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Singin' and Dancin' in Hollywood: The Role of Music, Song, and Dance in the Movie Musical
(2009) 陳美如; Elizabeth Wozniak
Despite the public fascination with the film musical, little attention has been given to the academic pursuit of its music. Frequently, the musical numbers are the highlights of these films, and they can function as a means of non-verbal expression and a manifestation of the characters’ psychological motivations. It is through the analysis of the relationship between music, dance, and the language of cinema (particularly camera angle and editing) that these issues are examined, and upon conclusion, it is hoped that greater academic attention may be given to the interplay between these elements. The prime examples for this analysis are two musical numbers: the “blues” sequence in the An American in Paris Ballet from An American in Paris (Vincente Minnelli, 1951), and the solo dance scene in Singin’ in the Rain (Gene Kelly and Stanley Donen, 1952). Both films were made during Hollywood’s “Golden Age,” and are centered around song catalogues of specific composers; George and Ira Gershwin in the case of An American in Paris and Arthur Freed and Nacio Herb Brown for Singin' in the Rain.