C335+_Spring_+Wk.+1+slides+_Theory-History_

C335+_Spring_+Wk.+1+slides+_Theory-History_ - Welcome to...

Info iconThis preview shows pages 1–5. Sign up to view the full content.

View Full Document Right Arrow Icon
Welcome to THE MUSICAL
Background image of page 1

Info iconThis preview has intentionally blurred sections. Sign up to view the full version.

View Full DocumentRight Arrow Icon
How is the musical genre style of narrative different from the “classical Hollywood style”? Characteristics of storytelling in CHS : § Linear trajectory § Protagonist w/ psychological motivation § § Events in one scene motivate a cut to the next scene § The structure grows out of plot
Background image of page 2
The musical genre has a “dual-focus narrative” (Rick Altman) PARALLELS: IN SHOT SCALE, MISE-EN-SC È NE, AND SOUNDTRACK (TO NAME A FEW) WE, AS VIEWERS, NEED TO LOOK FOR INSTANCES OF “SIMULTANEITY AND COMPARISON” (ALTMAN). PAIRED SCENES
Background image of page 3

Info iconThis preview has intentionally blurred sections. Sign up to view the full version.

View Full DocumentRight Arrow Icon
DUAL-FOCUS NARRATIVES, CONT. HOW DOES STRUCTURE GROW FROM CHARACTER (RATHER THAN LINEAR, CAUSE-AND-EFFECT PLOT )? THE MUSICAL WILL OFTEN USE ONE CHARACTER’S ACTIONS TO ESTABLISH CONTEXT FOR THE OTHER CHARACTER’S ACTIONS, i.e. A PARALLEL (a “duality”) Nelson Eddy & Jeanette MacDonald in Maytime (1937) Dorothy Dandridge and Harry Belafonte in Carmen Jones (1954)
Background image of page 4
Image of page 5
This is the end of the preview. Sign up to access the rest of the document.

This note was uploaded on 10/15/2011 for the course CMCL-C 335 taught by Professor Ryan during the Spring '11 term at Indiana.

Page1 / 14

C335+_Spring_+Wk.+1+slides+_Theory-History_ - Welcome to...

This preview shows document pages 1 - 5. Sign up to view the full document.

View Full Document Right Arrow Icon
Ask a homework question - tutors are online