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Representing the Midwest in American...

Wood, Cara Leanne.

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Representing the Midwest in American stage and film musicals, 1943-1962.

紀錄類型:	書目-語言資料,印刷品 : Monograph/item
正題名/作者:	Representing the Midwest in American stage and film musicals, 1943-1962./
作者:	Wood, Cara Leanne.
面頁冊數:	281 p.
附註:	Source: Dissertation Abstracts International, Volume: 72-01, Section: A, page: .
Contained By:	Dissertation Abstracts International72-01A.
標題:	American Studies. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3435949
ISBN:	9781124348797

Representing the Midwest in American stage and film musicals, 1943-1962.
Wood, Cara Leanne.

Representing the Midwest in American stage and film musicals, 1943-1962. - 281 p.

Source: Dissertation Abstracts International, Volume: 72-01, Section: A, page: .

Thesis (Ph.D.)--Princeton University, 2010.

The 1940s and 1950s saw an unlikely flowering of musicals set in the Midwest. Beginning in 1943 with Rodgers and Hammerstein's Oklahoma! , musicals such as State Fair, The Pajama Game, and The Music Man proved that---contrary to industry experts' beliefs---the people, places, and sounds of America's heartland were immensely appealing to sophisticated urban theater audiences. For most of the city-dwelling artists who created these musicals, the Midwest represented a nostalgic, all-American ideal: paradoxically, the region epitomized core national values and beliefs, yet it also seemed exotically and enchantingly different from the urban milieux of Broadway and Hollywood. Despite these musicals' shared geographical identity, their stances toward the region are varied and often ambivalent.

ISBN: 9781124348797Subjects--Topical Terms:

1017604
American Studies.

Representing the Midwest in American stage and film musicals, 1943-1962.
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520 $a The 1940s and 1950s saw an unlikely flowering of musicals set in the Midwest. Beginning in 1943 with Rodgers and Hammerstein's Oklahoma! , musicals such as State Fair, The Pajama Game, and The Music Man proved that---contrary to industry experts' beliefs---the people, places, and sounds of America's heartland were immensely appealing to sophisticated urban theater audiences. For most of the city-dwelling artists who created these musicals, the Midwest represented a nostalgic, all-American ideal: paradoxically, the region epitomized core national values and beliefs, yet it also seemed exotically and enchantingly different from the urban milieux of Broadway and Hollywood. Despite these musicals' shared geographical identity, their stances toward the region are varied and often ambivalent.
520 $a This dissertation explores how, why, and to what effect the creators of stage and film musicals depicted the Midwest during the mid-twentieth century. Rather than compare the merits of native versus non-native representations of the Midwest, I interrogate and explain their creators' attitudes toward the region. In order to do this, I situate these musicals and their literary antecedents within their own historical moments, and within the more wide-ranging artistic traditions of pastoralism and literary regionalism. This dissertation is one of the few musical theater studies to give extensive and coequal consideration to the literary sources and film adaptations of stage musicals. Each chapter examines the perceived (and sometimes authentic) "Midwesternness" of these musicals' song styles, lyrics, choreography, and set design, the source materials from which their creators drew inspiration, and the aesthetic impulses that shaped their decisions. Using previously untapped archival and print sources, this study also considers issues of reception and historical context: how did professional reviewers and average viewers respond to these musicals? How did these musicals reflect or influence contemporary political and social discourses?
520 $a Taking into account the complexity of these musicals' real and imagined geographies, I show how the quintessentially American genres of musical theater and film function as significant vehicles for shaping national identity. In so doing, I demonstrate how these musicals' creators, promoters, and critics perpetuated nostalgic stereotypes and pastoral myths of the Midwest, and how these works continue to influence viewers' understanding of the region and its people.
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