
Contemporary Musical Film
Edinburgh University Press
90th Edition
Published on 26. February 2019
Book
Paperback/Softback
208 pages
978-1-4744-3168-2 (ISBN)
Description
Since the turn of the millennium, films such as Chicago (2002) and Phantom of the Opera (2004) have reinvigorated the popularity of the screen musical. This edited collection, bringing together a number of international scholars, looks closely at the range and scope of contemporary film musicals, from stage adaptations like Mamma Mia! (2008) and Les Miserables (2012), to less conventional works that elide the genre, like Team America: World Police (2004) and Quentin Tarantino's Kill Bill (2003/04). Looking at the varying aesthetic function of soundtrack and lyric in films like Disney's wildly popular Frozen (2013) and the Fast and the Furious franchise, or the self-reflexive commentary of the 'post-millennial rock musical', this wide-ranging collection breaks new ground in its study of this multifaceted genre.
More details
Series
Edition
90,000 edition
Language
English
Place of publication
Edinburgh
United Kingdom
Target group
Professional and scholarly
Product notice
Paperback (trade)
Unsewn / adhesive bound
Illustrations
12 black and white illustrations
Dimensions
Height: 229 mm
Width: 152 mm
Thickness: 15 mm
Weight
295 gr
ISBN-13
978-1-4744-3168-2 (9781474431682)
Copyright in bibliographic data and cover images is held by Nielsen Book Services Limited or by the publishers or by their respective licensors: all rights reserved.
Schweitzer Classification
Persons
Professor Kevin Donnelly is Professor of Film and Film Music at the University of Southampton. He has written or edited 12 books, including Occult Aesthetics: Sound and Image Synchronization (Oxford University Press, 2013; which received an award from the American Musicological Society), The Spectre of Sound (BFI, 2005, second edition 2020), Magical Musical Tour: Pop and Rock in Film Soundtracks (Bloomsbury, 2015; which received an award from the Southwest Popular and American Cultural Association), Pop Music in British Cinema (BFI, 2001), British Film Music and Film Musicals (Palgrave, 2007) and The Shining (Columbia University Press, 2018). He is co-series editor of EUP's Music and the Moving Image series, and co-edited Contemporary Musical Film for the series (EUP, 2019) Professor Kevin Donnelly is Professor of Film and Film Music at the University of Southampton. He has written or edited 12 books, including Occult Aesthetics: Sound and Image Synchronization (Oxford University Press, 2013; which received an award from the American Musicological Society), The Spectre of Sound (BFI, 2005, second edition 2020), Magical Musical Tour: Pop and Rock in Film Soundtracks (Bloomsbury, 2015; which received an award from the Southwest Popular and American Cultural Association), Pop Music in British Cinema (BFI, 2001), British Film Music and Film Musicals (Palgrave, 2007) and The Shining (Columbia University Press, 2018). He is co-series editor of EUP's Music and the Moving Image series, and co-edited Contemporary Musical Film for the series (EUP, 2019) Beth Carroll is a Lecturer in Film at the University of Southampton. Her research focuses on matters relating to audiovisual media, including space, place and the body. Beth is particularly interested in sound and the impact it has on issues of immersion and phenomenology in film, videogames, and VR. She is the author of Feeling Film: A Spatial Approach and co-editor of Contemporary Musical Film.
Editor
Professor of Film and Film MusicUniversity of Southampton
Professor of Film and Film MusicUniversity of Southampton
Lecturer in FilmUniversity of Southampton
Content
Reimagining the Contemporary Musical in the Twenty First Century; K. J. Donnelly and Beth Carroll
Part One: Original Musicals
Aesthetic Absurdities in Takashi Miike's The Happiness of the Katakuris; Craig Hatch
Film and the Twilight of Rock (Rock is Dead and Film killed It) Nails in Rock's Coffin: Post-Millennial Rock Musicals; K. J. Donnelly
Team America: World Police: Duplicitous Voices of the Socio-Political Spy Musical; Jack Curtis Dubowsky
The Anti-Musical or Generic Affinity: Is there anything left to say?; Beth Carroll
'Is this real enough for you?': Lyrical articulation of The Beatles' songs in Across the Universe; Stephanie Fremaux
'Love Is an Open Door': Revising and Repeating Disney's Musical Tropes in Frozen; Ryan Bunch
Part Two: Stage to Screen
Star quality? Song, celebrity, and the jukebox musical in Mamma Mia!; Catherine Haworth
Beyond the Barricade: Adapting Les Miserables for the Cinema; Ian Sapiro
Part Three: Musicals By Another Name
O' Brother, Where Art Thou??The Coen Brothers and the musical genre contamination; Stefano Baschiera
Racing in the Beat: Music in the Fast & Furious Franchise; Todd Decker
Kill Bill to the Beat: Exploring Quentin Tarantino as a musical filmmaker; Geena Brown
Part One: Original Musicals
Aesthetic Absurdities in Takashi Miike's The Happiness of the Katakuris; Craig Hatch
Film and the Twilight of Rock (Rock is Dead and Film killed It) Nails in Rock's Coffin: Post-Millennial Rock Musicals; K. J. Donnelly
Team America: World Police: Duplicitous Voices of the Socio-Political Spy Musical; Jack Curtis Dubowsky
The Anti-Musical or Generic Affinity: Is there anything left to say?; Beth Carroll
'Is this real enough for you?': Lyrical articulation of The Beatles' songs in Across the Universe; Stephanie Fremaux
'Love Is an Open Door': Revising and Repeating Disney's Musical Tropes in Frozen; Ryan Bunch
Part Two: Stage to Screen
Star quality? Song, celebrity, and the jukebox musical in Mamma Mia!; Catherine Haworth
Beyond the Barricade: Adapting Les Miserables for the Cinema; Ian Sapiro
Part Three: Musicals By Another Name
O' Brother, Where Art Thou??The Coen Brothers and the musical genre contamination; Stefano Baschiera
Racing in the Beat: Music in the Fast & Furious Franchise; Todd Decker
Kill Bill to the Beat: Exploring Quentin Tarantino as a musical filmmaker; Geena Brown