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|Named Person:||Josephine Baker; Marcel Carné; H -G Clouzot; Florelle; Mistinguett; Edith Piaf; Jean Renoir|
|Material Type:||Thesis/dissertation, Manuscript, Internet resource|
|Document Type:||Internet Resource, Archival Material|
|All Authors / Contributors:||
Rebecca H Bias
|Notes:||Title from first page of PDF file.
Document formatted into pages; contains vii, 216 p.
|Details:||System requirements: World Wide Web browser and PDF viewer.|
|Responsibility:||by Rebecca H. Bias.|
Through close readings of individual films, the dynamics of music-hall films will be related to the relevant historical and cultural notions of the period. The music-hall motif will be examined on its own terms, but also in relation to the context or genre that underlies each particular film. The music-hall motif in films relies overwhelmingly on female performers and relevant feminist film theory of the 1970s will help support the analysis of female performance, exhibition, and relevant questions of spectatorship.
Music-hall cinema is an important motif in French film, and the female performer serves as the prominent foundation in these films. The advent of sound in cinema in France in 1929 opened new doors with regard to representation of voice, song, music, and spectacle. The music hall was enormously popular in France, but as its glory days diminished in the thirties and forties, music-hall content in French cinema generated nostalgia for by-gone days, and continued a national tradition.
- Baker, Josephine, -- 1906-1975
- Carné, Marcel.
- Clouzot, H.-G. -- (Henri-Georges)
- Florelle, -- 1898-1974.
- Mistinguett, -- 1875-1956.
- Piaf, Edith, -- 1915-1963.
- Renoir, Jean, -- 1894-1979.
- Motion pictures -- France.
- Music-halls (Variety-theaters, cabarets, etc.) in motion pictures.