...David Copenhafer In David Lynch's Blue Velvet , music is a key component of the film's intricate staging of gender and sexuality. “Mourning and Music” interprets four scenes in which characters either sing songs or imitate singing. It argues that the unsettling appearance of gender and sexuality...

...Henry Jenkins Copyright © 1990 by The Johns Hopkins University Press 1990 “If I Could Speak With Your Sound”: Fan Music, Textual Proximity, and Liminal Identification Henry Jenkins I was with the Midwest crowd Who stood in line...

... literature and film. Virginia (Nicole Kidman) enters the river in The Hours (dir. Stephen Daldry, US, 2002). Melancholic Arrangements: Music, Queer Melodrama, and the Seeds of Transformation in The Hours Michael LeBlanc One feels even in the midst of the traffic, or working at night...

... common in television storytelling: theme singing as declaration of selfhood, theme singing as expression of kinship, and theme singing as assertion of community. Further, it analyzes Solange’s and SZA’s involvement with Insecure (HBO, 2016–) as music consultant and soundtrack contributor, respectively...

...Stacy Wolf Camera Obscura 2007 Stacy Wolf is an associate professor in the Performance as Public Practice Program in the Department of Theatre and Dance at the University of Texas at Austin. She is the author of A Problem Like Maria: Gender and Sexuality in the American Musical (2002...

...Bradley Rogers This essay interrogates the popular ideology of integration in American musical theater, arguing that the “integration” of Oklahoma! was less the integration of music and narrative and more a related (and almost equally uneasy) attempt to minimize the eruptive force of female musical...

...Edward Baron Turk Copyright © 1991 by The Johns Hopkins University Press 1991 I Married an Angel (W. S. Van Dyke, MGM, 1942) Deriding the Voice of Jeanette MacDonald: Notes on Psychoanalysis and The American Film Musical Edward Baron Turk I...

... of music and film, the collaborative process between the artists, and how their collaboration shape-shifted over time. Three early short films (1986–89) chart Sonia’s first appearances, leading to Chantal’s invitation to shape the music of Histoires d’Amérique: Food, Family, and Philosophy (France/Belgium...

... musical fashions such as American rock and roll, swing, mambo, calypso, and cha-cha. Her performances stand out as key sites for the cinematic remediation of foreign musical styles, channeling and absorbing their connotations of otherness, exoticism, and sensuality. Moreover, Mambo Girl catalyzed a far...

... simultaneously promoting her image of eternal adolescence. Throughout Durbin's career, the standardization of playback as a means of producing Hollywood musical numbers guaranteed that viewers would always be reminded of the time of the music's recording, a moment exposed in her early films in which Durbin...

... Hollywood musical, Vallois creates a cinematic experience that merges historical film aesthetics with the late 1960s and early 1970s homosexual movement unfolding in France. Through a self-conscious film-within-a-film narrative, Johan provocatively commingles several genre forms (documentary, the musical...

... female performer and, in some cases, a pop music sound track; these films include COSMIC RAY (1961), VIVIAN (1964), EASTER MORNING RAGA (1966), and THE WHITE ROSE (1967). This essay examines a work by Conner that combines all of these elements, 1966's BREAKAWAY, an experimental dance film he made...

...Francesca Coppa Vidding is a thirty-year-old remix practice in which predominantly female media fans reedit television or film into music videos. Vidding is important not only as an art form in its own right but also as a subcultural — and often feminist — reinterpretation of and confrontation...

...Francesca Coppa; Rebecca Tushnet Vidding is a thirty-year-old remix practice in which predominantly female media fans reedit television or film into music videos. Vidding is important not only as an art form in its own right but also as a subcultural — and often feminist — reinterpretation...

...Kristina Busse; Alexis Lothian Vidding is a thirty-year-old remix practice in which predominantly female media fans reedit television or film into music videos. Vidding is important not only as an art form in its own right but also as a subcultural — and often feminist — reinterpretation...

... dancer, María Antonia integrates performance and music (as well as the urban social spaces in which they are presented) as central cinematic devices to expose and protest against social injustices particular to the Caribbean and the Americas. Nadia Sophia Sanko received a PhD in Hispanic...

...Katherine Fusco This article argues that Virtual 2Pac , created in 2012 by Digital Domain Media Group in collaboration with Dr. Dre for the Coachella Valley Music and Arts Festival, represents an important twenty-first-century challenge to the relationships between performance and performer, film...

.... Whether the relationships are straight, gay, or bisexual; maternal, paternal, or filial; motivated, situational, or opportunistic; whether the worlds they inhabit are those of art photography, popular music, or medicine; whether their compulsions are addictive, obsessive, or narcissistic; the common story...

...Anthea Kraut Abstract This essay revisits the question of credit and debt in the celebrated 1952 film musical Singin’ in the Rain (dir. Gene Kelly and Stanley Donen, US) to show how white women's dancing bodies participate in the “talent relocations” that the movie both thematizes and suppresses...

.... In this perspective, techniques of voice modulation and social modulation are tandem technologies. The voice modulation that has figured prominently in media cultures in recent decades—from the music of Cher to T-Pain and beyond—is not merely a consequence of digital media and control societies but is also integral...