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The International Film Musical

Edited by Corey K Creekmur, Linda Y Mokdad

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This is the first comparative consideration of the musical's role within national cinema traditions. While the musical is one cinema's few genuinely international genres, it has often functioned as an explicitly local or national form, drawing upon distinct traditions understood as 'native' rather than 'international'. Simultaneously, musicals from around the world have often imitated Hollywood models, resulting in their easy dismissal as culturally 'impure' and demonstrating the creative and ideological tension between promoting and abandoning traditional cultural forms and styles. This productive tension between local and global elements lies at the heart of international film musicals, which typically acknowledge the dominant Hollywood model while claiming their own cultural specificity.

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Contents

Illustration
Acknowledgements
Notes on Contributors
Introduction: Corey K. Creekmur and Linda Y. Mokdad
PART I: EUROPE
1. Great Britain: John Mundy
2. France: Kelley Conway
3. Germany: Antje Ascheid
4. Portugal: Lisa Shaw
5. Spain: Inmaculada Sánchez Alarcón
6. Italy: Alex Marlow-Mann
7. Greece: Lydia Papadimitriou
8. Russia: Richard Taylor
PART II: LATIN AMERICA
9. Mexico: Ana M. López
10. Brazil: João Luis Viera
PART III: ASIA
11. Japan: Aaron Gerow
12. China: Emilie Yueh-yu Yeh
13. India: Michael Lawrence
PART IV: THE MIDDLE EAST
14. Egypt: Linda Y. Mokdad
15. Turkey: Nezih Erdo?an
PART V: HOLLYWOOD AND THE WORLD
16. The Postmodern Transnational Film Musical: Björn Norðfjörð
Coda: Rick Altman
Index.

About the Author

Corey K. Creekmur is Associate Professor in the Departments of English and Cinema & Comparative Literature at the University of Iowa, where he also directs the Institute for Cinema and Culture. He is the author of Cattle Queens and Lonesome Cowboys: Gender and Sexuality in the Western (Duke UP, forthcoming) and the author of numerous essays on film music and popular Hindi cinema.

Linda Y. Mokdad is Visiting Assistant Professor at Michigan State University. She works on Hollywood and Arab cinemas, and has most recently completed an essay on the films of Palestinian filmmaker Elia Suleiman (Wallflower Press, forthcoming).

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