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Simon Holm.PDF Faculty of Audiovisual Media and Creative Technologies Simon Holm Master’s thesis From Corpus to Canon: (De)Constructing the Genre of Musical Television Film- og fjernsynsvitenskap Year 5 1 Abstract Since the first musical TV series aired in 1968, the genre has developed in sporadic fashion. The series belonging to the genre have often been commercial failures, but, as this thesis strives to prove, that does not mean they are without aesthetic value. By first clearly defining and delimiting the genre to establish a corpus and then subjecting the corpus to diverse means of analysis, this thesis presents an evaluative canon of TV musicals. This canon is in no way objective or representational of any views other than the author’s but is nonetheless an attempt to legitimate the genre as an aesthetically valuable mode of expression. The thesis claims that even though TV musicals are victims of a duality of condescension, they should not be: Musical TV series have the potential to be valuable, not only in the context of television but in the context of art as a whole. Through aesthetic criteria and the concept of camp, this thesis seeks to legitimate not necessarily the genre as a whole, but those selected works which comprise its evaluative canon. 2 Contents 1 Introduction ............................................................................................................................. 6 2 Methodology, part one ............................................................................................................ 8 3 Defining the TV musical ....................................................................................................... 10 3.1 Initial specifications ....................................................................................................... 10 3.2 Further semantic definition ............................................................................................ 12 3.2.1 Defining “musical” ................................................................................................. 12 3.2.2 Fictional worlds ...................................................................................................... 14 3.2.3 Alternative diegesis ................................................................................................. 14 3.2.4 Realism ................................................................................................................... 15 3.3 Consequences ................................................................................................................. 16 3.3.1 Ally McBeal ............................................................................................................. 17 3.3.2 Eli Stone .................................................................................................................. 18 3.3.3 The Singing Detective ............................................................................................. 18 3.3.4 Galavant .................................................................................................................. 21 3.4 Revised corpus ............................................................................................................... 23 4 Historical summary ............................................................................................................... 24 4.1 That’s Life ...................................................................................................................... 25 4.2 Pennies from Heaven ..................................................................................................... 25 4.3 Rags to Riches ................................................................................................................ 26 4.4 Shangri-La Plaza............................................................................................................ 27 4.5 Hull High ........................................................................................................................ 27 4.6 Cop Rock ........................................................................................................................ 28 4.7 Lipstick on Your Collar .................................................................................................. 29 4.8 Blackpool ........................................................................................................................ 30 4.9 Viva Laughlin ................................................................................................................. 30 4.10 Flight of the Conchords .............................................................................................. 30 4.11 Glee ............................................................................................................................. 31 4.12 Smash .......................................................................................................................... 31 4.13 Garfunkel and Oates ................................................................................................... 32 4.14 Galavant ..................................................................................................................... 32 4.15 Crazy Ex-Girlfriend .................................................................................................... 32 3 4.16 I Ship It ....................................................................................................................... 33 4.17 Soundtrack .................................................................................................................. 33 4.18 Zoey’s Extraordinary Playlist .................................................................................... 33 5 Methodology, part two .......................................................................................................... 34 5.1 On aesthetic criticism ..................................................................................................... 34 5.2 Television’s delegitimated reputation ............................................................................ 35 5.3 The legitimation of TV as art ......................................................................................... 36 5.3.1 Quality television .................................................................................................... 38 5.3.2 The TV auteur ......................................................................................................... 39 5.3.3 The role of the scholar ............................................................................................ 40 5.4 Finalizing methodology.................................................................................................. 41 6 Canonization ......................................................................................................................... 42 6.1 General aesthetic criteria ................................................................................................ 42 6.1.1 Serialization ............................................................................................................ 43 6.1.2 Flight of the Conchords and Garfunkel and Oates ................................................. 44 6.1.3 Rags to Riches and Hull High ................................................................................. 44 6.1.4 Innovation ............................................................................................................... 45 6.1.5 Artistic ambition ..................................................................................................... 46 6.1.6 Interest..................................................................................................................... 46 6.1.7 Concluding Rags to Riches and Hull High ............................................................. 46 6.1.8 I Ship It .................................................................................................................... 47 6.1.9 Humor and emotion ................................................................................................ 48 6.1.10 Skill ......................................................................................................................... 48 6.1.11 Authorship............................................................................................................... 48 6.1.12 Authenticity............................................................................................................. 49 6.1.13 Characterization ...................................................................................................... 49 6.1.14 Social Criticism ....................................................................................................... 49 6.2 Musical quality ............................................................................................................... 50 6.2.1 Integration ............................................................................................................... 50 6.2.2 Function .................................................................................................................. 51 6.2.3 Style ........................................................................................................................ 52 6.2.4 Performative quality................................................................................................ 52 4 6.3 The jukebox musical .....................................................................................................
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