The International Film Musical

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Corey Creekmur, Linda Mokdad
Edinburgh University Press, Jan 1, 2012 - Social Science - 288 pages
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This is the first comparative consideration of the musical's role within national cinema traditions. While the musical is one cinema's few genuinely international genres, it has often functioned as an explicitly local or national form, drawing upon distinct traditions understood as 'native' rather than 'international'. Simultaneously, musicals from around the world have often imitated Hollywood models, resulting in their easy dismissal as culturally 'impure' and demonstrating the creative and ideological tension between promoting and abandoning traditional cultural forms and styles. This productive tension between local and global elements lies at the heart of international film musicals, which typically acknowledge the dominant Hollywood model while claiming their own cultural specificity.
 

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Contents

INTRODUCTION
1
IEUROPE
13
1 BRITAIN
15
2 FRANCE
29
3 GERMANY
45
4 PORTUGAL
59
5 SPAIN
70
6 ITALY
80
IIIASIA
155
11 JAPAN
157
12 CHINA
171
13 INDIA
189
IVTHE MIDDLE EAST
211
14 EGYPT
213
15 TURKEY
227
VHOLLYWOOD AND THE WORLD
239

7 GREECE
92
8 SOVIET UNION
105
IILATIN AMERICA
119
9 MEXICO
121
10 BRAZIL
141
16 THE POSTMODERN TRANSNATIONAL FILM MUSICAL
241
CODA
257
INDEX
265
Copyright

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About the author (2012)

Corey Creekmur is Associate Professor of Film Studies and English at the University of Iowa Linda Mokdad is Visiting Assistant Professor at the Michigan State University Linda Mokdad is Visiting Assistant Professor at the Michigan State University

Corey Creekmur is Associate Professor of Film Studies and English at the University of Iowa Linda Mokdad is Visiting Assistant Professor at the Michigan State University Linda Mokdad is Visiting Assistant Professor at the Michigan State University

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