O show deve continuar: o gênero musical no cinema

• Ano de defesa: 2005
• Autor(a) principal: Christine Veras de Souza
• Tipo de documento: Dissertação
• Tipo de acesso: Acesso aberto
• Idioma: por
• Instituição de defesa: Universidade Federal de Minas Gerais; UFMG
• Palavras-chave em Português: Filmes musicais; História e crítica; Filmes musicais História e crítica
• Link de acesso: http://hdl.handle.net/1843/VPQZ-73QQU9

Inside the industrial cinema, the musical genre had its potentialities concealed by the label of escapism, contributing to the alienation of the spectator. Since then, it has become necessary to rescue this dramatic modality, through analyses and studies of significant musicals productions, searching its importance to the development of the classical cinema language. The genre passed by different phases, being that, even after its decadence in the American film industry, continued being produced. In the XXI century, the musical resurrects once again in contemporary productions, showing a new path, through its adaptation to the rhythms and the tastes of todays spectator, and proving the incredible capacity of this genre in adapting itself to the new time, conquering new generations of movie fans. The musical, due to its narrative flexibility, opens the doors to all kinds of interesting experimentations with sound. Different productions explored the music, and continue to do it, as a formal resource to express the characters subjectivity. Other countries adventured in the creation of its own personal musical style. Therefore, the countries who decided to dedicate themselves to the genre have created characterized solutions of their nationality and culture, allowing new sights about musicals.