MAC 295

[kennamirzayan]

Viewing Response 6: The Convergent Narratives of The Umbrellas of Cherbourg

In The Umbrellas of Cherbourg, director Jacques Demy subverts the tropes and structures of the fairytale genre (and, by extension, the classic American film conventions) by infusing the film with melodrama. Through textual and cinematic elements alike, Demy is able to expertly create a poignant, raw, elevated picture of a relationship torn apart. Through plotting and storytelling, Demy transforms the story of young lovers Jacqueline and Guy into a painful tale of love lost. This decision to play with the fairytale-esque narrative creates the power inherent in the film. 

As Anne Duggan explains in “Fairy Tale and Melodrama: Lola and the Umbrellas of Cherbourg”, the template for storytelling as repeated by the most popular Hollywood films of the early twentieth century was that of a Disney fairytale. The textual mosaic of these stories always results in the same final point: a female character waiting to be saved by a handsome prince. In this style of story, the female character’s passivity is rewarded by material wealth and domesticity. Duggan writes that the happy ending of the fairytale, “is about the reestablishment of heteronormative and patriarchal order, in which virtue is properly rewarded and vice – incarnated by unruly women – is punished” (16). In the fairytale, the male figure has been cemented within the narrative and the life of the princess. This storytelling structure ingrains social pressures concerning heteronormativity and the familial unit, painting it as the ideal. 

The melodrama is a style of story which refers to similar themes but is altogether different in its narrative approach. Duggan explains that the melodrama, “is about what gets repressed or marginalized in the process of adhering to gender, social, and sexual norms” (17). It is a play on the fairytale in that it explores what might happen if the prince could not save the princess. 

The Umbrellas of Cherbourg appeals to both of these influences in its exploration of the relationship and social pressure. Genevieve is encouraged, through the use of fairytale allusions, to accept the rescue of a prince in Roland. However, the structural makeup of the film implies that Genevieve is waiting to be saved by her prince in Guy. It is from this convergent narrative boundary that Demy finds the film’s melodrama. As the fairytale narrative of the wealthy Roland saving Genevieve subducts the Guy-Genevieve fairytale narrative beneath it, the sense of repression which fuels melodrama is produced. Through this clash of narratives, Demy is able to create a heartbreaking and thoughtful portrait of a love story that was lost to societal pressures. 

[sophie-st-2002]

I think Genevieve's wish for Guy to save her and the reality that Roland is the one that does/she accepts is a very sad but realistic depiction of relationships, especially in the time where the film took place. In a society where women were/are forced to be heavily dependent on men the dreams and wishes she has can never be truly fulfilled because the power to choose who to love is in the hands of those who can provide security.

[yico0]

Viewing Response 6

In Anne E. Duggan's analysis of "Fairy Tale and Melodrama: Lola and The Umbrellas of Cherbourg," she draws attention to the narrative structure of Hollywood films in the early twentieth century, likening it to the framework of a Disney fairytale. Duggan's exploration of this template sheds light on the underlying storytelling mechanisms present in Jacques Demy's Umbrellas of Cherbourg.

One scene where Duggan's analysis proves illuminating is the departure sequence between Geneviève and Guy at the train station. This moment shows the essence of melodrama and fairy tale elements, as it portrays the lovers' separation against the backdrop of societal constraints and unforeseen circumstances. Duggan's examination of melodrama as a genre rooted in emotional excess helps to understand the heightened emotions and dramatic tension present in this scene.

Furthermore, the cinematic elements such as vibrant colors, sweeping camera movements, and the use of music contribute significantly to the overall message and artistic presentation of the sequence. The vivid color palette underscores the heightened emotions of the characters, while the music, composed by Michel Legrand, intensifies the melancholic atmosphere and amplifies the audience's emotional engagement.

In essence, Duggan's analysis provides a lens through which to interpret the melodramatic and fairy tale aspects of Les parapluies de Cherbourg.

@theuncannyprofessoro

[sophie-st-2002]

I also noticed the sweeping camera movements in this scene and it gave a very melodramatic and grand feeling. The camera progressively got farther away from the pair first as the sing and then leave the restaurant and then when he boards the train and departs. The camera movement was a really nice choice to indicate the impact/importance of the scene.

[bellakwan]

Cabaret (1972)

Sharon Cowan's analysis in "We Walk Among You: Trans Identity Politics Goes to the Movies" primarily focuses on how cinema serves as a platform for exploring and challenging normative constructions of identity, particularly regarding gender and sexuality. She argues that films have the power to disrupt traditional binaries and open up new avenues for understanding the complexities of human identity. Bob Fosse's Cabaret (1972) is able to exemplify Cowan's assertions by immersing viewers in a world where conventional notions of gender and sexuality are interrogated and subverted.

Fosse's use of cinematic techniques such as mise-en-scène, lighting, and editing enhances the film's ability to disrupt normative constructs of identity. The visuals and lighting in musical numbers like "Willkommen," underscore the complexities of the characters' identities.

In the musical number, Willkommen, the mise-en-scène immerses the audience in the glitz and glamour of the Kit Kat Club, while also hinting at the underlying tensions and uncertainties of pre-war Berlin. The Master of Ceremonies (MC), portrayed by Joel Grey, takes center stage. His appearance challenges traditional gender norms and invites viewers to reconsider their assumptions about identity. The MC and the other characters' costumes challenge conventional gender binaries, aligning seamlessly with Cowan’s discourse on cinema’s capacity to disrupt normative constructs of identity.

Additionally, the interplay of light and shadow accentuates the MC's enigmatic persona, prompting viewers to reconsider preconceived notions of gender and sexuality. Meanwhile, the editing pace heightens the scene's dynamic, showcasing identity as fluid and subject to redefinition.

Cowan emphasizes the importance of representation in cinema, advocating for more diverse and nuanced portrayals of gender and sexual identities. Overall, her work highlights the transformative potential of film in shaping cultural perceptions and fostering greater acceptance and inclusivity. Through these cinematic elements, Cabaret becomes not only a compelling narrative but also an exploration of the fluidity and diversity of human identity.

@theuncannyprofessoro

[sophie-st-2002]

As highlighted (haha) in your analysis, light and shadow is used to allow viewers to question notions about gender and sexuality. This is seen in many other scenes and is a feature special to the Klub which illuminates (haha) the purpose of it's use. I like how it's a practical and tangible way to open the minds of viewers.

[chefboyar-zeee]

RoundTable - STAR

How does the series use dual-focus narrative as a strategic storytelling tool beyond heteronormative romantic pairings? 

The show's emphasis on diverse characters, relationships, and experiences contributes to its rich and multifaceted portrayal of contemporary life in the music industry. In the pilot, the show opens with the main character, Star, staring at herself in a mirror designed to look like a backstage dressing room mirror, followed by a proud smirk as she gleefully exits the room, drags her hand across the velvet curtains, and lights come up as we hear audience uproar. Although the scene is hopeful and exciting, it’s accompanied by an unidentified narrator that’s saying how Star always thought she would be as big as her name, but she’s a complicated girl who is not a fan of rules or playing with others. More broadly, however, Star overall uses really clever and unique ways to include dual focus narrative.

"Star" features a diverse cast of characters from different backgrounds, ethnicities, and sexual orientations. By employing a dual-focus narrative, the show can delve into the individual experiences and struggles of each character, regardless of their romantic relationships. This allows for a more comprehensive exploration of diverse identities and perspectives.

While romantic relationships are present in the show, "Star" places a significant emphasis on the bonds of friendship and sisterhood between the main characters. The dual-focus narrative allows the show to explore the complexities of these relationships, including conflicts, loyalty, and support, without solely relying on romantic pairings to drive the story forward.

In addition to personal relationships, "Star" also explores the professional ambitions and aspirations of its characters. Like so clearly stated in Robynn Stilwell’s “Dual-Focus Strategy in a Serial Narrative,” the dual-focus narrative allows the show to depict the challenges and triumphs of pursuing careers in the music industry, including issues related to fame, success, and artistic integrity. I also think it’s important to note that although the name of the show is Star, after the shows protagonist, the dual focus highlight is in the show’s ability to keep the narrative relevant to all characters.

What are the “inevitable” couplings within the series and how are they accentuated through “cinematic” similarities and contrasts? 

The "inevitable" couplings within the series "Star" are accentuated through cinematic techniques that highlight both similarities and contrasts between the characters. By utilizing visual storytelling elements such as framing, lighting, and editing, the series enhances the emotional depth and complexity of these relationships, contributing to the overall narrative richness of the show. There are notable relationships between important characters throughout the series’ run, however, for the sake of this, I will be discussing the more prominent relationships that align more closely with the inevitable and cinematic couplings. 

Alex Crane and Derek Jones share a deep connection rooted in their shared passion for music and their journey to overcome personal obstacles. Cinematically, their coupling is accentuated through sequences that showcase their musical collaborations, often featuring dynamic camera movements and editing techniques to emphasize their creative synergy. Additionally, contrasts in their backgrounds and personalities are explored, adding depth to their relationship dynamics.

Carlotta Brown and Jahil Rivera share a complex relationship that evolves throughout the series, blending elements of mentorship, friendship, and romantic tension. Their coupling is accentuated through cinematic parallels, such as shared close-up shots during moments of vulnerability and reflective lighting to convey the emotional depth of their connection. However, contrasts are also evident, particularly in scenes where they confront their conflicting priorities and loyalties.

How does the series use musical numbers within and beyond the narrative world to replicate fairy tale, backstage, or folk musicals? 

They talk about resolution and situation when it comes to tv series musicals. How shows have situational reasons to perform and introduce songs into the overall plot/narrative. After television musicals picked up again after about 10 years with Glee, and that popular narrative of teen/young adult casts melted into the backstage musical, which set off the more recent trend of tv programs. The film does replicate a backstage musical. The vocal performances are set up in as performances for the characters, however, they break the fourth wall and go into somewhat of a music video. The camera angles follow the performers, engaging and looking into the camera, sometimes even fantasy sequences where the girls are imagining themselves on a bigger stage. In breaks of register from speaking - singing and walking to dancing, there’s a developed language that smooths those transitions either through a carefully cultivated “naturalism” or an escape into fantasy, or both. Musical numbers in Smash and Nashville slide along the continuum, while aspects like camerawork or performance style can increase, intensify, or even create narrative elements that do not necessarily exist “on the page”(Stilwell, 2019).

In addition to performing on stage, the characters in "Star" frequently use musical numbers to express their emotions, resolve conflicts, and navigate the challenges of the music industry. These backstage musical moments provide insight into the characters' inner thoughts and feelings, allowing viewers to connect with their struggles and triumphs on a deeper level. Through music, the series explores themes of ambition, rivalry, and redemption, mirroring the drama and intensity of backstage life in the entertainment industry.

#oxyfilmmusical #televisionmusical @theuncannyprofessoro

[sophie-st-2002]

In a show like Star, which features artists in the music industry in the context of a fictional musical, I think it shows the very real similarity in how musical use songs to express their emotions and conflicts and how some real life musical artists use music to do that. I think of artists like Taylor Swift who are very explicit in how they express their emotions and state of mind through their lyrics and I wonder if that comes or is subconsciously inspired by musical conventions or if that predisposes their work to be used in a jukebox musical because of the ability for the lyrics to express an internal emotional state. This whole response is a little far fetched but the idea popped in my head!

[yico0]

Viewing Response 7: Giving Transverse Identities II

In Bob Fosse's Cabaret (1972), the "Money" song scene perfectly captures what Sharon Cowan discusses in "We Walk Among You" about the Kit Kat Club. Cowan describes the club as this place where society's taboos and oddities are both put on show and critiqued, and this scene is a prime example. It's set in this club that's like its own little world, filled with all kinds of people defying the norms of the time, which is exactly what Cowan's talking about. The way the performers and the audience interact in this scene really shows off this mix of celebration and criticism of being different.

The song "Money" itself, with its catchy tune but cynical words, paints a picture of how people are using each other because of the tough economic times. Fosse uses close-up shots, dance moves, and costumes to blur the line between who these people are on stage and who they are in real life. This really hits home Cowan's point about the Kit Kat Club being a place that both embraces and mocks the idea of being different from what society expects. Through this scene, Fosse is able to show the complicated relationship between being seen and being used, which ties back to Cowan's insights on trans identity politics and the representation of non-traditional gender and sexual identities in movies. It feels like Fosse's way of showing how tough but also how important it is to be true to who you are, even when the world might not fully accept it.

[sophie-st-2002]

Your analysis of the scene really helps to show how while not made explicit in the scene, the criticism of a hyper normative society can be seen through a trans lens and used to promote the idea of a society not tied to a gender binary. I looked at this scene as a possible point for analysis and had a hard time so I'm glad someone was able to see the ways this scene connected to our reading and discussed it!

[oxyfilmmusical-sp24]

 Karmen Geï (2001)

In Cheryl Stobie's insightful analysis of Joseph Gaï Ramaka's film "Karmen Geï," she delves into the intricate layers of sexuality, dance, and social critique. One scene that particularly resonates with Stobie's queer bisexual reading is the seductive dance sequence between Karmen and Angelique in the prison yard.

As the two women engage in a mesmerizing dance, the cinematography captures their fluid movements with sensual close-ups and dynamic angles. The lighting, predominantly natural, enhances the raw intimacy of the moment while also symbolizing the freedom they find within the confines of imprisonment. The editing rhythmically cuts between their bodies, intensifying the erotic tension and challenging societal norms surrounding female desire.

Stobie's analysis sheds light on how this scene subverts conventional notions of sexuality and gender, presenting it as fluid and multifaceted. Karmen and Angelique's dance becomes a form of resistance against the oppressive forces that seek to control and confine them. Through their uninhibited expression of desire, they reclaim agency over their bodies and identities.

The cinematic elements in this scene not only contribute to the film's aesthetic appeal but also serve as a powerful medium for conveying its thematic concerns. By embracing a queer bisexual perspective, Ramaka challenges heteronormative narratives and celebrates the diversity of human experience. As viewers, we are invited to reevaluate our preconceptions and embrace the complexities of love and desire.

@theuncannyprofessoro

[sophie-st-2002]

I like your point about the use of natural lighting in dance scene between Karmen and Angelique and how it expresses freedom that is found inside the confines of the prison. It could also be an indication of how Karmen is getting closer to the outside world, securing release from the prison, through her dance with Angelique. This observation shows how you really engaged deeply with the film.

[livgr3]

Viewing Response: Karmen Geï

In Stobie's analysis of Ramaka's Karmen Geï, I was really surprised to read that previous scholars had generally overlooked or "treated fleetingly" the very prominent presence of bisexuality in the film. In fact, bisexuality was not only unmissable on screen, but was a crucial thread to how the themes of desire within the original "Carmen" were reconstructed in Ramaka's film. I can't imagine what this film would be without the driving force of bisexual desire, so I find it kind of ridiculous that scholars before Stobie did not recognize or its importance.

In actually acknowledging the inherent queerness of the film, Stobie writes,

"I note Ramaka’s use of Senegalese practices by women such as dance and grooming rituals to widen the applicability of female homoeroticism and same-sex desire beyond the central character, Karmen, and suggest that his placement of her in the pantheon of historical heroic and mythical female figures imbues the Senegalese past and its cultural artifacts with a queer hue" (86).

I really appreciate this interpretation: the film contextualizes the tale of Carmen within Senegalese society specifically through queerness and queered formal cinematic elements.

The film's energetic opening scene exemplifies Stobie's thesis and fittingly sets the scene for how the film balances queer desire, empowered female sexuality, and Senegalese culture. While Karmen is the central figure in this dance sequence, the audience of her dance is just as important. We see her initially cheered on and observed by several other women before focusing on Angelique's longing gaze. Karmen's dance is not just a seduction of Angelique and not just a performance for the prisoners, but blurs this distinction entirely. As she does dance closer to Angelique, the camera continues to combine Karmen's two audiences, cutting back and forth between sensual shots of the lovers and the movement of the rest of the prisoners, who begin dancing, too.

In this way, Karmen's body is not a spectacle to Angelique nor the prisoners. Her body is undeniably sexually desired, but it also leads and inspires others to dance and move as well. The dance embodied by everyone this sequence is fast, frenetic, and takes up space. It is not seductive in our heteronormative associations with the term, but it is still sexy and empowering. The sequence ends with a wide shot from above, where dozens of women are jumping and dancing in the courtyard. Karmen, who previously seemed to lead the dance, is now indistinguishable in the joyous crowd. Through her dance, Karmen uses her body to fulfill her sexual desires while simultaneously connecting with her community.

[sophie-st-2002]

The way you described how Karmen uses her body to fulfill her own sexual desire was a refreshing and enlightening interpretation of it. I initially saw it as an outwards display of sexuality to appeal to others sexual desires and the way she does it is empowering because of how overt and unashamed she is with expressing her sexuality. Your focus on the self-empowerment and fulfillment is a way I did not look at it and now seeing this it has made me appreciate the subversive qualities of film even more.

[sophie-st-2002]

Viewing Response 7: Cabaret (1972)

The scene at the 1-hour and 30-minute mark shows performers at the cabaret dressed in feminine clothing, acting sexually, and making fun of the military. This scene is shown alongside another where someone leaves a dead dog on a neighbor's doorstep, likely done by members of the Nazi party to scare them.

The decision to switch between these scenes shows how the cabaret lets people express themselves freely about gender and sexuality and criticize powerful groups without fear. This is in contrast to the strict rules of the Nazi regime, which wants everyone to act the same. The cabaret's rebellion against these rules and its acceptance of different ways of living matches what Cowan talks about when she mentions the cabaret being a place for everyone.

Also, the difference in lighting between the scenes—the bright cabaret and the dark street—shows how the cabaret lets people be open while the outside world is violent and follows strict rules and binaries that exclude things like trans identity.

[sophie-st-2002]

Viewing Response 6: The Umbrellas of Cherbourg

The films usually bright color palette and style where electric tones of pink and green pop off the screen is mostly absent from this scene, only present in the strong pops of red and green. Overall the color palette is a lot more muted which guides viewers to view the scene in a serious and dramatic way. As Duggan asserts, the use of vibrant and nonrealistic color transports viewers into a fantastical, fairy tale-like realm. With the shift in color, to more muted tones, the viewer is taken out of that marvelous domain and put into the finality of the scene and a very melodramatic moment. The fairy tale and the happy endings that come along with that genre are absent and we are left to sit in the sadness and regret of the characters.

Mostly muted color pallet with pops of red and green, but not to the extent as seen earlier in the film.

In addition, the utilization of an uninterrupted shot allows viewers to sit within the scene and feel what the characters are feeling. It serves as a moment of stark reality in comparison to the fairy tale elements of earlier scenes while still showing the fairy tale themes of separation and longing.

[lennnypooh]

The Get Down (2016)

The Get Down is a television series created by Baz Luhrmann and Stephen Adly Guirgis. It premiered on Netflix in 2016 and consists of one season split into two parts. Set in the South Bronx in the late 1970s, the series explores the rise of hip-hop, disco, and punk music against the backdrop of a rapidly changing New York City.

The story follows a group of teenagers navigating the challenges of urban life while pursuing their dreams of music stardom. The main characters include Ezekiel "Zeke" Figuero, a talented poet and aspiring rapper; Mylene Cruz, a determined young singer with ambitions of becoming a disco star; Shaolin Fantastic, a streetwise graffiti artist and DJ; and other members of their diverse community.

The Get Down combines elements of drama, music, and historical fiction to depict the cultural and social dynamics of the era. The series is known for its vibrant visuals, dynamic musical performances, and engaging storytelling. It explores themes such as identity, ambition, love, and the power of art in the face of adversity.

How does the series use dual-focus narrative as a strategic storytelling tool beyond heteronormative romantic pairings? 

The Get Down employs a dual-focus narrative to delve into multiple layers of its characters' lives and the broader socio-cultural context of 1970s New York City. Beyond heteronormative romantic pairings, the series strategically utilizes this narrative tool to explore themes of identity, ambition, and social change. By intertwining the personal journeys of characters like Ezekiel and Mylene with the larger backdrop of the emerging hip-hop and disco scenes, the show creates a rich tapestry of interconnected stories that reflect the diversity of experiences within the community.

What are the “inevitable” couplings within the series and how are they accentuated through “cinematic” similarities and contrasts? 

In terms of "inevitable" couplings, the series accentuates various relationships through cinematic similarities and contrasts. For example, the bond between Ezekiel and Shaolin Fantastic is portrayed with dynamic energy and shared passion for music and creativity. Their partnership is contrasted with the more traditional romantic coupling of Mylene and Zeke, highlighting the different forms of love and connection present within the narrative. Through visual motifs, such as parallel editing and juxtaposition of scenes, the series emphasizes the complexity of these relationships and their impact on the characters' lives.

How does the series use musical numbers within and beyond the narrative world to replicate fairy tale, backstage, or folk musicals?

Musical numbers in The Get Down serve as more than just performances within the narrative world; they replicate elements of fairy tales, backstage dramas, and folk musicals to enhance the storytelling experience. The use of music as a narrative device allows the show to explore themes of dreams, aspirations, and resilience in the face of adversity. Whether it's through elaborate dance sequences or heartfelt musical performances, these moments transport viewers into the characters' inner worlds, providing insight into their hopes, fears, and desires. By blending elements of fantasy and reality, The Get Down creates a unique and immersive musical experience that transcends traditional storytelling conventions.

Overall, The Get Down was an amazing show that was gone too soon.<3

[sophie-st-2002]

What do you think is the difference in impact between scenes that depict musical performance within the diegeses/reality of world of the show and more fantastical and imaginary performances that do not actually happen in reality?

[eloisesundal]

Romance and Cigarettes

Today, I'm diving into the world of jukebox musical films, and my pick is the underrated gem, "Romance and Cigarettes." Strap in for a wild ride of love, music, and unexpected moments!

Social Aspects and Musical Narratives: "Romance and Cigarettes" is a whirlwind of emotions, and its songs serve as the heartbeat of its narrative. The film explores themes of love, infidelity, and familial bonds, and each song mirrors the characters' inner turmoil and desires. For instance, when characters are at odds with their partners, songs like "Piece of My Heart" by Janis Joplin or "I Want Candy" by Bow Wow Wow intensify the emotional tension on screen. The juxtaposition of classic tunes against modern settings adds layers of complexity to the characters' struggles, highlighting the timeless nature of human relationships.

Historiographies and Audience Relationships: What sets "Romance and Cigarettes" apart is its use of previously recorded songs to drive the story forward. These iconic tracks carry their own histories and meanings, which enrich the audience's connection to the film's narrative and performers. When we hear Elvis Presley's "Trouble" or James Brown's "It's a Man's Man's Man's World," we're not just listening to music; we're tapping into a collective cultural memory that enhances our understanding of the characters' experiences. The familiarity of these songs fosters a sense of nostalgia and empathy, drawing audiences deeper into the film's world.

Musical Genre and Style: "Romance and Cigarettes" defies traditional genre boundaries, blending elements of rock, pop, and soul to create a dynamic and eclectic score. This mishmash of musical styles reflects the film's unconventional narrative structure and characters, (re)defining it as a jukebox musical unlike any other. Whether it's Kate Winslet belting out "And When I Die" or Christopher Walken serenading us with "Delilah," each performance adds a unique flavor to the film's overarching musical tapestry.

In conclusion, "Romance and Cigarettes" is a bold and refreshing take on the jukebox musical genre, weaving together a tapestry of music, emotion, and storytelling that captivates audiences from start to finish. Can't wait to hear your thoughts!

[sophie-st-2002]

This musical seems to have a mix of well known songs and lesser known songs (which are still from well known artists). I feel like most jukebox musical that feature pop music either go super popular well known songs or focus on a specific artist so this film stands as an outlier. Do you think that was intentional to make it stand out or did the song choice have more to do with what fit the characters emotions at that moment?

[jessicapaik]

Pitch Perfect (2012) by Jason Moore

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

The film’s setting in a college aligns with the songs and narrative, as this enhances themes of social institution structures in regards to race, gender, and status. As Beca enters college with no friends, she tries to find a community through clubs that are rooted in the cliques and established ties. But, once she was discovered by Chloe, a member of the Bellas, she asks to audition for the acapella group due to the lack of members, leading Beca to audition and join the group. Through the Bellas', we see a mixed group of people with different backgrounds and personalities, leading Aubrey to try to change the groups differences to oneness. This brings Beca and Aubrey to be in constant division of each other, effecting the group's dynamic. These disagreements pass the borders of the off-stage and on-stage narrative, as quarrels that are based on their differing personalities are placed during their performances. But, as the narrative continues, they find community in each other through their love of music and singing together as a group. The film's focus on diversity and popular culture of the time through the connected genre of satirical comedy that is shown through both the characters and group relationships that connect to their college environment.

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

We see the different acapella groups use songs that correlate to their identities, as the TroubleMakers use songs that exert romance and desire through a male perspective that connects to their “bad boy” personalities and the Barden Bellas use songs that have been sung throughout the group's generations, which matches with their traditional looks that are expressed through their stage outfits, dance, and stuck-up personalities of some members. But, throughout the film, the relationship between the groups develops, and the final performances show a change in group dynamic that is expressed through song. We see these changes through their amping of their stage outfits, choreography, and choice of songs that range from "Price Tag" by Jessie J and "Give Me Everything" by Pitbull, Ne-yo, and Afrojack. Specifically, Beca's choice of singing "Don't You (Forget About Me)" by Simple Minds to send a message to Jessie, a member of the troublemakers, for a second chance, as the song is based off their time watching The Breakfast Club (1985). The chosen songs within the film are not merely to connect to the narrative, but rather the relationships of characters that are intertwined with songs that represent their growth individually and together as a group.

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

Through Beca's help, the group decides to ditch the songs of tradition and mix songs of different genres that reflects on Beca's background of DJing and aspirations of music production. This reflects the film's intentions of performing songs that are based on mixing of songs in the form of acapella. This comes with different stylistic sounds within each group and the creation of a refreshing take on the expanding genre of musical. A particular scene of the film known as the "Riff Off" is a game played by the acapella groups, as a chosen genre is picked and groups must sing songs in the genre and find a flow within each song that is sung through continuation of lyrics and beat. This game mirrors the idea of mixing songs, whilst using acapella as a way to create melody. This shows a modern take on musicals, as these genres were gaining popularity during this time.

[sophie-st-2002]

I think the "Riff Off" as a concept was a really interesting and smart way for the filmmakers to show the identities and cultures of the different acapella groups. It shows how much meaning and information can be gained from what songs people choose to cover.

[livgr3]

Roundtable: Across the Universe (2007) dir. Julie Taymor

Across the Universe transforms thirty-three popular songs by The Beatles into a wacky musical odyssey that explores the highs and lows of youth counterculture movements in 1960s US and Britain. With major characters named Jude, Lucy, and Prudence who all have obvious namesakes from within the Beatles' discography, the lyrics and perspective of the bands' music informs the characters' attitudes and circumstances throughout the film. Though it's unclear whether the Beatles exist in the films' universe, which seems to be an imagined caricature of the 60s, its certain that Taymor believes their music captures the essence of the sixties, as the (mostly white and well-off) characters sorrowfully sing their way through the turmoil of the Vietnam War and the Civil Rights movement....

At times, this film relies on cinematic narrative expectations, and at others, the film feels like a two-hour long Beatles music video. Some creative risks are taken, such as an LSD-sequence or a highly choreographed interpretation of the military drafting process during the Vietnam War. Though the film is fun when it indulges in its wackiness, I found that it was stuck between following a narrative structure and subverting it, causing it to feel unsatisfying, disjointed and generally underdeveloped.

With this in mind, there's a lot of small characters and storylines that make the film a bit difficult to summarize. Here's a synopsis from Google:

When young British worker Jude (Jim Sturgess) sets sail for the United States in search of his father, he ends up meeting carefree college student Max (Joe Anderson) and his lovely sister, Lucy (Evan Rachel Wood), along with a cast of eccentric characters. As Jude and Lucy fall for each other, their relationship is threatened by the social upheaval that accompanies the Vietnam War.

Social Aspects Through Song

The "social aspects" of Across the Universe are conveyed through the films' songs in a way that is incredibly on-the-nose and un-subtle. In fact, nothing about this film is subtle. For instance, when unemployed artist Jude is upset with his booked and busy girlfriend for being too involved in the anti-war movement, he shows up at the nonprofit and starts singing "You say you want a revolution..." In another sequence, Max prepares to be screened for military service, and giant Uncle Sam posters come to life and start singing "I want you."

With such un-nuanced recreations of political events, I am unsure of what exactly this film is trying to say about the 1960s' political and social revolutions from a 2007 vantage point. On the contrary, perhaps the film is attempting to create an "objective" yet campy and fun retelling of 60s history with a focus on the youth, without deliberately trying to "say" anything new at all. With this non-argumentative lens, the film seems blissfully unaware of its own shortcomings, such as the unresolved sexism of its two male leads, or the surface-level characterization of Lucy and the heavily apparent absence of the second-wave feminist movement.

Perhaps the most questionable of this films missteps, though, is its treatment of race through song. The film's secondary cast features a queer Vietnamese female character, Prudence, who randomly disappears from the film a third of the way in. Then there is Jo-Jo. When it is revealed to the characters that Martin Luther King Jr. was assassinated, the film cuts to Jo-Jo, a Black man, singing at a bar, only to reveal that his sad song is actually about Sadie, the woman who left him. While social issues of race clearly loom over the characters' heads, the film employs the powers of the Beatles' "All You Need is Love" rhetoric to wash over any nuance pertaining to the topic. This is especially interesting since this rhetoric within actual hippie circles in the 1960s proved to be a clear failure.

Musical Memories and Genre-bending

On the changing force of pop music within the movie musical format, Mira writes: "In assessing what pop songs bring to the musical, we must consider, firstly, that a song's meaning is conveyed not only through melody, rhythm, and lyrics: engaging with an audience's memories, viewpoints, and personal background can be powerful in unleashing meaning as well" (24). In this sense, I think Across the Universe transforms its musical source material and plays with audience's familiarity with its songs in a really fun and effective way.

The film's opening is a really great example of how it blends the audiences' diverging associations of a classic Hollywood musical versus a classic rock music video. These two juxtaposing numbers comprise the opening:

Within this introduction, we are already hit with three different musical styles: the Beatles' contemplative ballads through Jude, a more intense female rock voice, and a more classical "musical theatre" style through Lucy. However, all of the songs sung are by the same artist. In this way, the film often plays around with the melodies, keys, tempos, etc. of the original Beatles' songs in order to suit which character is singing a given song. I think this is a really clever way of making similar-sounding music feel dynamic enough to remain interesting for the span of a two-hour film while also serving practical narrative functions. The songs of the Beatles are also transformed to song like other artists or sub-genres of 60s rock and roll. For example, the character Sadie's songs are reminiscent of rock stars like Stevie Nicks or Janis Joplin, while Jo-Jo's skilled guitar playing is inspired by the likes of Jimi Hendrix. In this way, the film pays homage to several icons of the era, despite only using actual music created by one band of the time.

[sophie-st-2002]

THIRTY THREE SONGS??? That's so many! Do you think that the inclusion of so many songs from one artist make the film feel more like an extended music video rather than a film with a narrative? Including that many songs feel excessive and like it's pushing the jukebox musical to its limits. Is there such things as a musical with too many songs??

[maddyhessesblog]

Rock of Ages

Rock of Ages is a 2012 jukebox musical styled as a comedic film involving the interweaving storylines of several artists trying to make it big in the rock music scene. The film is built around 1980s rock featuring songs from bands like Styx, Journey, Bon Jovi, Europe, and more.

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

The film is set in 1987 Los Angeles. As mentioned in the text "rock and roll, the first new wave of pop music, appeared then as a label which certainly seemed to be new to the mainstream, but its success has to be understood along social lines: white appropriation of Black music, marketing youth lifestyles, and encouraging teen consumerism" (7).

This wave of pop music was categorized by the social base it addressed. In Rock of Ages a small town girl Sherrie Christian (Julianne Hough) meets city boy Drew Boley (Diego Boneta) on the Sunset Strip as they try to launch their musical careers. The entire soundtrack utilizes rock from the 80s which was an extremely controversial period of music for its time leaving audiences heavily divided. This disparity between supporters and haters of the music is depicted in the film pinning rock listeners and churchgoers against each other.

Building up to the 80s and lasting throughout the decade, rock was criticized for explicit lyrics, themes of rebellion, and references to drugs use, violence, and sexual content. This created widespread paranoia among parents, religious groups, and conservative organizations about the impact of listening to this music. There were certain bands like Black Sabbath and Iron Maiden that raised concerns for a spread of Satanism. Rock, more so than anything, was known for challenging traditional social norms and values like gender roles and sexual morals. Artists like Prince and Madonna are known for these kinds of provocative lyrics and performances.

The songs within the film are emblematic of a period of rebellion, a genre dedicated to challenging norms and establishing its own realm of music. Songs like "I love Rock and Roll," "Wanted Dead or Alive," "I Want to Know What Love is," and "Hit Me With Your Best Shot" are all emblematic of societal reflections imposed onto the characters within the narrative. Catherine Zeta-Jones' character Patricia Whitmore is the film's main antagonist in her disdain for rock music. But quickly, through seduction of a famous musician, she is quickly swayed away from hatred and into a total state of enamor.

The music also serves to explore the faults of the rock industry as well by exploring all avenues of glitz, glamor, and obstacles.

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

As aforementioned, the history of rock not only permeates the soundtrack but the narrative as well. Though paranoia surrounding rock music came from conservative and religious groups fearing and overtaking of Satanists, many famous rock musicians and bands struggled with substance abuse. The star of the film, Stacee Jaxx (Tom Cruise) is a mirror into the lives of former rock stars struggling with the weight of their fame. Throughout the film he goes in and out of sobriety, though for the most part he remains absurdly intoxicated especially while performing.

The text discusses how music integrates itself with culture by influencing attitudes, fantasies, politics, and listening communities (7) and that it was much "easier to describe rock's style negatively - to describe what it wasn't" (8). Because rock was new, it was perceived to be threatening, especially because it was powerful. In the film specifically the characters revolve their lives around the music as if their existence depended on it.

Each character has their own relationship to the industry which are uniquely expressed through different rock artists and bands. Whilst picketing Stacee Jaxx and rock music in general, Patricia Whitmore (Zeta-Jones) tells the rock fans to hit her with their best shot, superbly vocalizing Pat Benatar's epic 1980 single.

When Sherrie struggles to make it big she lands herself a job in a strip club where she and the rest of the dancers harmonize alongside Mary J. Blige for a version of "Anyway You Want It."

But even those who fear the music at the beginning of the film learn to love it by the end.

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

Rock music is the SOUL of this film. It is the only music included which I think really defines the heart of the narrative and the power behind the battle of fighting for the music, as well as everyone's individual career. This influence is in the HAIR, their CLOTHES, their MAKEUP, and their connection to each other.

In order to examine the genre of the film that is inspired by the music, I want to just showcase what these artists looked like and how they performed their art.

Jon Bonjovi.

The vision herself, Pat Benatar:

Whitesnake:

Def Leppard at their first concert:

To really capture this energy wouldn't have been possible for the film for what it intended to be as the songs have a bit more of a pop influence for the film, which I would argue makes the music more digestible in order to reach a larger audience. However, I believe keeping the songs in the same style would have created a more realistic tone for the film.

@theuncannyprofessoro

[sophie-st-2002]

The films portrayal of rock music as a source of rebellion and freedom aligns with the values of rockism which basically is the idolization of the specific rock era this film depicts and the belief that it is the best expression of freedom and authenticity. Rockism is often associated with racism, sexism, and homophobia because it elevates the cultural products of straight, white, male artists and discredit the musical work of women, people of color, and queer people. I think this film reflect the idea of rockism which is why there is such a lack of diversity and inclusion in both narrative and aesthetics.

[bellakwan]

Roundtable 3: Till The Clouds Roll By (1946)

Richard Whorf's Till the Clouds Roll By is a 1946 biopic of American Broadway pioneer Jerome Kern. It features renditions of Kern's famous songs from his musical plays performed by contemporary stage artists. The film follows Kern's journey from his early days as a struggling songwriter to his rise as one of the most influential figures in American musical theater.

Jerome Kern was an American composer whose breakthrough came with the musical Show Boat (1927). Throughout his career, Kern composed numerous hit songs that became standards of the American songbook. Kern's influence extended beyond Broadway, as he also composed music for Hollywood films. He received multiple Academy Award nominations for his film work, including for the score of "Swing Time" (1936), which featured the classic song "The Way You Look Tonight."

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

In Till the Clouds Roll By, every song serves as a snapshot from one of Jerome Kern's musicals. Each of his musicals has various themes that are reflected in these performances. For instance, the film delves into the pursuit of artistic success and recognition within the competitive world of musical theater, as seen in the song "Make Believe" from Showboat. Performances of songs like "Can't Help Lovin' Dat Man" and "The Folks Who Live on the Hill" create sentiments of longing, desire, and devotion, mirroring the characters' experiences of love and heartache against the backdrop of their personal and professional lives.

Through these performances, audiences are transported into the intimate moments of the characters' lives, witnessing the highs and lows of their relationships unfold on screen. The emotional depth and vulnerability conveyed through these songs resonate with audiences on a profound level, inviting them to reflect on their own experiences of love and longing.

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

By incorporating these well-known songs into the film, Till the Clouds Roll By establishes a connection with audiences who may be familiar with the original recordings. The historiographies of these songs evoke a sense of nostalgia and recognition, inviting audiences to engage with Kern's work on a deeper level. As audiences listen to familiar tunes reinterpreted within the context of the film, they are reminded of past performances and experiences, enriching their understanding and appreciation of the narrative unfolding on screen. Each performance is set against the backdrop of theatrical stages that include similar set designs and costumes to those of Kern's musical plays.

A notable example of this homage is Caleb Peterson's rendition of "Ol' Man River" from Kern's seminal work, Show Boat. In the film, we see the character Joe, a Black dock worker grappling with the struggles faced by African Americans along the Mississippi River. Peterson's performance captures the essence of Kern's vision for the film. He is dressed in attire similar to Joe's character and surrounded by a stage design reminiscent of the riverfront setting.

Later on, the film's set design shifts completely and we see Frank Sinatra's rendition of "Ol' Man River" towards the end. Sinatra's performance is set against the backdrop of a grand orchestra and adorned in an all-white suit.

While Peterson's rendition authentically captures the struggles of marginalized communities and serves as a powerful commentary on racial inequality, Sinatra's interpretation almost overshadows this narrative depth. The contrast between Peterson's portrayal of a Black dock worker and Sinatra's performance with overwhelming privilege and sophistication, dilutes the real meaning behind the song, shifting the focus away from the authentic representation of racial struggle.

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

Alberto Mira's "Introduction: The Hollywood Musical is Dead. Long Live the Hollywood Musical!" provides valuable insights into the evolution and significance of the Hollywood musical genre, which can be applied to understanding Till The Clouds Roll By. Mira's discussion of the Hollywood musical's cultural significance underscores the importance of the genre as a reflection of societal values and aspirations. Till the Clouds Roll By embodies this aspect by exploring themes of ambition, love, and social justice through its musical performances and narrative arcs. The film serves as a testament to the enduring appeal of the Hollywood musical genre and its ability to resonate with audiences across generations.

The film's score is predominantly driven by the musical genre/style of traditional Broadway and musical theater. This genre/style is characterized by orchestration, melodies, and elaborate vocal performances that serve to advance the narrative and evoke the emotions of the different characters. The genre/style of traditional Broadway and musical theater (re)defines the film as a musical by infusing it with elements such as elaborate song and dance numbers, theatrical staging, and larger-than-life performances. These elements serve to heighten the emotional impact of the narrative and create a sense of spectacle that is characteristic of the musical genre.

[sophie-st-2002]

Do older jukebox musicals like this stand the test of time and still retain their identity as a jukebox musical in the eyes of others as people become less familiar with the work of the original artist? Does that question make sense? What I want to get across is would someone uninformed about the music and career of Kern, as I am, be able to discern the film as a jukebox musical? This question is a bit of a mess but I think it's interesting to think about how the opinion or relevancy of jukebox musicals and the music they cover evolves over time.

[eloisesundal]

1. Situating the Story with the Score: Frozen masterfully intertwines its score with its narrative, enhancing the emotional depth of the story. The orchestral arrangements, composed by Christophe Beck, effectively convey the sweeping landscapes of Arendelle and the inner turmoil of its characters. According to film critic Stephanie Zacharek, writing for Time, the score "immerses us in a chilly, forbidding world," echoing the isolation experienced by Elsa and Anna. Furthermore, the integration of Broadway-style musical numbers, such as "Let It Go" and "For the First Time in Forever," propels the plot forward while providing insight into the characters' motivations.

2. Cultural Authenticity Through Character Performance: Frozen uses character performance to infuse cultural authenticity into its narrative. The character of Kristoff, voiced by Jonathan Groff, embodies the rugged spirit of Scandinavian folklore, as noted by cultural critic Aisha Harris in Slate. Kristoff's folk-inspired songs, including "Reindeer(s) Are Better Than People," pay homage to his Nordic heritage and enrich the film's cultural tapestry. Additionally, the trolls' musical number, "Fixer Upper," incorporates elements of Nordic mythology, adding depth to the film's world-building.

Frozen - Reindeer(s) Are Better Than People (HD)

This song is from the "Frozen" animated movie. This film and the audio-visual content of the video is in property of Walt Disney Animation S

3. Musical "Framing" and Familiarized Styles: Musical "framing" in Frozen structures the score within familiarized styles, enhancing the viewer's engagement with the film. The use of recurring motifs, such as Elsa's signature theme, provides continuity throughout the story, as highlighted by film scholar Emma Pett in her analysis for The Journal of Popular Culture. These motifs serve as musical anchors, guiding the audience through Elsa's emotional journey and reinforcing key themes of self-acceptance and empowerment.

As we continue our discussion, let's explore how Frozen navigates themes of identity, sisterhood, and empowerment through its music. Feel free to share your thoughts and insights!

[sophie-st-2002]

It's integrating how the character are able to tie themselves so closely to distinct musical motifs given the disparity in song time (I am not sure if this is the right phrase) between characters like Anna and Elsa. Anna is featured in so many songs and her character and the motifs that contribute to that are made very clear. Elsa, on the other hand, doesn't feature heavily in the musical numbers of the film. Thinking about it, isn't the only song she sings in "Let It Go"? The characterization through musical motifs is probably done mostly through score but I do find it fascinating how two character who have such a disparity in time singing can both have such strong characterization.

[jessicapaik]

South Park: Bigger, Longer & Uncut (1999) by Trey Parker

In Trey Parker's comedy musical, South Park: Bigger, Longer & Uncut (1999) is a film in connection to the TV show South Park, as the show is known for it's satirical humor and obscene narrative. In terms of plot of the musical, Eric, Kenny, Kyle, and Ike watch a foreign Canadian movie made by Terrance and Philip consisting of strong profanity and fart/poop jokes. The kids, easily influenced by the film, start to imitate and use the language in school, supporting other kids to watch the movie. This leads to parents, and the central antagonist of the film, Kyle’s mother who has a personal hatred for Canada (despite having an adopted son from Canada), to boycott the film that leads to a war between the US and Canada when the US captures and plans to execute Terrance and Philip. In connection to the event, a prophecy from hell that brings Satan and his partner, Saddam Hussein, back to earth if Terrance and Philip’s blood are shed in US grounds; it is up to the boys to stop this from happening.

In what ways does the film's score situate the story with its narrative context?

Within the realm of South Park, audiences who have watched the show are well aware of the blunt and unfiltered nature of the narrative. This concept is embedded within the film's score to bring consistency with the dark nature of the show and emphasize the plot.

The introduction scene sets up our environment, introducing the characters and settings through Stan's want to watch the Terrance an Philip film "Asses of Fire." Through this, audiences become shocked, but also immune to the blunt and dark lyrics and dialogue. The shows focus of satire is a way to normalize and represent the bad thoughts that majority of people may have towards Western politics, society, popular culture, and etc.

How do songs use character performance to push cultural authenticity in the film's diegesis?

The themes of censorship and social cynicism are well connected within the character’s performance, whilst implementing the consistent dark humor. 

Mr. Mackey's lesson to the kids to use different phrases to replace the cuss words as a way to rehabilitate the kids not only presents a catchy song, but also realistic measures that are taken towards this topic. In other scenes, parents also developed a chip that shocks kids when they speak profanity. The lengths that are being taken to change the ways of children's behavior is due to the parent's blame and hatred on the film, not truly understanding the full impacts of how this came to be. This comments on how society easily blames media as a way to excuse youth's mental state and capabilities.

In what ways does the film use musical "framing" to structure the score within familiarized styles?

The musical’s score situates the story with its narrative context in different ways like expressing how a character may be feeling or a certain event that is occurring or is about to happen. We see this through there use of "I want" songs that is particularly a method that Disney uses. In a way, it’s similar to the traditional musical “framing,” but understanding and knowing the context of the nature of South Park, it merely feels like an imitation to other musicals and their structures.

For example, before all hell breaks loose, all the different characters and perspectives sing along to a song similar to the musical Les Miserables to initiate these important goals that are set within each respective party. Moreover, it is realistic lyrics mixed with the concept of a musical contrasts together that may feel like an imbalance. But, this method reflects onto the concept of the show, as imitation and bluntness are instilled to clearly point out the message of the film. This is shown through dark humor and satirical comments connect to the unmentioned flaws of society to represent the morally, but realistic, bad.

[sophie-st-2002]

I wonder what the benefit/challenges of studying a heavily satirical work like South Park: Bigger, Longer & Uncut is with scholarship examining the topics that the film is making fun of. Was it hard to apply the reading to the film since the film addresses some of the common criticisms of companies like Disney and the milk toast-ness of their musicals