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Who will remember 'Our Gracie' waving goodbye; Jack Buchanan constantly bumping into Elsie Randolph; Bobby Howes celebrating the invention of the Belisha Beacon, doing a cat duet with Wylie Watson and giving ideas to Rene Ray about ham sandwiches; John Wood and Claire Luce climbing the steps of the lighthouse and breathing on windows in Over She Goes, these accompanied by some of the most deft British and American composers of their time, their work lighter and freer than air. We catch those airs still, breathing on windows and wondering what became of it all. Book jacket.
The British Musical Film is the first book to examine this neglected area of British cinema as it developed from the early so-called 'silent' period to the present. Offering a comprehensive survey of musical films across the decades, it also includes detailed critical analysis of individual films, The Red Shoes and Oliver! among them, and the creative personnel who worked on them.
The first comprehensive academic survey of British musical theatre from its origins, The Oxford Handbook of the British Musical offers both a historical account of musical theatre from 1728 and a range of in-depth critical analyses of key works and productions that illustrate its aesthetic values and sociocultural meanings.
(Piano/Vocal/Guitar Songbook). Features 18 piano/vocal selections from this Broadway hit that won both Tony and Drama Desk awards. Includes a plot synopsis, sensational color photos, and these tunes: The Ballad of Farquaad * Big Bright Beautiful World * Build a Wall * Don't Let Me Go * Donkey Pot Pie * Finale (This Is Our Story) * Freak Flag * I Know It's Today * I Think I Got You Beat * Make a Move * More to the Story * Morning Person * Story of My Life * This Is How a Dream Comes True * Travel Song * What's Up, Duloc? * When Words Fail * Who I'd Be.
(Vocal Selections). Six has received rave reviews around the world for its modern take on the stories of the six wives of Henry VIII and it's finally opening on Broadway! From Tudor queens to pop princesses, the six wives take the mic to remix five hundred years of historical heartbreak into an exuberant celebration of 21st century girl power! Songs include: All You Wanna Do * Don't Lose Ur Head * Ex-Wives * Get Down * Haus of Holbein * Heart of Stone * I Don't Need Your Love * No Way * Six.
The scope of this collection is indicative of the breadth and diversity of music's role in cinema, as is its emphasis on musical contributions to 'non-musical' films. By bringing together chapters that are concerned both with the relationship between performance, music and film and the specificity of national, historical, social, and cultural contexts, Film's Musical Moments will be of equal importance to students of film studies, cultural studies and music. The book is organised into four sections: Music, Film, Culture focuses on cinema representations of music forms; Stars, Performance and Reception explores stars, fan cultures and intertextuality; The Post-Classical Hollywood Musical considers the importance of popular music to contemporary cinema; and Beyond Hollywood looks to specific national contexts.
Based on new archival evidence and interviews, and setting out a new theoretical framework for music video analysis, Emily Caston presents a major new analysis of music videos from 1966-2016, identifying not only their distinctive British traits, but their parallels with British film genres and styles. By analysing the genre, craft and authorial voice of music video within the context of film and popular music, the book sheds new light on existing theoretical and historical questions about audiences, authorship, art and the creative industries. Far from being an American cultural form, the book reveals music video's roots in British and European film traditions, and suggests significant ways in which British video has impacted popular film and music culture.
The extraordinary work of verbatim musical theatre about the impact of the Ipswich prostitute murders.
National Identity and the British Musical: From Blood Brothers to Cinderella examines the myths associated with national identity which are reproduced by the British musical and asks why the genre continues to uphold, instead of challenging, outdated ideals. All too often, UK musicals reinforce national identity clichés and caricatures, conflate 'England' with 'Britain' and depict a mono-cultural nation viewed through a nostalgic lens. Through case studies and analysis of British musicals such as Blood Brothers, Six, Half a Sixpence and Billy Elliot, this book examines the place of the British musical within a text-based theatrical heritage and asks what, or whose, Britain is being represented by home grown musicals. The sheer number of people engaging with shows bestows enormous power upon the genre and yet critics display a reluctance to analyse the cultural meanings produced by new work, or to hold work to account for production teams and narratives which continue to shun diversity and inclusive practices. The question this book poses is: what kind of industry do we want to see in Britain in the next ten years? And what kind of show do we want representing the nation in the future?
A unique study of the film musical, a global cinema tradition.