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19 Cards in this Set
- Front
- Back
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what does "narrative reality" refer to? |
a narrative world that is consistent and coherent thereby producing its own reality, as long as it adheres to that reality's laws |
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How do "musical realities" differ from narrative realities? |
Musicals operate according to two different laws -- and they alternate back and forth between them. These two laws are the narrative and the musical spectacle. |
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What is considered Hollywood's first film musical? |
The Jazz Singer (1927) |
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What are the two dramatic registers that musicals operate on? |
narrative and the spectacle |
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revue musical |
places self-contained musical numbers back to back with little or no narrative to connect them |
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book musical |
attempts to integrate narrative and musical sequences, culminating in the supposedly seamless integration of story and music in stage musicals |
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backstage musicals |
a subgenre of the musical in which various characters are brought together to put on a show. |
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showpeople |
the central character of a musical whose profession is that of a performer, thus motivating the presence of musical numbers |
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3 things that attribute to the transformation of space in musicals |
performer props audience |
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What are 2 stylistic register shifts? |
Black-and-White to Color Noise to Music |
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how does the Operetta differ from the backstage musical |
the operetta makes no attempt to motivate musical numbers realistically |
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Is Moulin Rouge a backstage musical or an operetta? |
both |
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Rick Altman suggested that Astaire-Rogers films might justifiably be called __________. |
"screwball musicals" |
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The numbers in Astaire-Rogers musicals were written by the smartest songwriters on Broadway. Who were they? |
Irving Berlin, Cole Porter, and Jerome Kern and Dorothy Fields. |
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To whom is generally attributed the development of the fully integrated musical? |
Arthur Freed |
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Who did the "Freed Unit" consist of? |
Performers such as Judy Garland, Mickey Rooney, Fred Astaire, Gene Kelly, Oscar Levant, Kay Thompson, and Cyd Charisse: directors such as Vincente Minnelli, Stanley Donen, Charles Walter, and Rouben Mamoulian; writers such as Betty Comden and Adolph Green; composers such as Alan Jay Lerner and Andre Previn; and musical arrangers such as Roger Edens |
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How do "Freed Unit" films differ from Astaire-Rogers films? |
A-R films consist of numbers that alternate between partial and full integration while Freed's films tend toward a more fully integrated interplay between musical numbers and narratives |
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What decade is considered to be when the end of the American film musical era came? |
1960's with Oliver! being the last film musical to win an Academy Award for Best Picture until Chicago (2002) |
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What kind of musicals appeared after the end of the golden age of the American film musical? |
a new generation of musicals that appeared to address a new generation of audiences using rock and roll and jazz. |
