MUSIC & THE MOVING IMAGE SERIES This new series aims to explore the area of ‘screen Series Editor: Kevin Donnelly music’. Volume topics include: multimedia music, music and television, Hollywood fi lm music, and the music of FILM’S MUSICAL MOMENTS Bollywood cinema. EDITED BY IAN CONRICH & ESTELLA TINCKNELL FILM’S ‘Conrich and Tincknell’s book The scope of this collection is indicative of the examines a diverse range of breadth and diversity of music’s role in cinema, MUSICAL MOMENTS musical phenomena in fi lms as is its emphasis on musical contributions to and opens up provocative new ‘non-musical’ fi lms. By bringing together chapters avenues of research. This book that are concerned both with the relationship will surely be of interest to between performance, music and fi lm and the scholars of fi lm genre theory, fi lm specifi city of national, historical, social, and music studies, and popular music cultural contexts, Film’s Musical Moments will be culture.’ of equal importance to students of fi lm studies, cultural studies and music. The book is organised Jeff Smith, Washington University into four sections: Music, Film, Culture focuses in St Louis on cinema representations of music forms; Stars, Performance and Reception explores stars, fan Tincknell Conrich and Estella Ian cultures and intertextuality; The Post-Classical Hollywood Musical considers the importance of popular music to contemporary cinema; and Beyond Hollywood looks to specifi c national contexts. Chapters include jazz and animation, the Country and Western biopic, cult musicals and fandom, the importance of the soundtrack movie, and musicals from the former East Germany. Ian Conrich is Senior Lecturer in Film Studies at FILM’S MUSICAL MOMENTS Roehampton University. Estella Tincknell is Associate Head of the School of Cultural Studies at the University of the West of England. Edited by Ian Conrich Estella Tincknell ISBN 0 7486 2345 0 Edinburgh University Press 22 George Square Edinburgh EH8 9LF Edinburgh www.eup.ed.ac.uk Cover image: Pulp Fiction, Miramax/Buena Vista / The Kobal Collection Cover design: Deborah Halsey at The Case MUSIC & THE MOVING IMAGE SERIES FILM’S MUSICAL MOMENTS Music and the Moving Image Series Editor Kevin Donnelly, University of Wales Aberystwyth Titles in the series include: Film’s Musical Moments by Ian Conrich and Estella Tincknell (eds) 0 7486 2344 2 (hardback) 0 7486 2345 0 (paperback) Music, Sound and Multimedia by Jamie Sexton (ed.) 0 7486 2533 X (hardback) 0 7486 2534 8 (paperback) Music and the Moving Image: A Reader by Kevin Donnelly (ed.) 0 7486 1925 9 (hardback) 0 7486 1926 7 (paperback) FILM’S MUSICAL MOMENTS Edited by Ian Conrich and Estella Tincknell EDINBURGH UNIVERSITY PRESS © in this edition Edinburgh University Press, 2006 © in the individual contributions is retained by the authors Edinburgh University Press Ltd 22 George Square, Edinburgh Typeset in 10/12.5 Adobe Sabon by Servis Filmsetting Ltd, Manchester, and printed and bound in Great Britain by MPG Books Ltd, Bodmin, Cornwall A CIP record for this book is available from the British Library ISBN-10 0 7486 2344 2 (hardback) ISBN-13 978 0 7486 2344 0 (hardback) ISBN-10 0 7486 2345 0 (paperback) ISBN-13 978 0 7486 2345 7 (paperback) The right of the contributors to be identified as authors of this work has been asserted in accordance with the Copyright, Designs and Patents Act 1988. CONTENTS Acknowledgements vii Illustrations viii Contributors x 1 Introduction 1 PART ONE: MUSIC, FILM, CULTURE 15 2 Jazz, Ideology and the Animated Cartoon 17 Barry Keith Grant 3A Short History of the Big Band Musical 28 James Chapman 4Television, the Pop Industry and the Hollywood Musical 42 John Mundy 5 The Operatic in New German Cinema 56 Ulrike Sieglohr PART TWO: STARS, PERFORMANCE AND RECEPTION 69 6 Jack Buchanan and British Musical Comedy of the 1930s 71 Andrew Spicer 7 Star Personae and Authenticity in the Country Music Biopic 84 Bruce Babington FILM’S MUSICAL MOMENTS 8 Stardom, Reception and the ABBA ‘Musical’ 99 Jonathan Rayner PART THREE: THE POST-CLASSICAL HOLLYWOOD MUSICAL 113 9 Musical Performance and the Cult Film Experience 115 Ian Conrich 10 The Soundtrack Movie, Nostalgia and Consumption 132 Estella Tincknell 11 Youth, Excess and the Musical Moment 146 Scott Henderson 12 Music, Film and Post-Stonewall Gay Identity 158 Gregory Woods and Tim Franks PART FOUR: BEYOND HOLLYWOOD 169 13 Early Danish Musical Comedies, 1931–9 171 Niels Hartvigson 14 Film Musicals in the GDR 183 Andrea Rinke 15 Music in the Bollywood Film 195 Heather Tyrrell and Rajinder Dudrah Bibliography 209 Index 218 vi ACKNOWLEDGEMENTS The editors would like to thank the contributors for their help with the com- pletion of this book, Kevin Donnelly for his invaluable advice and, above all, Sarah Edwards, our Commissioning Editor at Edinburgh University Press, for her continual support. vii ILLUSTRATIONS Figure 1 James Stewart in The Glenn Miller Story achieved a good likeness of the celebrated bandleader 39 Figure 2 Promoting a craze: The US poster for Twist Around the Clock 44 Figure 3 The pleasures of Twist Around the Clock were centred on the performance of chart-toppers such as Dion 53 Figure 4 Jack Buchanan, British cinema’s ‘man-about-town’ 74 Figure 5 The broken performer: Loretta Lynn (Sissy Spacek)’s breakdown on stage in Coal Miner’s Daughter is linked to her loss of relationship to the Country music community 90 Figure 6 Prior to her transformation into a mainstream star, Patsy Cline (Jessica Lange)’s cowgirl costume codes her as a Country performer in Sweet Dreams 97 Figure 7 Constructing images of stardom: Authentic documentary footage of ABBA’s stage shows were presented alongside a mock documentary narrative in ABBA The Movie 101 Figure 8 The happy family, survivors of the horrors of their mountainside chalet, celebrate in the style of The Sound of Music in the Japanese horror-musical Katakuri-ke no kôfuku 116 viii ILLUSTRATIONS Figure 9 Karaoke cinema: A UK-produced handbill for the interactive film Sing-a-Long-a Sound of Music 119 Figure 10 A moment of bricolage as the cockroaches in Joe’s Apartment form a skiffle band 127 Figure 11 The disco as a site of innocent excess where sex and dancing are disconnected in Boogie Nights 142 Figure 12 In Tank Girl a Busby Berkeleyesque musical number presents the female performer as an object of cinematic spectacle 155 Figure 13 Marguerite Viby exhibits her acrobatic skills in the musical number ‘Hot, hot’ from the film Mille, Marie og mig 177 Figure 14 Riding to Victory: Liva Weel saves her lover from financial ruin in Odds 777 179 Figure 15 In a ‘Sunshine mood’ the five sisters go for a choreographed bicycle jaunt in Fem raske piger 181 Figure 16 Planning for a show: Composer Alexander Ritter (Manfred Krug) performs an idea for his audience, which includes assistant producer Claudia Glück (Christel Bodenstein) in Revue um Mitternacht 188 Figure 17 Heißer Sommer’s appropriation of Western youth styles – as worn by Frank Schöbel (centre) and Chris Doerk (first left) in this musical number on the Baltic sea island of Rügen – was central to its popularity amongst East German audiences 193 Figure 18 Prem (left, Salman Khan) and Nisha (Madhuri Dixit), the resistant lovers, in Hum Aapke Hain Koun . ! 203 Figure 19 A moment of dance spectacle as the family house is transformed for a wedding in Hum Aapke Hain Koun . ! 205 ix CONTRIBUTORS Bruce Babington is Professor of Film at the University of Newcastle, co-author of Blue Skies and Silver Linings: Aspects of the Hollywood Musical (1985), Affairs to Remember: Hollywood Comedy of the Sexes (1989), Biblical Epics: Sacred Narrative in the Hollywood Cinema (1993) and the forthcoming Carmen: A Cultural History on Film. He is the author of Launder and Gilliat (2002) and the forthcoming Staunch As: A History of the New Zealand Feature Film, editor of British Stars and Stardom: From Alma Taylor to Sean Connery (2001) and co-editor of The Trouble with Men: Masculinities in European and Hollywood Cinema (2004). James Chapman is Professor of Film at the University of Leicester. He is co-editor of Windows on the Sixties: Exploring Key Texts of Media and Culture (2000) and the author of The British at War: Cinema, State and Propaganda, 1939–1945 (1998), Licence to Thrill: A Cultural History of the James Bond Films (1999), Saints and Avengers: British Adventure Series of the 1960s (2002), Cinemas of the World: Film and Society From 1895 to the Present (2004), Past and Present: National Identity and the British Historical Film (2005) and Doctor Who: A Cultural History (2006). His articles have appeared in the Historical Journal of Film, Radio and Television, Journal of Popular British Cinema and Visual Culture in Britain. Ian Conrich is Senior Lecturer in Film Studies at Roehampton University, an Editor of Journal of British Cinema and Television, an Associate Editor of Film x CONTRIBUTORS and Philosophy, an advisory board member of Interactive Media and a Guest Editor of Post Script. He is the author of the forthcoming New Zealand Cinema and editor or co-editor of nine books, including New Zealand – A Pastoral Paradise? (2000), The Cinema of John Carpenter: The Technique of Terror (2004) and the forthcoming Contemporary New Zealand Cinema and Horror Zone: The Cultural Experience of Contemporary Horror Cinema. He has written extensively on film with his work appearing in Cultures of the Commonwealth, p.o.v., Cinémaction, British Review of New Zealand Studies and in more than thirty books. Rajinda Dudrah is Senior Lecturer in Screen Studies in the School of Arts, Histories and Cultures at the University of Manchester.