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In examining the relationship between the spectacular, iconic and
vibrant New York of the musical and the off-screen history and
geography of the real city-this book explores how the city shaped
the genre and equally how the genre shaped representations of the
city. Shearer argues that while the musical was for many years a
prime vehicle for the idealization of urban density, the
transformation New York underwent after World War II constituted a
major challenge to its representation. Including analysis of 42nd
Street, Swing Time, Cover Girl, On the Town, The Band Wagon, Guys
and Dolls, West Side Story and many other classic and little-known
musicals-this book is an innovative study of the relationship
between cinema and urban space.
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.
Winner of the the 2021 Best Edited Collection Award from BAFTSS
Winner of the 2021 British Fantasy Award in Best
Non-Fiction​ ​Finalist for the 2020 Bram Stoker Award® for
Superior Achievement in Non-Fiction Runner-Up for Book of the Year
in the 19th Annual Rondo Halton Classic Horror Awards​ “But
women were never out there making horror films, that’s why they
are not written about – you can’t include what doesn’t
exist.” “Women are just not that interested in making horror
films.”  This is what you get when you are a woman working
in horror, whether as a writer, academic, festival programmer, or
filmmaker. These assumptions are based on decades of flawed
scholarly, critical, and industrial thinking about the genre. Women
Make Horror sets right these misconceptions. Women have always made
horror. They have always been an audience for the genre, and today,
as this book reveals, women academics, critics, and filmmakers
alike remain committed to a film genre that offers almost unlimited
opportunities for exploring and deconstructing social and cultural
constructions of gender, femininity, sexuality, and the body. Women
Make Horror explores narrative and experimental cinema; short,
anthology, and feature filmmaking; and offers case studies of North
American, Latin American, European, East Asian, and Australian
filmmakers, films, and festivals. With this book we can transform
how we think about women filmmakers and genre.
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.
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