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Black/white encounters on the Americ...

Decker, Todd R.

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Black/white encounters on the American musical stage and screen (1924--2005).

紀錄類型:	書目-語言資料,印刷品 : Monograph/item
正題名/作者:	Black/white encounters on the American musical stage and screen (1924--2005)./
作者:	Decker, Todd R.
面頁冊數:	511 p.
附註:	Advisers: Richard Crawford; Steven M. Whiting.
Contained By:	Dissertation Abstracts International68-02A.
標題:	American Studies. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3253256

Black/white encounters on the American musical stage and screen (1924--2005).
Decker, Todd R.

Black/white encounters on the American musical stage and screen (1924--2005). - 511 p.

Advisers: Richard Crawford; Steven M. Whiting.

Thesis (Ph.D.)--University of Michigan, 2007.

This dissertation examines occasions when black and white performers playing black and white characters sing or dance together in a musicalized dramatic narrative. Grouped here under the term black/white encounter, I consider such instances of interracial performance in four adjacent domains: the Broadway stage, Hollywood musical films, early television variety shows, and the American opera stage. The chronological reach of the study extends from the 1920s to the present, taking up each domain at a time when it was, arguably, indicative of race relations more generally in American culture. The principal examples of black/white encounter studied here are the 1927 Broadway musical Show Boat (music by Jerome Kern, book and lyrics by Oscar Hammerstein II), Fred Astaire's solo dances on film, television, and sound recordings from the 1930s to the 1960s, and the 2005 opera Margaret Garner (music by Richard Danielpour, libretto by Toni Morrison). Each is treated in an independent, self-contained chapter.Subjects--Topical Terms:

1017604
American Studies.

Black/white encounters on the American musical stage and screen (1924--2005).
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500 $a Advisers: Richard Crawford; Steven M. Whiting.
500 $a Source: Dissertation Abstracts International, Volume: 68-02, Section: A, page: 0395.
502 $a Thesis (Ph.D.)--University of Michigan, 2007.
520 $a This dissertation examines occasions when black and white performers playing black and white characters sing or dance together in a musicalized dramatic narrative. Grouped here under the term black/white encounter, I consider such instances of interracial performance in four adjacent domains: the Broadway stage, Hollywood musical films, early television variety shows, and the American opera stage. The chronological reach of the study extends from the 1920s to the present, taking up each domain at a time when it was, arguably, indicative of race relations more generally in American culture. The principal examples of black/white encounter studied here are the 1927 Broadway musical Show Boat (music by Jerome Kern, book and lyrics by Oscar Hammerstein II), Fred Astaire's solo dances on film, television, and sound recordings from the 1930s to the 1960s, and the 2005 opera Margaret Garner (music by Richard Danielpour, libretto by Toni Morrison). Each is treated in an independent, self-contained chapter.
520 $a Beyond the unifying notion of a particular type of interracial performance in narrative contexts, each case study expands on the notion of black/white encounter in ways appropriate to the specific genres under consideration. How works and performances centered on black/white encounters came to be made is treated at length by way of archival research in Parts One and Two. A generic encounter between an African American literary genre and the American opera stage, dominated as it is by a canon of mainly nineteenth-century European operas, is a central question in Part Three. In all three parts, the conditions of possibility for black and white Americans to share a song or dance on stage or screen are seen to change in ways that run parallel or in contrast to larger trends across a contentious, but ultimately progressive century that saw the transformation of race relations in the United States.
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