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Zusatztext Musicals at the Margins covers a wide range of musical texts existing on the borders of the genre, expanding and complicating how musical texts make meaning as musicals. The anthology’s remarkable selection of scholars examines generic outliers—like rockumentaries, dance-focused films, televised lip-synching contests, Bollywood “song picturization,” and short-form pop music film—demonstrating how methodologies developed by canonical musical scholars like Rick Altman and Jane Feuer continue to inform contemporary scholarship. As the boundaries between genres, media platforms, and audiences become increasingly difficult to parse, Shearer and Wright’s collection is a much-needed addition to the existing literature on the musical, and the field of genre theory as a whole. Informationen zum Autor Julie Lobalzo Wright is a Teaching Fellow in Film and Television Studies at the University of Warwick, UK. She is the author of Crossover Stardom: Male Popular Music Stars in American Cinema (Bloomsbury, 2018), co-editor with Lucy Bolton of Lasting Screen Stars: Images that Fade and Personas that Endure (2016), and has published research on stardom and musical/music films in various edited collections and in the journals, Celebrity Studies and Film/Philosophy . Martha Shearer is Assistant Professor and Ad Astra Fellow in Film Studies at University College Dublin, Ireland. She is the author of New York City and the Hollywood Musical: Dancing in the Streets (2016). Her work on the musical has also been published in Screen , The Soundtrack , and The Oxford Handbook of Musical Theatre Screen Adaptations (2019). Vorwort Explores the films and media texts, cycles, and sequences situated at the margins and boundaries of the musical genre across a range of media, time periods, and global contexts, illustrating a need for a broader and more flexible approach to both this specific genre and film genres in general. Zusammenfassung But is it a musical? This question is regularly asked of films, television shows and other media objects that sit uncomfortably in the category despite evident musical connections. Musicals at the Margins argues that instead of seeking to resolve such questions, we should leave them unanswered and unsettled, proposing that there is value in examining the unstable edges of genre. This collection explores the marginal musical in a diverse range of historical and global contexts. It encompasses a range of different forms of marginality including boundary texts (films/media that are sort of/not quite musicals), musical sequences (marginalized sequences in musicals; musical sequences in non-musicals), music films, musicals of the margins (musicals produced from social, cultural, geographical, and geopolitical margins), and musicals across media (television and new media). Ultimately these essays argue that marginal genre texts tell us a great deal about the musical specifically and genre more broadly. Inhaltsverzeichnis List of FiguresAcknowledgements1. Introduction: Genre Panic at the MarginsJulie Lobalzo Wright and Martha Shearer Generic boundaries 2. Danceploitation, Musical Disruption, and Synergy in Saturday Night Fever , Flashdance , and Breakin’ Jenny Oyallon-Koloski3. Pitching Utopia: Popular Music, Community, and Neoliberalism in the Choir FilmEleonora Sammartino4. E-Q-U-I-T-Y: Generic Boundaries, Gender, and Real Estate in the Magic Mike Films Martha Shearer5. Saint-Louis Blues: From Oral Storytelling to Aural Filmmaking Estrella Sendra Fernández Musicals of the margins 6. The Marseille Film OperettaMarie Cadalanu and Phil Powrie7. Heteroglossia in the Musical Number: Song, Music Performance, and Marginalised Identity in Tony Gatlif’s Swing (2002)Tamsin Graves8. ...
