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The reflections just made on the ideology of a genre and the hierarchy formed by this can be surely applied to the formal and technical rules. In most musicological literature which has tackled the problem of genres, from positivists to very recent examples, the formal and technical rules seem to be the only ones taken into consideration, to the point where genre, style and form become synonymous. With all this scientific confusion one cannot expect common sense to be more precise and in fact these terms are easily interchanged in daily use. It must be said, however, that a record buying adolescent of today has clearer ideas on musical genres than the majority of musicologists who have made such a fuss about them.

This is evident in the opening musical scene of the film, ..

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Bring a comparative perspective by either thinking about genre counterparts (Hollywood romance; other genres such as sci-fi, musical, film noir, etc) or relating to other films we have watched.

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From the melodic and harmonic point of view, the model for traditional song is Puccini, whilst all the stylistic variations which emerged after the fifties can be excluded. In this sense the traditional song, if only from a musical point of view, is conservative and nationalistic. On the other hand the sophisticated song is cosmopolitan and adopts as its own the most fashionable musical styles even if they belong to other genres, as does the pop song. Compared to the pop song, however, the sophisticated song is decidedly richer, especially from a harmonic point of view. The children’s song and the rock song in their choice of musical materials respect their international rules of genre: in the first case using the elementary tonal functions with melodies based on arpeggios and fragments of the major scale, and in the second using blocks of chords together with modal melodies with a clear blues influence. It must be said that these formal rules referring to the rock song, vague in themselves, are also weak when compared to the fairly rigid rules of the traditional song. In other words the rock genre can use songs which respect the formal pattern of traditional song but not vice versa. The same formal tolerance under the melodic-harmonic profile applies to the and to the political song. In both these cases we can speak today of a preference for chord blocks and melodies derived from various European folk traditions as well as from American country blues.

Phonetic, made-up lyrics are another venerable tradition of folk music, and “pa-rum-pa-pa-pum” is iconic of the genre.

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During the 1910s and 1920s, prominent producers of girl acts constructed blackface numbers for their dancing women to link the increasingly mass produced and modern sexual spectacles of variety revues to the largely white, working-class and ‘autonomous’ male-culture of nineteenth century minstrelsy (Kibler). Further, the casting of similarly typed and largely nameless girls reinforced the patriarchy of modern vaudeville’s producers over their docile and feminized subjects (Latham), much in the same way that blackface caricatures objectified black artists as primitive, emotive and inherently rhythmic beings. As chorus dancers and theatrical stars, African American performing women similarly responded to emerging and vital trends drawing from the synergy of music and dance. As black musical theater became an international sensation, black performing stars like Josephine Baker and Valaida Snow, negotiated both modernist fantasies which mapped colonial desires for hyper-sexualized female subjects onto black women’s bodies, yet these same women ingeniously constructed complex on and off-stage personas to profit from an expanding attraction for black expressive culture (Brown). The reception of these early chorus girl acts, black, white and mixed, critically informed the ways that all-girl bands later exploited racialized musical and physical signifiers to gain popularity and recognition on the nationally organized vaudeville circuits.
3.) Concert:  Sub-genre of Musical. When a musical group has a concert filmed and released to theaters.

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Many books have been written about Bergman, some of which speak of this infatuation. Bergman himself spoke extensively of music. This essay attempts to comprehend the indispensable role music played throughout his career – from to . Throughout this study, it becomes clear that Bergman was not only a music-loving filmmaker, but also a true master of sound. For him, the art form closest to cinema was neither drama nor literature, but music. What do music and film have in common? What role does Bergman appoint music in his films? How does music affect the very act of creation? Musical references are rarely listed in the credits, with occasional mentions of the composer. The first step of this work has therefore been to identify the musical pieces, listed here on the left.

What do you think is gained and lost by this new approach to musical film?

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However much the musical journalist of the time talk about the ‘difficult’ nature of the , comparing it with the ‘escapist’ one of other genres, the is still regarded as a songwriter rather than a poet. This observation is valid both from the point of view of ideology of genre and from that of the objective importance of lyrics compared to music.

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Tim Burton’s fusion of gothic elements, enable him to create a sense of dread and terror amongst the audience, therefore effectively creating a the horror film, Edward Scissor Hands (1990). In the film, Sleepy Hollow (1999), Tim Burton creates a sense of dread and terror, which effectively fabricates a horror film, through the various gothic elements within the movie such as music and motifs, costume, dialogue complimented by the influence of omens and supernatural elements.