputra (1961)

Released in 1961, Yash Chopra's Dharamputra delves into a complex period of Indian history. Set against the backdrop of British rule in the mid-20th century, the film explores the simmering political and religious tensions, and of course, the Nationalism, that would ultimately lead to the partition of the country, which narratives, according to Sony Jalarajan Raj and Adith K. Suresh, “inadvertently follow a pattern of recreating the ethnoreligious tensions of the Hindu and Muslim communities.” This issue left millions displaced and resulted in a lot of violence—the film was released just 14 years after the partition of India thus Dharamptura can be seen as a reflection on the roots of this conflict and a plea for religious tolerance.

The narrative revolves around two families: the wealthy, Muslim Nawab Badruddin and his Hindu friend, Amrit Rai. Despite their religious differences, the families enjoy a close bond, living practically as one household. This harmony is shattered by a family secret. Nawab Badruddin's unmarried daughter, Husn Bano, becomes pregnant. She is forced to give up her child, Dilip, for adoption. Amrit Rai and his wife, Savitri, raise Dilip as their own, with Husn Bano secretly watching him grow up. However, when Husn Bano remarries, she's forced to leave Dilip behind. 

Husn Bano returns to find Dilip a completely different man. In this scene, we can notice how Dilip's character mirrors the rising religious conflicts of the time. This reflects the trend in the society of that time. As Jalarajan Raj and Suresh point out, the partition of India created a strong sense of "us vs. them" mentality. Dharamputra portrays the loss of a unified Hindu-Muslim identity after the partition, underlining the damaging effects of social pressures and nationalism on both individuals and communities.

[oxyfilmmusical-sp24]

Viewing Response: Show Boat

As Oman states, “Folk musicals and other regional texts often share a nostalgic perspective on American culture, but they should not be reduced to the essentialist category of nostalgia. At the center of all folk or regional texts from the first half of the twentieth century is a deep, complex investment in issues of nationalism and social and political marginalization.” (95) Folk films like "Showboat" can't be simply categorized as nostalgic. The wedding scene in which Joe is part of the audience exemplifies this. While the setting might evoke a romanticized vision of Americana, it is used to subtly expose the harsh realities of the rural South at that time. Similarly, what happens to Magnolia highlights the hypocrisy within Southern society. I believe the film questions race as a social construct, but it also contains its black characters within this racial essentialism. The film immerses viewers in a bygone era, not just through the electrifying rendition of "Ol' Man River" echoing across the mighty Mississippi, but also with its meticulously recreated sets and the energetic dances that come alive on the riverboat deck. Beyond the visual spectacle, the film delves into universal themes of interracial love and loss ensuring its relevance transcends the time period.

[szmacblog]

Orfeu Negrou Viewing response

I can confidently say that Brazilian music is probably in my top three favorites, so I am going to focus my analysis mainly in the film's use of music. Of course, Black music in Orfeu Negro is probably at the film's very core and it plays a crucial role in conveying its themes and emotions.  These can be broadly divided into three categories:

Romantic Songs: These songs, performed by Orfeu, express the deep love between Orfeu and Eurydice. Two notable examples are "A Felicidade" by Tom Jobim and Vinicius de Moraes, and "Manhã de Carnaval" by Luiz Bonfá and Antônio Maria.

Carnival Music: This vibrant and diverse music accompanies the rehearsals and parade of the Babilônia Samba School, led by Orfeu. It reflects the heterogeneous nature of the Carnival celebration in the late 1950s. The samba is represented by the theme "O Nosso amor" (Our Love), composed by Jobim, which serves as a leitmotif throughout the film. Pernambucan frevo appears in the theme "Frevo de Orfeu," also composed by Jobim. Marchinhas, a type of Brazilian carnival song, are briefly featured in the film's night carnival scenes.

Afro-Brazilian Traditional Music: This music emerges in the second part of the film when Orfeu attends a macumba ceremony. Sung in Portuguese, the macumba and umbanda chants refer to Ogum Beira-Mar, a deity worshipped in many umbanda terreiros (religious centers) in Rio de Janeiro—it is important to notice that macumba carioca ceremonies are highly important to the Black population in Rio and their inclusion in the film is paramount.

Take a look below!

From the outset, the film showcases the prominent musical genres that shaped the soundscape of the 1950s, including regional styles like frevo, which gained national prominence during the decade and was, at the time, largely unknown outside of Brazil. The remarkable diversity of rhythms reflects the debates that stirred the Brazilian cultural scene of the era, centered on the clash between "modern music" and "traditional music." In this sense, the soundtrack of Black Orpheus defies the categorizations prevalent in the White Brazilian music industry of the 1950s, offering the world a unique perspective on Brazil’s music and the influence of Black artists in the music. The seamless integration of these diverse musical styles creates a rich and immersive soundscape that complements the film's narrative and emotional core. The romantic songs capture the intensity of Orfeu and Eurydice's love, the carnival music embodies the vibrant energy and “cultural diversity” of the event, and the Afro-Brazilian traditional music adds a layer of spirituality and mysticism. 

I would, however, like to argue that I do not think the film successfully conveys the complexities of Blackness and it could be said that it romanticizes the issues in some way. Dos Santos states that “the film (1959) was produced at a time when the myth of racial democracy in Brazil was held, and it reinforced said myth”, this, of course, placed the film in the eye of criticism. Certainly, the film shines light on Blackness as an inherent part of Carnaval. Yet, audience and film critics consider this recognition to be incomplete, one-sided, and intersected (Santos 1999) because “it failed to acknowledge this celebratory event as part of the struggle of Black people.” Here is where the issue lies. The film sells the idea of a Brazil that does not exist.

[denisearef]

Dharamputra

"Dharamputra", directed by Yash Chopra, intertwines themes of identity, religious division, and the social unrest that defined pre- and post-independence India (1925-1947). Set against this backdrop, the film delves into the story of Husn Bano, a young, unwed Muslim mother forced to give up her son due to societal pressures.

The film explores the human cost of such pressures, particularly on the identity of Indian Muslims. It exposes the phenomenon of "othering," where a dominant group constructs the "other" as different and potentially threatening. This concept becomes tragically relevant in the wake of Partition, as Dilip, raised as a Hindu and indoctrinated with nationalist fervor, struggles to reconcile his upbringing with the sudden revelation of his Muslim heritage.

Dilip's transformation from innocence to bigotry reflects the escalating religious tensions of the era. He embodies the "othering" process, becoming a staunch Hindu fundamentalist who actively opposes non-Hindu beliefs. As Sony Jalarajan Raj and Adith K. Suresh discuss in Reframing Islam in bollywood cinema: a study on the construction of the Islamic identity in Indian cinema, "Partition of the Indian subcontinent unilaterally separated individuals into elusive categorizations of ‘us’ and ‘them’". The film portrays the loss of a shared Hindu-Muslim identity post-Partition, highlighting the devastating impact of societal pressures and nationalistic ideology on individuals and communities.

In conclusion, while "Dharamputra" doesn't explicitly offer a path towards healing the divides, it is a reminder of the human cost of religious polarization and the enduring need for understanding and tolerance in a divided world. By showcasing the tragic consequences of othering and the loss of identity, the film compels viewers to critically examine their own biases.

Works cited:

Jalarajan Raj, Sony, and Adith K. Suresh. "Reframing Islam in bollywood cinema: a study on the construction of the Islamic identity in Indian cinema." Asian Journal of Communication (2023): 1-15.Harvard

[mattjacksonsbrain]

I like that you identify how Dilip's transformation from innocence to bigotry represents a process of "othering". This is a crucial character shift that is emblematic of larger themes throughout the film.

[oxyfilmmusical-sp24]

I agree with this! Especially with film's as this that explore identity, it adds nuance to consider how these identities manifest within a single person. This way, it can be seen how the issues affect the people rather than their supposed differences.

[kennamirzayan]

Viewing Response 5: Dharmputra (1961) and Identity

Directed by Yash Chopra, Dharmputra (1961) is an examination of religion, myth, and class in 20th century India – as told through the intertwined stories of two families – one Muslim and one Hindu. 

The film centers Husn Bano, an unwed daughter of the Nawab Badruddin, who finds herself pregnant with an illegitimate son. Husn is made to give up her son Dilit to the Nawab Bahruddin’s close family friends Amrit Rai and Savitri. The film explores how these relationships between these characters evolve over time, using characterization as allegory for and commentary on Indian identity in the 20th century. 

Sony Jalarajan Raj and Adith K. Suresh write in their analysis, “Reframing Islam in Bollywood Cinema: a Study on the Construction of the Islamic Identity in Indian Cinema”, the displacement of Muslims in India following the Indo-Pak Partition resulted in a “destruction of normalcy,” which was, “fundamentally a process of creation where a unique ambivalent notion of other had been born.” This resulted in the creation and perpetuation of an “us versus them” narrative nation-wide. 

Dharmputra addresses these narratives through its textual treatment of the identities of Hindu and Muslim characters – both shared and individual. By highlighting the state of the vilification and othering of Muslim identities, Dharmputra engages audiences with prescient themes and encourages viewers to note their own personal histories and othering in their lives. 

[oxyfilmmusical-sp24]

I like how you talk about more than just the injustices the characters face for their faith, but the injustices they face as individuals. After all, Indians were affected in similar ways despite whether they were Hindu or Muslim, as a people and a nation they dealt with being pitted against one another. I think this is a very important point to consider.

[yssa3002]

Viewing Response 4: Rolling Up the Partition II: Dharamputra (1961)

Yash Chopra's Dharamputra (1961) is a tale of two families--a muslim, and a hindu family-during the mid 20th century in India when it is under British rule. The film examines the political and religious turmoil of the time through the unfolding of the two families' joint secret.

A pregnant Husn Bano, the unmarried daughter of Nawab Badruddin, is forced to give up her child, Dilip, to be raised by the son of her father's friend, Amrit Rai and his wife, Savitri. Bano is able to watch as Dilip grows as the two families' houses are combined, however she moves away when she remarries. Upon her return, she learns her son Dilip has become an ardent anti-muslim activist, set on ridding India of Muslims.

The scene I chose is a musical scene where a Hindu singer and a Muslim singer are singing a song titled, "Ye masjid hai, wo butkhana/This is a mosque, and that's a temple". This is scene is important as it captures the essence of the film. Though the two families are of different religions, they symbolize a certain harmony between two faiths seeing as they live in the same home. The song preaches that despite the difference of religion, they are all Indian. The meaning of the song is intensified by its expression through song as it is a literal representation of the harmony that can be achieved.

In their article, Reframing Islam in bollywood cinema: a study on the construction of the Islamic identity in Indian cinema, Sony Jalarajan Raj & Adith K. Suresh write, "Partition films attempt to picture the process of sectarianizing the Indian subcontinent into the categories of ‘Indian Muslims’ and ‘Indian Hindus’ where the former is delegi- timized and denigrated to the point of completely detaching the ‘Indianness’ from their identity" (Raj & Suresh, 358-9). I believe this speaks greatly to the importance of the musical scene attached below, as it brings light to the reality at hand. The reality being that it is not any certain faith that makes a nation, but the people themselves, no matter their religion.

[kennamirzayan]

Viewing Response 5: Dharmputra (1961) and Identity

Directed by Yash Chopra, Dharmputra (1961) is an examination of religion, myth, and class in 20th century India – as told through the intertwined stories of two families – one Muslim and one Hindu. 

The film centers Husn Bano, an unwed daughter of the Nawab Badruddin, who finds herself pregnant with an illegitimate son. Husn is made to give up her son Dilit to the Nawab Bahruddin’s close family friends Amrit Rai and Savitri. The film explores how these relationships between these characters evolve over time, using characterization as allegory for and commentary on Indian identity in the 20th century. 

Sony Jalarajan Raj and Adith K. Suresh write in their analysis, “Reframing Islam in Bollywood Cinema: a Study on the Construction of the Islamic Identity in Indian Cinema”, the displacement of Muslims in India following the Indo-Pak Partition resulted in a “destruction of normalcy,” which was, “fundamentally a process of creation where a unique ambivalent notion of other had been born.” This resulted in the creation and perpetuation of an “us versus them” narrative nation-wide. 

Dharmputra addresses these narratives through its textual treatment of the identities of Hindu and Muslim characters – both shared and individual. By highlighting the state of the vilification and othering of Muslim identities, Dharmputra engages audiences with prescient themes and encourages viewers to note their own personal histories and othering in their lives. 

[chefboyar-zeee]

Idlewild - Roundtable Jukebox

Idlewild is a musical drama film released in 2006, directed by Bryan Barber and starring the hip-hop duo OutKast, which consists of André 3000 (André Benjamin) and Big Boi (Antwan Patton). The film is set in the Prohibition-era South and blends elements of music, drama, and crime with a jazz and hip-hop-infused soundtrack.

This was a beautiful film and very aesthetic. I have not seen another musical quite like this one and it’s for a reason. Here's why...

What are the social aspects within the film’s narrative that align with the film’s songs? 

The characters in "Idlewild" demonstrate resilience in the face of adversity, a theme echoed in the film's music.  Many songs highlight the characters' determination to overcome obstacles and fight for their dreams, reflecting the broader struggle for justice and equality.

The film's love songs align with these themes, expressing the joy, passion, and challenges of love.

Rooster's involvement in the criminal underworld is depicted through intense and energetic musical numbers that convey the danger and excitement of his lifestyle.

The film's songs reflect their desires for a better life and their struggles to achieve their dreams. Percival's introspective ballads, for instance, convey his longing to break free from his small-town life and pursue his passion for music.

How do the historiographies of previously recorded songs inform audience relationships with the musical’s narrative and performers? 

Most of the songs in Idlewild had already been featured on the OutKast albums Big Boi and Dre Present...OutKast and Speakerboxxx/The Love Below, essentially making it a jukebox musical. Seven of the songs from the film, along with several unreleased songs, were released by LaFace Records as an OutKast album entitled Idlewild at the time of the film's release.

This is such an interesting question for my film considering all the film’s score was performed and produced by the lead actors, Andre 300 and Big Boi, with a few credited features in the film. Obviously it isn’t just circumstance that the leads were a famous Hip-Hop duo, so it isn’t hard to assume that the actors/artists were chosen specifically to star in this film for their transformative and notable music style and sound. Without their unique sound and talent for performing, the film could not, and would not be what it is. 

The historiography of this film is unique in the way that the character actors are also the creators of the featured soundtrack. On one hand, the audiences may feel more compelled to the characters and their narrative because they are in support of their music exclusive to the film, as well as some of their originals. In general though, I think historiographies definitely inform the audience’s relationship to a narrative. It can make you more engaged with the characters and their conflicts if you personally feel the music is fitting, or on the other hand, it can make you understand and better comprehend the narrative you're following because you may be familiar with the meaning and significance of the music. I also think about people’s ability to see artists they like and songs they love being performed in a different medium. In a way, your brain might see the visuals from the first time they heard it; or maybe the song originally had a music video. It’s up to directors to build the narrative strongly around the music.

What musical genre/style drives the film’s score, and how does the genre/style (re)define the film as a musical? 

The hip-hop, funk, and soul stylings of the song score are intentionally anachronistic, a choice made to complement the film being set in 1935. Elements of 1930s-era blues and jazz music are, however, featured prominently in many of the musical numbers. The film's dance numbers, choreographed by Hinton Battle, also feature many period dances, primarily the jitterbug and showgirl moves, like featured in the above video.

The film does a lot of blending hip-hop with jazz, blues, and gospel influences.

Idlewild is known for its visually stylized and innovative approach to storytelling, incorporating musical numbers, fantasy sequences, and animation. 

The film defines itself by taking place in the 1930s, in addition to casting vetted performers and songwriters as your leads. The musical simply wouldn't have the same storytelling element had anyone else written the soundtrack, whether prior to the film or not.

#oxyfilmmusical #disguisedmusical @theuncannyprofessoro

[szmacblog]

Roundtable: Sunshine on Leith

Sunshine on Leith tells the story of two soldiers, Ally and Davy, returning home to Edinburgh after a tour of duty in Afghanistan.

The social aspects of "Sunshine on Leith" are mirrored perfectly by the film's soundtrack, which consists mainly of songs by “The Proclaimers.” Some of the principal themes that we can see being explored in the movie are community, relationships, social class and identity, and the songs play a huge role in telling the stories. For example, “I’m gonna be (500 miles)” highlights the relationships, communal, familial, and romantic, between the characters. The flash-mob scene in Edinburgh's Princess Street reflects the importance of community and support networks while the cut to the other two scenes offers a much more intimate perspective on the struggles of having a loved one far away from home and/or being the person who returned home and finding a community and identity after living through such a traumatic experience. Similarly, “Letter from America”, speaks to feelings of longing, home, belonging, and the comfort found in familiar places. It underlines the importance of their hometown as a source of not only instability and solitude but also solace and familiarity—ironically.

The established history of The Proclaimers' songs adds another layer of meaning to "Sunshine on Leith" for audiences familiar with the band's earlier work, but it can reframe the audience's understanding of the songs, which are delivered in a much less punchy/rock style than their original versions. For instance, "Sunshine on Leith," a song traditionally played at funerals, adds depth to the emotional impact of the film. It is not played during a particular important scene but it is often playing softly during a scene of reflection or longing for home. On the other hand, a song like "Letter from America," written about long-distance relationships in general, becomes more poignant when applied to the specific context of war and separation  after Jean and Liz’s intimate conversation in the film. 

The music that drives the score of "Sunshine on Leith'' can be classified as a combination of folk rock and pub rock. The latter is a genre associated with The Proclaimers' music, which forms the backbone of the film's soundtrack. It often features acoustic guitars, sing-along choruses, and lyrics that deal with issues of the social realm, working-class experiences, and everyday life, which are elements that perfectly capture the film’s essence and the social fabric of it. On the other hand, while the film might not have full-blown pub scenes, the pub rock elements we find in the songs add a sense of vibrancy and camaraderie to the story. 

“Sunshine on Leith" redefines the film as a musical by adding songs that provide a sense of gritty realism, reflecting the character’s working-class lives and the challenges they face after coming back from war. Folk rock and pub rock often have a more raw and unpolished sound compared to traditional musical scores. This choice adds a sense of gritty realism to the film, reflecting the characters' working-class lives and the challenges they face. The familiar melodies and relatable lyrics create a sense of shared experience within the film but also the audience, and unlike some musicals where the music takes center stage, this film uses its folk rock and pub rock score to enhance the story and characters. The music isn't just entertainment; it's an integral part of the narrative.

[mattjacksonsbrain]

Jersey Boys - Jukebox Musical Roundtable

Jersey Boys, directed by Clint Eastwood, follows the story of the 1960s rock 'n roll group The Four Seasons comprised of Frankie Valli, Bob Gaudio, Tommy DeVito, and Nick Massi. The film focuses on their rise to fame and the challenges they faced along the way.

What are the social aspects within the film’s narrative that align with the film’s songs?

Jersey Boys aligns its musical selections with key social aspects of its narrative, each song underscoring elements of the personal and communal evolution of the characters. Set against a backdrop of the 1960s—a time of cultural upheaval and musical revolution—the film focuses on the personal struggles and successes of The Four Seasons. For instance, songs like "Sherry" and "Big Girls Don't Cry" resonate with the youthful exuberance and working-class ambitions of the band members, reflecting their hopes and the societal push towards a new musical era that merged pop with personal storytelling. The track "My Eyes Adored You" reflects Frankie Valli's personal losses and his perseverance amidst family tragedies, portraying a deeper social context of personal resilience and commitment, a common theme of the era's socio-cultural fabric. Thus, the film’s songs not only enrich the narrative but also mirror the complex interplay between personal identity and broader societal shifts.

Mira discusses this narrative integration as a staple of successful musicals, highlighting how songs in traditional musicals often serve to express unspoken thoughts or pivotal emotional moments. Though Mira doesn't mention this directly, I find this tactic of musicals to be extremely efficient in advancing timelines without having to explicitly inform the audience of the jump. Similarly, a musical number can encapsulate a wide variety of emotions and plot information, similar to a montage. Jersey Boys employs this technique effectively during sequences like Frankie Valli's rendition of "Can't Take My Eyes Off You," which encapsulates his feelings of triumph and personal turmoil.

How do the historiographies of previously recorded songs inform audience relationships with the musical’s narrative and performers?

The historiography of The Four Seasons' songs plays a crucial role in Jersey Boys by creating a bridge between the audience and the narrative, enhancing the authenticity and emotional engagement. Songs like "Walk Like a Man" and "December, 1963 (Oh, What a Night)" carry with them a historical weight that informs and deepens the audience's understanding of the times and trials the characters endure. These songs, embedded in the cultural memory of many viewers, evoke nostalgia and a sense of realism, making the historical context of the film more relatable and vivid. The familiarity of the music invites the audience into a shared experience, transcending the screen to tap into collective memories and emotions, thereby strengthening the connection to the film's portrayal of the characters and their journey.

Furthermore, the film's narrative structure diverges from the typical linear progression of many musicals. It employs a documentary-style format with characters breaking the fourth wall to address the audience directly which contributes to the historiography. The idea is to include the audience in the storytelling as both makers and viewers reflect on the monumental rise of a beloved American music group. This method adds a layer of meta-narrative commentary, reflecting on the construction of musical mythos itself, which Mira notes as a modernist touch in contemporary musicals.

[SEE 4TH WALL BREAK IN TRAILER ABOVE]

What musical genre/style drives the film’s score, and how does the genre/style (re)define the film as a musical?

Jersey Boys is driven predominantly by the crooner, Doo-Wop, and Rock 'n' Roll styles that characterized the 1960s music scene, particularly influencing the American pop music landscape. This genre choice not only serves to set the period context but also redefines the musical film by integrating biographical and historical realism with the traditional elements of musical theatre. The use of genuine songs from The Four Seasons' catalog, performed in contexts that closely mirror the real-life circumstances under which they were popular, adds a layer of authenticity that is sometimes absent in more stylized musical films. This approach allows Jersey Boys to maintain a foot in the conventional musical genre while also exploring more nuanced, character-driven storytelling, emphasizing the impact of time, place, and societal change on personal and professional lives.

The blend of traditional and innovative elements in Jersey Boys suggests a potential path forward for the Hollywood musical genre, one that respects its roots while evolving to meet contemporary tastes. Mira argues that for musicals to stay relevant, they must adapt by incorporating new styles and addressing modern audiences' expectations, which are more attuned to realism and complexity. I largely agree. I think there is room for the more traditional whimsy of the Hollywood musical if it is housed within more complex themes such as the possibilities we covered in class (humor, delusion, hallucination, satire, etc.).

Jersey Boys demonstrates that the musical genre can successfully incorporate realistic storytelling and complex character development without sacrificing the emotive power of musical performances. The film's ability to appeal to both fans of traditional musicals and new audiences suggests a versatile blueprint for future projects within the genre. The successful integration of music and story, along with a modern narrative approach, may well encourage more filmmakers to explore and innovate within the musical genre, ensuring its survival and relevance in the modern cinematic landscape.

This approach, rooted in the dual adherence to tradition and innovation, not only honors the genre's history but also paves the way for its continued evolution, as discussed by Mira in the broader context of Hollywood musicals adapting to cultural shifts.

[yico0]

Roundtable 3: An American in Paris

"An American in Paris" is a classic musical from 1951, directed by Vincente Minnelli and featuring the lively music of George Gershwin. The film stars Gene Kelly as Jerry Mulligan, an American painter living in Paris, who falls in love with a beautiful dancer named Lise, played by Leslie Caron.

What are the social aspects within the film’s narrative that align with the film’s songs?

Cultural Exchange and Integration, "I Got Rhythm": Jerry Mulligan performs this song when surrounded by French children. The scene illustrates the cultural exchange between the American protagonist and the local Parisians. Jerry, who is an American, uses his charm and artistic flair to connect with French culture, which is receptive but also distinct. It symbolizing the blend and appreciation of different cultures.

Post-War Optimism and Recovery, “I’ll Build a Stairway to Paradise": Performed during a lavish nightclub scene, this song reflects the luxurious and escapist environments that became popular in post-war Europe as a way to move past the hardships of World War II. The entertainment industry, including nightclubs and music halls, played a crucial role in this societal recovery.

How do the historiographies of previously recorded songs inform audience relationships with the musical’s narrative and performers?

Period Reflection: The songs selected for the film not only reflect the musical zeitgeist of Gershwin's time but also evoke the vibrant energy of the Jazz Age and the subsequent years. This cultural embedding helps the audience connect the narrative’s setting—post-war Paris—with the broader historical narrative of American music and its influence.

Gene Kelly’s Star Power: Gene Kelly was not just an actor but a celebrated dancer and singer whose performances were major draws for audiences. His ability to embody the spirit of Gershwin’s music through dance (particularly evident in the ballet sequence) and song significantly influences how audiences perceive and connect with the film. Kelly's own history and persona as a performer add an additional layer of appreciation and engagement for the audience.

What musical genre/style drives the film’s score, and how does the genre/style (re)define the film as a musical? 

The musical genre that primarily drives the score of "An American in Paris" is a fusion of classical and jazz music, uniquely embodied through the compositions of George Gershwin.

Redefining Musical Film Structure: Unlike many musicals of the time, which often featured scores written directly for the screen, "An American in Paris" uses a pre-existing, concert-oriented score that is adapted into the film's narrative. This approach allowed the film to explore more complex musical forms typically associated with the concert hall rather than the musical stage. The extended ballet sequence set to Gershwin‘s "An American in Paris" is a prime example, offering a narrative told almost entirely through dance and music, reminiscent of a classical ballet but infused with jazz energy.

Broadening Audience Appeal: The integration of jazz with classical music broadened the film's appeal, attracting not only traditional fans of musical theater but also those who appreciated more serious musical forms. This crossover appeal helped redefine what a musical film could be, making it both a popular entertainment medium and a serious artistic endeavor.

[denisearef]

Mamma Mia!

What are the social aspects within the film’s narrative that align with the film’s songs? 

"Mamma Mia!" is set on a Greek island and reflects the cultural and societal aspects of Mediterranean life. The film portrays a close-knit community where traditions, family ties, and local customs play a significant role. Its setting embodies a sense of escapism and freedom, which resonates with the carefree and joyous spirit of many of ABBA's songs.

Additionally, the film's narrative touches upon themes of family values, female empowerment, and the evolving roles of women. Donna is portrayed as a strong and independent woman who raised her daughter Sophie on her own. This portrayal aligns with the changing societal attitudes towards women's independence and empowerment during the time the film was made and set.

How do the historiographies of previously recorded songs inform audience relationships with the musical’s narrative and performers? 

ABBA's songs, deeply rooted in the 1970s and 1980s, reflect the cultural and societal attitudes of their time. In "Mamma Mia!", the film's late 20th-century setting and characters' experiences resonate with these themes. For instance, "Money, Money, Money" aptly captures the economic struggles faced by Donna as she tries to make ends meet running her tavern on the Greek island. The song's lyrics about financial hardship align with Donna's determination to provide for herself and Sophie. Additionally, "Dancing Queen" encapsulates the youthful spirit of Sophie and her friends as they prepare for the wedding. The song's celebration of youth, joy, and freedom mirrors Sophie's excitement and anticipation for her big day. These songs enrich the film's narrative by adding emotional depth to the characters' experiences and enhancing the audience's engagement with their stories.

What musical genre/style drives the film’s score, and how does the genre/style (re)define the film as a musical?

The pop music genre in "Mamma Mia!" complements the film's portrayal of a Mediterranean island community in the late 20th century. ABBA's upbeat and catchy songs, such as "Waterloo" and "Voulez-Vous," encapsulate the energy and optimism of that era.

Unlike traditional musicals with original scores, "Mamma Mia!" uses pre-existing songs to tell its story, making it distinctively vibrant and accessible to audiences familiar with ABBA's music. This approach not only celebrates the timeless appeal of ABBA's songs but also creates a nostalgic and engaging musical experience that resonates with fans and new audiences alike.

[kennamirzayan]

Roundtable Presentation: Stormy Weather (1943)

Stormy Weather is a 1943 musical directed by Andrew L. Stone. Stormy Weather made history being one of the earliest films with an all-Black cast to be released by a major American studio (being released by Twentieth Century Fox). The film follows the story of Bill Williamson as he recounts it years later in a series of flashbacks which depict his return from serving in World War I. Upon returning to the US, Bill meets Selina, a famous singer and performer. Over the course of the film, Bill grows closer to Selina as he travels to New Orleans in order to pursue the dream of becoming a performer himself. The film is full of numbers which employ jazz and swing music from the early half of the twentieth century. 

What are the social aspects within the film’s narrative that align with the film’s songs? 

Stormy Weather uses its songs in order to develop the diegesis and tone of the film, in addition to exploring its themes further. The film’s focus on romance and connections between people is explored through its use of songs like “I Can’t Give You Anything But Love, Baby”, “Aint Misbehavin” or the titular “Stormy Weather”. The film pointedly distances itself from making commentary about larger societal and cultural issues, however, as the setting which the  characters occupy is devoid of any mention of race or class. 

How do the historiographies of previously recorded songs inform audience relationships with the musical’s narrative and performers? 

The historiographies of previously recorded songs help to inform audience relationships with Stormy Weather’s story, characters, and relationships between characters. By intertwining the film’s narrative with familiar songs, Stormy Weather situates itself within the tradition of American jazz and swing. By employing songs which had already built rich histories in American musical tradition, Stormy Weather enriches its narrative centered around performance and art. These known, preexisting songs are used as short hand for narrative development and fit seamlessly into the conceit of the film. 

What musical genre/style drives the film’s score, and how does the genre/style (re)define the film as a musical? 

Stormy Weather primarily employs jazz standards in developing its sonic tapestry. Its choice of songs covers a century’s worth of music – from the mid-1800s to the 1940s. Many of the songs used by the film were written or originally performed by Black artists like Ethel Waters or Andy Rafaz. By highlighting jazz music in a film depicting an all-Black cast, Stormy Weather helps to reclaim jazz within the Black community after a generation of appropriation by white audiences. 

However, as most of the creative body behind Stormy Weather was white, the film depicts Black characters and narratives through a white lens. The film employs minstrel songs in its catalogue like “De Camptown Races”.  The song was written in inaccurate AAVE and was intended to be sung in minstrel shows by white performers wearing blackface. “De Camptown Races” was introduced by the Christey’s Minstrel in 1850 and would be performed in minstrel shows throughout the nineteenth century. 

While Stormy Weather was historic for its representation of the Black community, it also perpetuated harmful stereotypes through its ties to minstrelsy. The film opened up opportunities for Black actors, singers, and dancers in Hollywood by highlighting Black talent in leading roles; however, it fell short of making any statement on the treatment of people of color within companies or studios and it offered little characterization for its cast, a result of its own ties to racism and racist attitudes.