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- Introduction: The Musical and Masculinity Take a Turn for the Ambivalent.
- Black Performance and American Musical Film?
- 13-Cubed: Case Studies in Mind Control & Programming.
- Disintegrating the Musical: Black Performance and American Musical Film?
- Disintegrating the Musical: Black Performance and American Musical Film.
But these sequences pose a number of questions to our understandings of the musical. What role do such numbers have in these films? How do they impact on the reception and circulation of the films in which they appear?
As Knight writes in the introduction:. Knight suggests some directions in which this work could be pursued in his account of the origins of his book.
The Music of England
For over the last ten years or so, the genre has been challenged in terms of its use of African American performers and black vernacular dance and music in a number of films and music videos. The popularity of the two brothers and the enthusiastic response to this dance sequence led to advertising the time into the film when the sequence would appear, catering to audiences who simply wanted to see this sequence.
See Valis Hill pp. Her essays have appeared in Screen , Continuum and Senses of Cinema.
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Books , Jazz. Books , Latin. For two decades after rock music emerged in the s, the American Books , Rock.
Disintegrating the Musical: Black Performance and American Musical Film
In 'People Get Ready', musicians, scholars, and journalists write about Garcia explores how a diverse group of musicians, dancers, academics, and activists engaged with the idea of black music Disco , Books. African , Books. Bacchanalian Sentiments Musical Experiences and Political Counterpoints in Trinidad Duke University Press Trinidad is known for its vibrant musical traditions, which reflect the island's ethnic diversity. Soca is a dance music derived from calypso, One of the most popular music genres in America Arthur Knight focuses on American film's classic sound era, when Hollywood studios made eight all-black-cast musicals-a focus on Afro-America unparalleled in any other genre.
It was during this same period that the first black film stars-Paul Robeson, Louis Armstrong, Lena Horne, Harry Belafonte, Dorothy Dandridge-emerged, t 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 opposites-even as the films themselves were segregated and played before even more strictly segregated audiences. Disintegrating the Musical covers territory both familiar-Show Boat, Stormy Weather, Porgy and Bess-and obscure-musical films by pioneer black director Oscar Micheaux, Lena Horne's first film The Duke Is Tops, specialty numbers tucked into better-kwn features, and lost classics like the short Jammin' the Blues.