By Steven Cohan
Articles research the musical in terms of its standard shape and conventions, the connection among narrative and spectacle, gender and feminist research, camp creation and reception, stardom, and the illustration of race and ethnicity.
Includes essays via: Rick Altman, Lucie Arbuthnot and Gail Seneca, Carol Clover, Steven Cohan, Richard Dyer, Jane Feuer, Patricia Mellencamp, Linda Mizejewski, Shari Roberts, Pamela Robertson, Michael Rogin, Martin Rubin and Matthew Tinkcom.
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Extra resources for Hollywood musicals, the film reader
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Only unsuccessful performances are demystified. 6 For the purpose of analysis, the myth of entertainment can be subdivided into three categories: the myth of spontaneity, the myth of integration, and the myth of the audience. In the films, however, the myth makes its impact through combination and repetition. Thus, a single musical number can be highly overdetermined and may be discussed under all three categories. The myth of spontaneity Perhaps the primary positive quality associated with musical performance is its spontaneous emergence out of a joyous and responsive attitude toward life.
This implies that responding to a performance is not spontaneous—you have to learn what emotion is embodied before you can respond to it. A problem with this as Langer develops it is the implication that the emotion itself is not coded, is simply ‘human feeling’. I would be inclined, however, to see almost as much coding in the emotions as in the signs for them. H. Gombrich and Umberto Eco stress that different modes of representation (in history and culture) correspond to different modes of perception, so it is important to grasp that modes of experiential art and entertainment correspond to different culturally and historically determined sensibilities.
I illustrate this in Table 2. The advantage of this analysis is that it does offer some explanation of why entertainment works. It is not just left-overs from history, it is not just what show business, or ‘they’, force on the rest of us, it is not simply the expression of eternal needs—it responds to real needs created by society. The weakness of the analysis (and this holds true for Enzensberger too) is in the give-away absences from the left-hand column—no mention of class, race, or patriarchy.