By Corey Creekmur, Linda Mokdad
This can be the 1st comparative attention of the musical's position inside nationwide cinema traditions. whereas the musical is one cinema's few surely overseas genres, it has usually functioned as an explicitly neighborhood or nationwide shape, drawing upon unique traditions understood as 'native' instead of 'international'. concurrently, musicals from around the globe have usually imitated Hollywood types, leading to their effortless dismissal as culturally 'impure' and demonstrating the inventive and ideological rigidity among selling and leaving behind conventional cultural varieties and types. This efficient stress among neighborhood and worldwide components lies on the middle of foreign movie musicals, which generally recognize the dominant Hollywood version whereas claiming their very own cultural specificity.
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Additional info for The International Film Musical
But when film critics such as François Truffaut and Jean-Luc Godard put down their pens and picked up film cameras, they tended not to make genre films. The New Wave’s celebration of authorial expression and narrative experimentation made it unlikely that genre films would become a staple of this movement. Instead, the directors of the New Wave made films that recognise the pleasures of, but depart radically from, genre films. Godard’s A bout de souffle (1960) reconfigures the film noir and Claude Chabrol’s Les Bonnes Femmes (1960) reworks the thriller, for example.
Stein, 1935) Keep Fit (Anthony Kimmins, 1937) Oliver! indd 27 07/12/2011 15:23 JOHN MUNDY Spring in Park Lane (Herbert Wilcox, 1948) The Tales of Hoffman (Michael Powell and Emeric Pressburger, 1951) Tommy (Ken Russell, 1975) The Tommy Steele Story (Gerard Bryant, 1957) We’ll Meet Again (Philip Brandon, 1942) Bibliography Altman, Rick (1987) The American Film Musical. Bloomington: Indiana University Press. Bret, David (1995) Gracie Fields: The Authorized Biography. London: Robson. Bret, David (2001) George Formby: A Troubled Genius.
Godard’s A bout de souffle (1960) reconfigures the film noir and Claude Chabrol’s Les Bonnes Femmes (1960) reworks the thriller, for example. The film musical is an especially important generic intertext in the films of the New Wave, referenced frequently by Godard, Chabrol and Agnès Varda in the 1960s, and revised substantially in the work of Jacques Demy. Godard’s Une Femme est une femme (1961) begins in such a way that we might think the film we are about to see is a backstage musical. Accompanying the opening credits are the sounds of an orchestra warming up; instruments are tuned, instructions voiced and a conductor’s baton tapped.
The International Film Musical by Corey Creekmur, Linda Mokdad