From Stage To Screen

This volume offers new contributions to international scholarship on musical films (1927–1961), focusing in particular on the relationships between entertainment genres such as operetta, café music, music hall, cabaret, revue that were prominent during the early years of film. In this volume twenty scholars investigate a number of significant aspects of the topic, exploring the interrelations and possible borrowings between European film culture (including some reference to Eastern European film culture), and the musical theatre and film tradition of the United States. The authors featured are: Lauren Acton, Beatrice Birardi, Antonio Caroccia, Marija Ćirić, Jonathan De Souza, James Deutsch, Alexandra Grabarchuk, Clara Huber, Ryan P. Jones, Raymond Knapp, Isabelle Le Corff, Sergio Miceli, Matilde Olarte, Jaume Radigales, Elena Redaelli, Marida Rizzuti, Cécile Vendramini, Isabel Villanueva, Delphine Vincent, Emile Wennekes, Leanne Wood, Iryna Yaroshchuk.

TABLE OF CONTENTS

Massimiliano Sala, Preface

Lauren Acton, Can’t Help Lovin’ Dat Musical: 'Show Boat' in Films and Revivals– Beatrice Birardi, The Docu-Opera in the Italian Cinema of the 1940s: Another Way to See the Opera on the Screen– Antonio Caroccia, ‘Camillo De Nardis e il cinema’ – Documenti inediti – Maria Ćirić, Music in Ex-Yugoslav Cinematography 1945-1961: On the Road to Musical – Jonathan De Souza, Film Musicals as Cinema of Attractions – James I. Deutsch & Lauren R. Shaw, From 'Liliom' to 'Carousel' to 'Liliom' – Alexandra Grabarchuk, The Finality of Stories Such as These: Exploring Narrative and Concept in Stephen Sondheim’s 'Into the Woods' – Clara Huber, The Country Girl, the Emperor and Some Saltsticks: The Musical Film 'Spring Parade', Its Affinity to Viennese Operetta and the Changing Contexts of Its Screen Adaptations – Ryan Patrick Jones, Copland on Wilder: Scoring Existential Theatre in Early American Film – Raymond Knapp, Getting off the Trolley: Musical 'contra' Cinematic Reality – Isabelle Le Corf – Cécile Vendramini, 'Carmen Jones', a Faithful Adaptation of Bizet’s Opera? – Sergio Miceli, WYSIWYG (What You See Is What You Get). Movie Musical / Film musicale / Film di argomento musicale: è necessario distinguere – Matilde Olarte, El protagonismo femenino-masculino en los musicales de Fred Astaire y Gene Kelly: vigencia y actualidad – Jaume Radigales & Isabel Villanueva, 'Carmen Jones': Between Opera and Musical – Elena Redaelli, L’influenza del 'melodrama' ottocentesco da 'Showboat' a Sondheim – Marida Rizzuti, 'Love Life e Trouble in Tahiti': rappresentazione della famiglia americana – Delphine Vincent, «Lippen schweigen, ’s flüstern Geigen: Hab mich lieb!» Seduction, Powers Relations and Lubitsch’s Touch in 'The Merry Widow' – Emile Wennekes, Betty Meets Cab: The Hi-De-Ho Man Animated – Leanne Wood, Technology, Authenticity, and the Pastoral Ideal: Viewing Oklahoma! Through the Lens of Todd-AO – Iryna Yaroshchuk, The Elusive Mary Poppins: Issues of Gender and Class in the Disney Version (1964) and Mosfilm’s Mary Poppins Goodbye (1983)