The Musical as Event. Modes of Address in Contemporary Film Musicals

Table of Contents

1. Introduction

2. The Film Musical and the Study of Film Audiences: A Theoretical Background

2.1. The Fluctuating Popularity of the Film Musical

2.2. From Spectators to Audiences

3. The Use of Pre-Existing Material

3.1. The Jukebox Musical

3.2. Showcasing the Songbooks of Mega Bands in Across the Universe and Mamma Mia!

3.3. Spotting the Song: The Anachronistic Use of Music in Moulin Rouge!

4. The Conscious Extravagance of Camp

4.1. The Camp Sensibility

4.2. Camp’s Spectacle and Tragedy in Moulin Rouge!

4.3. The Camp Journey towards Self-Affirmation in Hairspray

5. Nostalgic Remembrances and Reinventions of the Past

5.1. Nostalgia as a Form of Narrative in Film Musicals

5.2. “Grow Back Down Again!:” Personal and Collective Remembering in Mamma Mia!

5.3. Rewriting History in Hairspray

6. The Focus on Female Validation and Empowerment

6.1. Developments in Women’s Films

6.2. Revisiting ABBA’s Songs: The Power of Friendship and Independence in Mamma Mia!

6.3. Role Reversals and Power Shifts in Across the Universe

7. Conclusion

8. Works Cited

Research Objectives and Core Themes

This thesis investigates why contemporary film musicals have successfully engaged massive audiences, moving beyond the genre's earlier reputation as a niche or "mindless" category. By applying the reception study methodology of Janet Staiger, the research analyzes how films construct specific "modes of address"—such as pre-existing material, camp aesthetics, nostalgia, and female empowerment—to foster audience participation and emotional identification.

• The transition of the film musical from a niche genre to modern blockbusters.
• The role of "jukebox" soundtracks in triggering audience recognition and participation.
• The function of camp and irony as a deliberate mode of audience engagement.
• The use of nostalgia to create personal and collective meaning for viewers.
• The strategic re-gendering of musical numbers for female validation and empowerment.

Excerpt from the Book

Chapter Summary

1. Introduction: Outlines the recent resurgence of the film musical and establishes the methodology centered on Janet Staiger’s reception studies.

2. The Film Musical and the Study of Film Audiences: A Theoretical Background: Explores the history of the musical and the transition from classical spectatorship theory to modern audience reception studies.

3. The Use of Pre-Existing Material: Analyzes how "jukebox" musicals like Across the Universe and Mamma Mia! utilize familiar songbooks to create audience engagement.

4. The Conscious Extravagance of Camp: Discusses the function of irony and camp aesthetics in Moulin Rouge! and Hairspray as a deliberate tool for audience address.

5. Nostalgic Remembrances and Reinventions of the Past: Examines how films invoke personal and collective nostalgia to foster deeper emotional connections with viewers.

6. The Focus on Female Validation and Empowerment: Investigates the "re-gendering" of songs and the shift toward female-centered narratives as a strategy for modern blockbuster success.

7. Conclusion: Synthesizes findings on how the use of the familiar, surprise, and identification work together to ensure the contemporary success of the genre.

Keywords

Film Musical, Reception Study, Janet Staiger, Audience Engagement, Jukebox Musical, Camp, Nostalgia, Female Empowerment, Re-gendering, Blockbuster, Performative Spectatorship, Cultural Identity, Intertextuality, Popular Music, Media Studies

Frequently Asked Questions

What is the fundamental focus of this thesis?

The work explores how contemporary film musicals have achieved a resurgence in popularity by analyzing the specific strategies they use to engage audiences, focusing on the intersection of the film's "address" and the viewer's "reception."

What are the primary thematic areas investigated?

The research examines the use of pre-existing music (jukebox musicals), the deliberate use of camp aesthetics, the deployment of nostalgia as a narrative device, and themes of female empowerment through song re-gendering.

What is the central research question?

The thesis asks which elements of contemporary musicals are emphasized by critical reports and how these elements actively shape the movie-going experience, viewer participation, and overall audience engagement.

Which scientific methods are employed?

The work utilizes a historical-materialist reception study approach, primarily based on the theories of Janet Staiger and Stacy Ellen Wolf, to analyze film reviews as "traces" of audience reception.

What content is covered in the main body?

The main chapters provide a theoretical foundation followed by detailed analyses of specific films—Across the Universe, Mamma Mia!, Moulin Rouge!, and Hairspray—categorized by their specific mode of address.

Which keywords best characterize the work?

The work is defined by terms such as Film Musical, Reception Study, Audience Engagement, Camp, Nostalgia, and Female Empowerment.

How does Moulin Rouge! use music compared to the other films?

Unlike the other films which focus on the oeuvre of a specific band, Moulin Rouge! employs a compilation of anachronistic music from diverse artists to create a "frenzy" of song that serves a narrative function through collage.

In what way does the thesis address the "re-gendering" of songs?

It analyzes how changing the gender of the original singer of familiar songs in Mamma Mia! and Across the Universe subverts traditional power hierarchies, allowing female characters to reclaim songs previously associated with submissive or desperate narratives.