Hollywood Musicals, the Film Reader
Articles examine the musical in relation to its generic form and conventions, the relationship between narrative and spectacle, gender and feminist analysis, camp production and reception, stardom, and the representation of race and ethnicity.\ Includes essays by: Rick Altman, Lucie Arbuthnot and Gail Seneca, Carol Clover, Steven Cohan, Richard Dyer, Jane Feuer, Patricia Mellencamp, Linda Mizejewski, Shari Roberts, Pamela Robertson, Michael Rogin, Martin Rubin and Matthew Tinkcom.
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Hollywood Musicals, The Film Reader explores one of the most popular genres in film history. Combining classic and recent articles, each section explores a central issue of the musical, including: the musical's significance as a genre; the musical's own particular representation of sexual difference; the idea of camp, both through stars such as Judy Garland and Carmen Miranda and musicals themselves; and the displacement of race in Hollywood's representations of entertainment. Each section features an editor's introduction setting debates in context.
AcknowledgementsIntroduction: Musicals of the Studio Era1Pt. 1Generic Forms171Entertainment and Utopia192The Self-reflective Musical and the Myth of Entertainment313The American Film Musical as Dual-Focus Narrative414Busby Berkeley and the Backstage Musical53Pt. 2Gendered Spectacles635Sexual Economics: Gold Diggers of 1933656Pre-text and Text in Gentlemen Prefer Blondes777"Feminizing" the Song-and-Dance Man: Fred Astaire and the Spectacle of Masculinity in the Hollywood Musical87Pt. 3Camp Interventions1038Judy Garland and Camp1079"Working Like a Homosexual": Camp Visual Codes and the Labor of Gay Subjects in the MGM Freed Unit11510Feminist Camp in Gold Diggers of 193312911"The Lady in the Tutti-Frutti Hat": Carmen Miranda, A Spectacle of Ethnicity143Pt. 4Racial Displacements15512Dancin' in the Rain15713New Deal Blackface17514Beautiful White Bodies183Select Bibliography195Index201
