Disintegrating the musical: black performance and American musical film
Gespeichert in:
| Beteilige Person: | |
|---|---|
| Format: | Buch |
| Sprache: | Englisch |
| Veröffentlicht: |
Durham [u.a.]
Duke Univ. Pr.
2002
|
| Schlagwörter: | |
| Abstract: | Publisher's description: From the earliest sound films to the present, American cinema has represented African Americans as decidedly musical. Disintegrating the Musical tracks and analyzes this history of musical representations of African Americans, from blacks and whites in blackface to black-cast musicals to jazz shorts, from sorrow songs to show tunes to bebop and beyond. Arthur Knight focuses on American film's classic sound era, when Hollywood studios made eight all-black-cast musicals₇a focus on Afro-America unparalleled in any other genre. It was during this same period that the first black film stars₇Paul Robeson, Louis Armstrong, Lena Horne, Harry Belafonte, Dorothy Dandridge₇emerged, not coincidentally, from the ranks of musical performers. That these films made so much of the connection between African Americans and musicality was somewhat ironic, Knight points out, because they did so in a form (song) and a genre (the musical) celebrating American social integration, community, and the marriage of opposites₇even as the films themselves were segregated and played before even more strictly segregated audiences. Disintegrating the Musical covers territory both familiar₇Show Boat, Stormy Weather, Porgy and Bess₇and obscure₇musical films by pioneer black director Oscar Micheaux, Lena Horne's first film The Duke Is Tops, specialty numbers tucked into better-known features, and lost classics like the short Jammin' the Blues. It considers the social and cultural contexts from which these films arose and how African American critics and audiences responded to them. Finally, Disintegrating the Musical shows how this history connects with the present practices of contemporary musical films like O Brother, Where Art Thou? and Bamboozled. A lively examination of an important, overlooked element of American cinematic history, Disintegrating the Musical will appeal to those interested in cinema studies and African American studies. |
| Beschreibung: | Includes bibliographical references and index |
| Umfang: | XII, 338 S. Ill. |
| ISBN: | 0822329352 0822329638 |
Internformat
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| 245 | 1 | 0 | |a Disintegrating the musical |b black performance and American musical film |c Arthur Knight |
| 264 | 1 | |a Durham [u.a.] |b Duke Univ. Pr. |c 2002 | |
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| 500 | |a Includes bibliographical references and index | ||
| 520 | 3 | |a Publisher's description: From the earliest sound films to the present, American cinema has represented African Americans as decidedly musical. Disintegrating the Musical tracks and analyzes this history of musical representations of African Americans, from blacks and whites in blackface to black-cast musicals to jazz shorts, from sorrow songs to show tunes to bebop and beyond. Arthur Knight focuses on American film's classic sound era, when Hollywood studios made eight all-black-cast musicals₇a focus on Afro-America unparalleled in any other genre. It was during this same period that the first black film stars₇Paul Robeson, Louis Armstrong, Lena Horne, Harry Belafonte, Dorothy Dandridge₇emerged, not coincidentally, from the ranks of musical performers. That these films made so much of the connection between African Americans and musicality was somewhat ironic, Knight points out, because they did so in a form (song) and a genre (the musical) celebrating American social integration, community, and the marriage of opposites₇even as the films themselves were segregated and played before even more strictly segregated audiences. Disintegrating the Musical covers territory both familiar₇Show Boat, Stormy Weather, Porgy and Bess₇and obscure₇musical films by pioneer black director Oscar Micheaux, Lena Horne's first film The Duke Is Tops, specialty numbers tucked into better-known features, and lost classics like the short Jammin' the Blues. It considers the social and cultural contexts from which these films arose and how African American critics and audiences responded to them. Finally, Disintegrating the Musical shows how this history connects with the present practices of contemporary musical films like O Brother, Where Art Thou? and Bamboozled. A lively examination of an important, overlooked element of American cinematic history, Disintegrating the Musical will appeal to those interested in cinema studies and African American studies. | |
| 650 | 7 | |a Filmmusicals |2 gtt | |
| 650 | 7 | |a Negers |2 gtt | |
| 650 | 4 | |a Schwarze | |
| 650 | 4 | |a African Americans in motion pictures | |
| 650 | 4 | |a Musical films |z United States |x History and criticism | |
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Datensatz im Suchindex
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| author | Knight, Arthur |
| author_facet | Knight, Arthur |
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| dewey-full | 791.43/6 |
| dewey-hundreds | 700 - The arts |
| dewey-ones | 791 - Public performances |
| dewey-raw | 791.43/6 |
| dewey-search | 791.43/6 |
| dewey-sort | 3791.43 16 |
| dewey-tens | 790 - Recreational and performing arts |
| discipline | Allgemeines |
| format | Book |
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| spelling | Knight, Arthur Verfasser aut Disintegrating the musical black performance and American musical film Arthur Knight Durham [u.a.] Duke Univ. Pr. 2002 XII, 338 S. Ill. txt rdacontent n rdamedia nc rdacarrier Includes bibliographical references and index Publisher's description: From the earliest sound films to the present, American cinema has represented African Americans as decidedly musical. Disintegrating the Musical tracks and analyzes this history of musical representations of African Americans, from blacks and whites in blackface to black-cast musicals to jazz shorts, from sorrow songs to show tunes to bebop and beyond. Arthur Knight focuses on American film's classic sound era, when Hollywood studios made eight all-black-cast musicals₇a focus on Afro-America unparalleled in any other genre. It was during this same period that the first black film stars₇Paul Robeson, Louis Armstrong, Lena Horne, Harry Belafonte, Dorothy Dandridge₇emerged, not coincidentally, from the ranks of musical performers. That these films made so much of the connection between African Americans and musicality was somewhat ironic, Knight points out, because they did so in a form (song) and a genre (the musical) celebrating American social integration, community, and the marriage of opposites₇even as the films themselves were segregated and played before even more strictly segregated audiences. Disintegrating the Musical covers territory both familiar₇Show Boat, Stormy Weather, Porgy and Bess₇and obscure₇musical films by pioneer black director Oscar Micheaux, Lena Horne's first film The Duke Is Tops, specialty numbers tucked into better-known features, and lost classics like the short Jammin' the Blues. It considers the social and cultural contexts from which these films arose and how African American critics and audiences responded to them. Finally, Disintegrating the Musical shows how this history connects with the present practices of contemporary musical films like O Brother, Where Art Thou? and Bamboozled. A lively examination of an important, overlooked element of American cinematic history, Disintegrating the Musical will appeal to those interested in cinema studies and African American studies. Filmmusicals gtt Negers gtt Schwarze African Americans in motion pictures Musical films United States History and criticism Filmmusical (DE-588)4154370-1 gnd rswk-swf Schwarze (DE-588)4116433-7 gnd rswk-swf USA USA (DE-588)4078704-7 gnd rswk-swf USA (DE-588)4078704-7 g Filmmusical (DE-588)4154370-1 s Schwarze (DE-588)4116433-7 s DE-604 |
| spellingShingle | Knight, Arthur Disintegrating the musical black performance and American musical film Filmmusicals gtt Negers gtt Schwarze African Americans in motion pictures Musical films United States History and criticism Filmmusical (DE-588)4154370-1 gnd Schwarze (DE-588)4116433-7 gnd |
| subject_GND | (DE-588)4154370-1 (DE-588)4116433-7 (DE-588)4078704-7 |
| title | Disintegrating the musical black performance and American musical film |
| title_auth | Disintegrating the musical black performance and American musical film |
| title_exact_search | Disintegrating the musical black performance and American musical film |
| title_full | Disintegrating the musical black performance and American musical film Arthur Knight |
| title_fullStr | Disintegrating the musical black performance and American musical film Arthur Knight |
| title_full_unstemmed | Disintegrating the musical black performance and American musical film Arthur Knight |
| title_short | Disintegrating the musical |
| title_sort | disintegrating the musical black performance and american musical film |
| title_sub | black performance and American musical film |
| topic | Filmmusicals gtt Negers gtt Schwarze African Americans in motion pictures Musical films United States History and criticism Filmmusical (DE-588)4154370-1 gnd Schwarze (DE-588)4116433-7 gnd |
| topic_facet | Filmmusicals Negers Schwarze African Americans in motion pictures Musical films United States History and criticism Filmmusical USA |
| work_keys_str_mv | AT knightarthur disintegratingthemusicalblackperformanceandamericanmusicalfilm |