Brady Dugan

Walking on Sunshine is a 2014 British jukebox musical romantic comedy-drama film directed by Max Giwa and Dania Pasquini. The film features popular hit songs from the 1980s and is often compared to Mamma Mia!. The plot of Walking on Sunshine revolves around a young woman who travels to a beautiful coastal village in Italy to attend her sister's impromptu wedding. She soon discovers that the groom is her ex-boyfriend whom she’s still in love with. The story unfolds with a backdrop of sunny beaches and features plenty of singing and dancing to iconic 80s hits. The film is known for its energetic musical numbers and vibrant settings, even though it received mixed reviews for its storyline and character development.

What are the social aspects within the film’s narrative that align with the film’s songs? 

In Walking on Sunshine, the use of vibrant 1980s pop songs directly correlates with the film’s themes of love, joy, and summer romance. Each song is chosen to enhance the film's emotional landscape and reinforce the relationships and conflicts between characters. For instance, the title track "Walking on Sunshine" by Katrina and The Waves is emblematic of the film's overall atmosphere of celebratory love and carefree spirit. The social context here is a nostalgic callback to the 1980s, a time perceived as colorful and full of energy, which mirrors the scenic, lively Italian wedding setting in the film.

How do the historiographies of previously recorded songs inform audience relationships with the musical’s narrative and performers? 

The songs selected for Walking on Sunshine carry with them decades of history and individual memories, which help to establish a deeper connection between the audience and the narrative. The film's remix/rendition of "Girls Just Wanna Have Fun" and "Wild Boys" are pivotal in invoking a specific emotional and cultural recall from the audience. "Girls Just Wanna Have Fun," a feminist anthem of self-expression and independence, resonates with the film’s portrayal of strong, independent women navigating love and personal desires. This rendition allows the audience to connect with the characters' journeys through a familiar lens of empowerment and youthful rebellion. This song is interwoven with "Wild Boys" by Duran Duran. With its wild and energetic vibes, "Wild Boys" is used to underline themes of unruly passion and the tumultuous relationships among the characters. The use of these songs (as well as the costume choices in these scenes) not only enhances the narrative but also activates the audience's personal and collective memories, influencing their reception of the film's events and character arcs.

What musical genre/style drives the film’s score, and how does the genre/style (re)define the film as a musical? 

Walking on Sunshine leverages the pop genre, particularly hits from the 1980s, as its driving musical force. Unlike traditional musicals that might rely on Broadway-style numbers, this film’s score is composed entirely of pre-existing pop songs. This choice significantly redefines the film’s classification within the musical genre by merging pop culture with cinematic storytelling. The upbeat and synthesizer-heavy music typical of the 1980s not only supports the film's energetic dance sequences and vibrant aesthetics but also modernizes the musical genre for an audience that might not connect with traditional musical theater. This redefinition makes the genre more accessible and relatable to a broader, possibly younger audience.

What are the social aspects within the film’s narrative that align with the film’s songs?

The Blues Brothers establishes the group of Nazi’s that follows them around as a central villain and point of ridicule throughout the film. Policing in general and law enforcement are also another social aspect within the narrative as both Jake and Elwood are running from the law. The film pokes fun at the extreme lengths law enforcement takes to arrest the Blues Brothers and their failure to do so. The film has several car chases with one spanning over 20 minutes, and a record of one hundred and four cars destroyed during filming. These ridiculous stunts constantly reaffirm that the Blues Brothers are on the other side of law enforcement. This type of narrative–music as rebellion and performance as protest–is bolstered by the film’s Rock and Roll and R&B soundtrack. 

How do the historiographies of previously recorded songs inform audience relationships with the musical’s narrative and performers?

The historiographies of these previously recorded songs are what make this film special. The audience already has strong ties to the iconic performers and their songs, so any decontextualization for narrative continuity is minor. That is to say, this film doesn’t attempt to disguise performers like Aretha Franklin, Ray Charles, and Cab Calloway. It embraces their presence and the influence they hold as musicians. For example, “Think” by Aretha Franklin was released during the civil rights movement. When she performs it in The Blues Brothers, the narrative shifts the song's original meaning. Her character Mrs. Murphy asks her husband to think before he leaves to go off with the band. Despite this shift, the song’s original context is still very attached to the performance.

What musical genre/style drives the film’s score, and how does the genre/style (re)define the film as a musical?

Soul and R&B drive the film’s score with performances like “Think” performed by Aretha Franklin, “Minnie the Moocher” performed by Cab Calloway, and “Shake A Tail Feather” by Ray Charles. I think this choice of genre defines The Blues Brothers unique feel and makes the dry humor and slapstick comedy so successful. Despite being set in 1980, the film pays homage to iconic performers of the late 50s and 60s. Elwood and Jake are even made fun of for their black hats, sunglasses, and suits, but they maintain their signature “old-school” style throughout. The film's commitment to incredible performers is just one of the reasons it has become a classic.

Meet Me in St. Louis follows the Smith family living in St. Louis the year before the 1904 World’s Fair. Esther Smith, played by Judy Garland, is the middle “child” of five siblings but is notably the most outgoing, and thus the lead, of her entire family of eight. Garland sings most of the featured songs, including those original to this film:  "The Trolley Song", "The Boy Next Door", and "Have Yourself a Merry Little Christmas”. Most of the remaining songs we popular during the time of the World’s Fair.

Social Context for Musical Relevance

This film straddles two remarkably different eras of US history. The beginning of the 20th century (when the film is set) marked great changes in industrialization and first-wave feminism, while the 1940s (when the film was made) can be largely characterized by WWII and FDR’s final term. Two songs - “The Boy Next Door” and “Over the Bannister” balance these two times while mostly serving to satisfy the 1940s audience. “The Boy Next Door” follows a conversation between Esther and her older sister, Rose, who leaves her sister with the sentence “My dear when you get to be my age you’ll learn that there are more important things in life than boys”. The first few scenes of the film cover the fact that Rose, despite her “spinster” age, is not yet married. While this isn’t necessarily problematized it is heavily emphasized. Instead of following in her sister’s footsteps, Esther yearns for love and attention but seeks it out on her terms. Her relationship with the boy next door, John Truett, begins with these two songs. Last week we discussed Altman’s “inevitable couplings”: this pairing, despite falling into the heteronormative framework and finality of so many other musicals, does require effort and initiation from Esther’s character specifically. When John first kisses Esther, long after the performance of these songs, she hesitates. While this relationship is a goal for Esther, she prioritizes her family and personal needs. Rose and Esther’s overall characters and personalities are reminiscent of the feminist movement they harken from, but their ultimate decisions to settle down with comfortably wealthy men aim to please an audience engulfed in war, loss, and instability.

The Cultivation of Christmas Cheer and Nostalgia

Though half the songs are original to the score, the pieces that make this a jukebox musical serve mainly to cultivate nostalgia and joy. Again, the films release during WWII shaped the messaging required or desired by audiences. “Skip to Ma Lou” is sung to the tune of “Yankee Doodle” and other short ditties popular in the late 19th and early 20th centuries but likely still familiar to adult audiences in 1944. This party scene as a whole evokes normalcy, making the plot and characters more desirable and relatable. Other songs included in the score are “auld lang syne” and “the first noel”, some of the oldest Christmas songs that maintain their relevance to this day. Meet Me in St. Louis is often categorized as a Christmas movie despite only the last 20 or so minutes being set during the holiday season. Including these familiar songs in the score sends clear messages about the persistence of peace and being in communion with one another. These songs don’t necessarily have specific or relevant histories but they do have age-old recognition.

Melodrama Meets Musical

Meet Me in St. Louis combines opera, show tunes, and classical music to create a sound that effortlessly blends into the diegesis of the film. Erin Blakemore notes how the film lacks large, spontaneous musical numbers despite all the crowd scenes and possibilities for such fanfare. Rather, the creators integrated music into the Smith family’s regular routines: their parties and goodbyes, moments of comfort and joy. The rest of the score is used more like it would be in a non-musical drama as a sort of choral, background send-off. This movie is undoubtedly still a musical, but it's more “natural”, and perhaps more aligned with the folk musical, than the others we’ve analyzed.

What are the social aspects within the film’s narrative that align with the film’s songs?

The film explores many social aspects throughout the course of the narrative, and they play extremely significant roles in the story and in providing context for the story. It explores themes of love, sin, societal norms, freedom, forbidden love, love, and ambition. I included forbidden love as being separate to love in this case because while love is an overarching theme, the narrative is as tragic as it is because the love is forbidden.

For example, to set the stage for the film contextually, we have three songs performed at the nightclub, Moulin Rouge, by Satine (Nicole Kidman) and an ensemble of the other nightclub performers. They perform "Lady Marmalade" which talks about the performer's sense of independence as women doing what they have to do provide for themselves. One of the lines in the song is "We independent women, some mistake us for whores/I'm sayin', 'Why spend mine when I can spend yours?'" The next song, "Sparkling Diamonds" performed by Satine also contributes to this idea of freedom and ambition. "Sparkling Diamonds" has a catchy line, "Diamonds are a girl's best friend...'cause we are living in a material world/and I am a material girl". This provides context to our story, and the kind of life that the female protagonist leads, as her character is driven by her ambition to become a "real actress" with no time for love.

Also during this ensemble musical number at the nightclub, the men dance around singing lyrics to Nirvana's "Smells Like Teen Spirit", "Here we are now, entertain us", suggesting that the women are there solely for their pleasure, and that they are entitled to the power they hold in that dynamic.

How do the historiographies of previously recorded songs inform audience relationships with the musical’s narrative and performers? 

Seeing as this movie was released in 2001, the songs used in it are from an era that now in 2024 evokes much nostalgia. Now, the film samples a lot of existing songs, and combines them to make new songs. Some of the songs with historiographies that carry the most weight are "Come What May", "Roxanne" by The Police in "El Tango de Roxanne", "Your Song" by Elton John, "One Day I'll Fly Away" by Randy Crawford, "Diamonds Are a Girl's best Friend" by June Stone and Leo Robins, and "Smells Like Teen Spirit" by Nirvana. However, I will only talk about a few of them.

What's interesting about "Come What May"--as it is actually an original song for the film--is that it was originally intended for Luhrmann's Romeo + Juliet. We are all familiar with Romeo and Juliet, their story synonymous with tragedy. Knowing this, we can get a better understanding of the doomed relationship between Christian (Ewan McGreggor) and Satine (Nicole Kidman).

Now "Roxanne" by The Police is a song about a man who falls in love with a prostitute. The song as is used n the film is meant to convey the futility of Christian and Satine's efforts to maintain their relationship. In fact, it comes at a pivotal time in the film when Christian must confront his jealousy.

The song "One Day I'll Fly Away" by Randy Crawford is actually a very telling number as it foreshadows what is to come. It is performed by Satine after her first encounter with Christian, and after having passed out on stage earlier that night where we learn that she is very sick. Though within the context of the film, it sounds like flying away means achieving her dream of becoming an actress, but this is not the case. The song's meaning is that one day we'll be able to "fly away" and go to heaven. For Satine, this is very much the case as we learn at the beginning of the film that she passes away soon after falling in love with Christian due to her sickness.

The last song I'll talk about is "Diamond's Are a Girl's best Friend". This song is about women accepting the cruel ways in which the world operates, and learning to take advantage of it. It talks about not relying on men for anything beyond his material value. This song is sung whilst Harold Zidler (Jim Broadbent), the nightclub's owner tells Satine that he has arranged for her to meet The Duke (Richard Roxburgh) so that she can seduce him and convince him to fund their next show so that she may have a better chance of becoming an actress. Just as the song says not to rely on men for anything beyond their money, Satine must secure The Duke's funding by pretending that she is in love with him.

What musical genre/style drives the film’s score, and how does the genre/style (re)define the film as a musical?

Stormy Weather is a 1943 musical directed by Andrew L. Stone. Stormy Weather made history being one of the earliest films with an all-Black cast to be released by a major American studio (being released by Twentieth Century Fox). The film follows the story of Bill Williamson as he recounts it years later in a series of flashbacks which depict his return from serving in World War I. Upon returning to the US, Bill meets Selina, a famous singer and performer. Over the course of the film, Bill grows closer to Selina as he travels to New Orleans in order to pursue the dream of becoming a performer himself. The film is full of numbers which employ jazz and swing music from the early half of the twentieth century. 

What are the social aspects within the film’s narrative that align with the film’s songs? 

Stormy Weather uses its songs in order to develop the diegesis and tone of the film, in addition to exploring its themes further. The film’s focus on romance and connections between people is explored through its use of songs like “I Can’t Give You Anything But Love, Baby”, “Aint Misbehavin” or the titular “Stormy Weather”. The film pointedly distances itself from making commentary about larger societal and cultural issues, however, as the setting which the  characters occupy is devoid of any mention of race or class. 

How do the historiographies of previously recorded songs inform audience relationships with the musical’s narrative and performers? 

The historiographies of previously recorded songs help to inform audience relationships with Stormy Weather’s story, characters, and relationships between characters. By intertwining the film’s narrative with familiar songs, Stormy Weather situates itself within the tradition of American jazz and swing. By employing songs which had already built rich histories in American musical tradition, Stormy Weather enriches its narrative centered around performance and art. These known, preexisting songs are used as short hand for narrative development and fit seamlessly into the conceit of the film. 

What musical genre/style drives the film’s score, and how does the genre/style (re)define the film as a musical? 

Stormy Weather primarily employs jazz standards in developing its sonic tapestry. Its choice of songs covers a century’s worth of music – from the mid-1800s to the 1940s. Many of the songs used by the film were written or originally performed by Black artists like Ethel Waters or Andy Rafaz. By highlighting jazz music in a film depicting an all-Black cast, Stormy Weather helps to reclaim jazz within the Black community after a generation of appropriation by white audiences. 

However, as most of the creative body behind Stormy Weather was white, the film depicts Black characters and narratives through a white lens. The film employs minstrel songs in its catalogue like “De Camptown Races”.  The song was written in inaccurate AAVE and was intended to be sung in minstrel shows by white performers wearing blackface. “De Camptown Races” was introduced by the Christey’s Minstrel in 1850 and would be performed in minstrel shows throughout the nineteenth century. 

What are the social aspects within the film’s narrative that align with the film’s songs? 

"Mamma Mia!" is set on a Greek island and reflects the cultural and societal aspects of Mediterranean life. The film portrays a close-knit community where traditions, family ties, and local customs play a significant role. Its setting embodies a sense of escapism and freedom, which resonates with the carefree and joyous spirit of many of ABBA's songs.

Additionally, the film's narrative touches upon themes of family values, female empowerment, and the evolving roles of women. Donna is portrayed as a strong and independent woman who raised her daughter Sophie on her own. This portrayal aligns with the changing societal attitudes towards women's independence and empowerment during the time the film was made and set.

How do the historiographies of previously recorded songs inform audience relationships with the musical’s narrative and performers? 

ABBA's songs, deeply rooted in the 1970s and 1980s, reflect the cultural and societal attitudes of their time. In "Mamma Mia!", the film's late 20th-century setting and characters' experiences resonate with these themes. For instance, "Money, Money, Money" aptly captures the economic struggles faced by Donna as she tries to make ends meet running her tavern on the Greek island. The song's lyrics about financial hardship align with Donna's determination to provide for herself and Sophie. Additionally, "Dancing Queen" encapsulates the youthful spirit of Sophie and her friends as they prepare for the wedding. The song's celebration of youth, joy, and freedom mirrors Sophie's excitement and anticipation for her big day. These songs enrich the film's narrative by adding emotional depth to the characters' experiences and enhancing the audience's engagement with their stories.

What musical genre/style drives the film’s score, and how does the genre/style (re)define the film as a musical?

The pop music genre in "Mamma Mia!" complements the film's portrayal of a Mediterranean island community in the late 20th century. ABBA's upbeat and catchy songs, such as "Waterloo" and "Voulez-Vous," encapsulate the energy and optimism of that era.

Unlike traditional musicals with original scores, "Mamma Mia!" uses pre-existing songs to tell its story, making it distinctively vibrant and accessible to audiences familiar with ABBA's music. This approach not only celebrates the timeless appeal of ABBA's songs but also creates a nostalgic and engaging musical experience that resonates with fans and new audiences alike.

"An American in Paris" is a classic musical from 1951, directed by Vincente Minnelli and featuring the lively music of George Gershwin. The film stars Gene Kelly as Jerry Mulligan, an American painter living in Paris, who falls in love with a beautiful dancer named Lise, played by Leslie Caron.

What are the social aspects within the film’s narrative that align with the film’s songs?

Cultural Exchange and Integration, "I Got Rhythm": Jerry Mulligan performs this song when surrounded by French children. The scene illustrates the cultural exchange between the American protagonist and the local Parisians. Jerry, who is an American, uses his charm and artistic flair to connect with French culture, which is receptive but also distinct. It symbolizing the blend and appreciation of different cultures.

Post-War Optimism and Recovery, “I’ll Build a Stairway to Paradise": Performed during a lavish nightclub scene, this song reflects the luxurious and escapist environments that became popular in post-war Europe as a way to move past the hardships of World War II. The entertainment industry, including nightclubs and music halls, played a crucial role in this societal recovery.

How do the historiographies of previously recorded songs inform audience relationships with the musical’s narrative and performers?

Period Reflection: The songs selected for the film not only reflect the musical zeitgeist of Gershwin's time but also evoke the vibrant energy of the Jazz Age and the subsequent years. This cultural embedding helps the audience connect the narrative’s setting—post-war Paris—with the broader historical narrative of American music and its influence.

Gene Kelly’s Star Power: Gene Kelly was not just an actor but a celebrated dancer and singer whose performances were major draws for audiences. His ability to embody the spirit of Gershwin’s music through dance (particularly evident in the ballet sequence) and song significantly influences how audiences perceive and connect with the film. Kelly's own history and persona as a performer add an additional layer of appreciation and engagement for the audience.

What musical genre/style drives the film’s score, and how does the genre/style (re)define the film as a musical? 

The musical genre that primarily drives the score of "An American in Paris" is a fusion of classical and jazz music, uniquely embodied through the compositions of George Gershwin.

Redefining Musical Film Structure: Unlike many musicals of the time, which often featured scores written directly for the screen, "An American in Paris" uses a pre-existing, concert-oriented score that is adapted into the film's narrative. This approach allowed the film to explore more complex musical forms typically associated with the concert hall rather than the musical stage. The extended ballet sequence set to Gershwin‘s "An American in Paris" is a prime example, offering a narrative told almost entirely through dance and music, reminiscent of a classical ballet but infused with jazz energy.

Jersey Boys, directed by Clint Eastwood, follows the story of the 1960s rock 'n roll group The Four Seasons comprised of Frankie Valli, Bob Gaudio, Tommy DeVito, and Nick Massi. The film focuses on their rise to fame and the challenges they faced along the way.

What are the social aspects within the film’s narrative that align with the film’s songs?

Jersey Boys aligns its musical selections with key social aspects of its narrative, each song underscoring elements of the personal and communal evolution of the characters. Set against a backdrop of the 1960s—a time of cultural upheaval and musical revolution—the film focuses on the personal struggles and successes of The Four Seasons. For instance, songs like "Sherry" and "Big Girls Don't Cry" resonate with the youthful exuberance and working-class ambitions of the band members, reflecting their hopes and the societal push towards a new musical era that merged pop with personal storytelling. The track "My Eyes Adored You" reflects Frankie Valli's personal losses and his perseverance amidst family tragedies, portraying a deeper social context of personal resilience and commitment, a common theme of the era's socio-cultural fabric. Thus, the film’s songs not only enrich the narrative but also mirror the complex interplay between personal identity and broader societal shifts.

Mira discusses this narrative integration as a staple of successful musicals, highlighting how songs in traditional musicals often serve to express unspoken thoughts or pivotal emotional moments. Though Mira doesn't mention this directly, I find this tactic of musicals to be extremely efficient in advancing timelines without having to explicitly inform the audience of the jump. Similarly, a musical number can encapsulate a wide variety of emotions and plot information, similar to a montage. Jersey Boys employs this technique effectively during sequences like Frankie Valli's rendition of "Can't Take My Eyes Off You," which encapsulates his feelings of triumph and personal turmoil.

How do the historiographies of previously recorded songs inform audience relationships with the musical’s narrative and performers?

The historiography of The Four Seasons' songs plays a crucial role in Jersey Boys by creating a bridge between the audience and the narrative, enhancing the authenticity and emotional engagement. Songs like "Walk Like a Man" and "December, 1963 (Oh, What a Night)" carry with them a historical weight that informs and deepens the audience's understanding of the times and trials the characters endure. These songs, embedded in the cultural memory of many viewers, evoke nostalgia and a sense of realism, making the historical context of the film more relatable and vivid. The familiarity of the music invites the audience into a shared experience, transcending the screen to tap into collective memories and emotions, thereby strengthening the connection to the film's portrayal of the characters and their journey.

Furthermore, the film's narrative structure diverges from the typical linear progression of many musicals. It employs a documentary-style format with characters breaking the fourth wall to address the audience directly which contributes to the historiography. The idea is to include the audience in the storytelling as both makers and viewers reflect on the monumental rise of a beloved American music group. This method adds a layer of meta-narrative commentary, reflecting on the construction of musical mythos itself, which Mira notes as a modernist touch in contemporary musicals.

[SEE 4TH WALL BREAK IN TRAILER ABOVE]

What musical genre/style drives the film’s score, and how does the genre/style (re)define the film as a musical?

Jersey Boys is driven predominantly by the crooner, Doo-Wop, and Rock 'n' Roll styles that characterized the 1960s music scene, particularly influencing the American pop music landscape. This genre choice not only serves to set the period context but also redefines the musical film by integrating biographical and historical realism with the traditional elements of musical theatre. The use of genuine songs from The Four Seasons' catalog, performed in contexts that closely mirror the real-life circumstances under which they were popular, adds a layer of authenticity that is sometimes absent in more stylized musical films. This approach allows Jersey Boys to maintain a foot in the conventional musical genre while also exploring more nuanced, character-driven storytelling, emphasizing the impact of time, place, and societal change on personal and professional lives.

The blend of traditional and innovative elements in Jersey Boys suggests a potential path forward for the Hollywood musical genre, one that respects its roots while evolving to meet contemporary tastes. Mira argues that for musicals to stay relevant, they must adapt by incorporating new styles and addressing modern audiences' expectations, which are more attuned to realism and complexity. I largely agree. I think there is room for the more traditional whimsy of the Hollywood musical if it is housed within more complex themes such as the possibilities we covered in class (humor, delusion, hallucination, satire, etc.).

Jersey Boys demonstrates that the musical genre can successfully incorporate realistic storytelling and complex character development without sacrificing the emotive power of musical performances. The film's ability to appeal to both fans of traditional musicals and new audiences suggests a versatile blueprint for future projects within the genre. The successful integration of music and story, along with a modern narrative approach, may well encourage more filmmakers to explore and innovate within the musical genre, ensuring its survival and relevance in the modern cinematic landscape.

This approach, rooted in the dual adherence to tradition and innovation, not only honors the genre's history but also paves the way for its continued evolution, as discussed by Mira in the broader context of Hollywood musicals adapting to cultural shifts.

Sunshine on Leith tells the story of two soldiers, Ally and Davy, returning home to Edinburgh after a tour of duty in Afghanistan.

The social aspects of "Sunshine on Leith" are mirrored perfectly by the film's soundtrack, which consists mainly of songs by “The Proclaimers.” Some of the principal themes that we can see being explored in the movie are community, relationships, social class and identity, and the songs play a huge role in telling the stories. For example, “I’m gonna be (500 miles)” highlights the relationships, communal, familial, and romantic, between the characters. The flash-mob scene in Edinburgh's Princess Street reflects the importance of community and support networks while the cut to the other two scenes offers a much more intimate perspective on the struggles of having a loved one far away from home and/or being the person who returned home and finding a community and identity after living through such a traumatic experience. Similarly, “Letter from America”, speaks to feelings of longing, home, belonging, and the comfort found in familiar places. It underlines the importance of their hometown as a source of not only instability and solitude but also solace and familiarity—ironically.

The established history of The Proclaimers' songs adds another layer of meaning to "Sunshine on Leith" for audiences familiar with the band's earlier work, but it can reframe the audience's understanding of the songs, which are delivered in a much less punchy/rock style than their original versions. For instance, "Sunshine on Leith," a song traditionally played at funerals, adds depth to the emotional impact of the film. It is not played during a particular important scene but it is often playing softly during a scene of reflection or longing for home. On the other hand, a song like "Letter from America," written about long-distance relationships in general, becomes more poignant when applied to the specific context of war and separation  after Jean and Liz’s intimate conversation in the film. 

The music that drives the score of "Sunshine on Leith'' can be classified as a combination of folk rock and pub rock. The latter is a genre associated with The Proclaimers' music, which forms the backbone of the film's soundtrack. It often features acoustic guitars, sing-along choruses, and lyrics that deal with issues of the social realm, working-class experiences, and everyday life, which are elements that perfectly capture the film’s essence and the social fabric of it. On the other hand, while the film might not have full-blown pub scenes, the pub rock elements we find in the songs add a sense of vibrancy and camaraderie to the story. 

Idlewild is a musical drama film released in 2006, directed by Bryan Barber and starring the hip-hop duo OutKast, which consists of André 3000 (André Benjamin) and Big Boi (Antwan Patton). The film is set in the Prohibition-era South and blends elements of music, drama, and crime with a jazz and hip-hop-infused soundtrack.

This was a beautiful film and very aesthetic. I have not seen another musical quite like this one and it’s for a reason. Here's why...

What are the social aspects within the film’s narrative that align with the film’s songs? 

The characters in "Idlewild" demonstrate resilience in the face of adversity, a theme echoed in the film's music.  Many songs highlight the characters' determination to overcome obstacles and fight for their dreams, reflecting the broader struggle for justice and equality.

The film's love songs align with these themes, expressing the joy, passion, and challenges of love.

Rooster's involvement in the criminal underworld is depicted through intense and energetic musical numbers that convey the danger and excitement of his lifestyle.

The film's songs reflect their desires for a better life and their struggles to achieve their dreams. Percival's introspective ballads, for instance, convey his longing to break free from his small-town life and pursue his passion for music.

How do the historiographies of previously recorded songs inform audience relationships with the musical’s narrative and performers? 

Most of the songs in Idlewild had already been featured on the OutKast albums Big Boi and Dre Present...OutKast and Speakerboxxx/The Love Below, essentially making it a jukebox musical. Seven of the songs from the film, along with several unreleased songs, were released by LaFace Records as an OutKast album entitled Idlewild at the time of the film's release.

This is such an interesting question for my film considering all the film’s score was performed and produced by the lead actors, Andre 300 and Big Boi, with a few credited features in the film. Obviously it isn’t just circumstance that the leads were a famous Hip-Hop duo, so it isn’t hard to assume that the actors/artists were chosen specifically to star in this film for their transformative and notable music style and sound. Without their unique sound and talent for performing, the film could not, and would not be what it is. 

The historiography of this film is unique in the way that the character actors are also the creators of the featured soundtrack. On one hand, the audiences may feel more compelled to the characters and their narrative because they are in support of their music exclusive to the film, as well as some of their originals. In general though, I think historiographies definitely inform the audience’s relationship to a narrative. It can make you more engaged with the characters and their conflicts if you personally feel the music is fitting, or on the other hand, it can make you understand and better comprehend the narrative you're following because you may be familiar with the meaning and significance of the music. I also think about people’s ability to see artists they like and songs they love being performed in a different medium. In a way, your brain might see the visuals from the first time they heard it; or maybe the song originally had a music video. It’s up to directors to build the narrative strongly around the music.

What musical genre/style drives the film’s score, and how does the genre/style (re)define the film as a musical? 

The hip-hop, funk, and soul stylings of the song score are intentionally anachronistic, a choice made to complement the film being set in 1935. Elements of 1930s-era blues and jazz music are, however, featured prominently in many of the musical numbers. The film's dance numbers, choreographed by Hinton Battle, also feature many period dances, primarily the jitterbug and showgirl moves, like featured in the above video.

The film does a lot of blending hip-hop with jazz, blues, and gospel influences.

Idlewild is known for its visually stylized and innovative approach to storytelling, incorporating musical numbers, fantasy sequences, and animation. 

The film defines itself by taking place in the 1930s, in addition to casting vetted performers and songwriters as your leads. The musical simply wouldn't have the same storytelling element had anyone else written the soundtrack, whether prior to the film or not.

In what ways does the film's score situate the story with its narrative context?

The score makes extensive use of Middle Eastern and Arabic musical influences to establish the setting of the fictional city of Agrabah. Composer Alan Menken incorporates instruments like the oud, duduk, and ney to lend an authentic ethnic sound and flavor to the music. This helps transport the audience to the film's Arabian setting. It also uses musical themes and motifs to represent key characters and narrative elements. For example, the heroic "A Whole New World" theme is closely associated with Aladdin and Jasmine's blossoming romance, while Jafar's sinister intentions are conveyed through ominous, minor-key musical cues. These thematic associations help guide the audience through the film's story.

How do songs use character performance to push the cultural authenticity in the film's diegesis?

The songs in Aladdin also use character performance to enhance the cultural authenticity of the film’s diegesis. The film mostly showcases kind of an energetic, campy-comic flair that evokes the spirit of classic Hollywood musicals. On the other hand, Jasmine's solos are more introspective, contemporary-sounding ballads that reflect her personality and desire for agency, as she lives overprotected under her father's wing.

The music in Aladdin goes beyond just setting the scene. It borrows heavily from Middle Eastern musical traditions. This is clear in the prominent vocals, a common feature in Middle Eastern music. The instruments used, like percussion, strings, and wind instruments, also mirror those found in the region. Even the melodies themselves are crafted to evoke Middle Eastern music through the use of chromaticism and ornamentation, which helps capture the unique musical qualities of that part of the world. It's important to remember though, that despite the inspiration from "One Thousand and One Nights," Aladdin remains an American animated musical at its core. The music reflects this by blending these Middle Eastern influences with classic Broadway elements.

In what ways does the film use musical "framing" to structure the score within familiarized styles?

The Lion King is an animated Disney film released in 1994, directed by Roger Allers and Rob Minkoff. It tells the epic coming-of-age story of Simba, a young lion cub destined to become king of the Pride Lands, a vast African savanna. The film is set against the backdrop of a lush and vibrant landscape, rich with African-inspired imagery and culture.

In what ways does the film’s score situate the story with its narrative context? 

Hans Zimmer's score for The Lion King plays a crucial role in situating the story within its narrative context. The use of African-inspired instrumentation, such as drums, flutes, and vocal chants, evokes the landscapes and cultures of the African savanna, where the story is set. This musical backdrop helps immerse the audience in the world of the film, enhancing the emotional impact of key moments and reinforcing the themes of family, identity, and the circle of life.

The presence of African languages, particularly Swahili and Zulu, plays a significant role in situating the context of the film within the African setting. Swahili, a widely spoken language in East Africa, including countries like Kenya, Tanzania, and Uganda, serves as a linguistic element that enhances the authenticity and cultural richness of the narrative. Zulu, a South Africna language, is present in the beginning of the classic song, "Circle of Life," provided by Lebo M., a South African composer.

2. How do songs use character performance to push cultural authenticity in the film's diegisis?

The songs in The Lion King not only advance the plot but also serve to deepen the film's cultural authenticity through character performance. For example, the character of Rafiki, voiced by Robert Guillaume, performs the song "Circle of Life" in a manner that draws from African musical traditions. Rafiki's energetic and spiritual rendition of the song reflects his role as a wise and mystical shaman within the Pride Lands, adding layers of cultural richness to the film's diegesis.

It's important to recognize the potential for misrepresentation, appropriation, and perpetuation of stereotypes. Robin Armstrong's exploration of musical colonization and appropriation in films like "Moana" provides a framework for understanding how colonialist perspectives can manifest in the portrayal of culture and identity in cinema.

One of the primary concerns with the colonialist lens is the tendency to exoticize or essentialize cultures that are depicted in film. In the case of The Lion King, while the film draws inspiration from African landscapes and cultures, there is a risk of reducing these diverse and complex traditions into simplistic or stereotypical portrayals. This can perpetuate harmful stereotypes and reinforce Western perspectives of Africa as a monolithic entity, rather than recognizing its diversity and richness.

Moreover, the colonialist lens may lead to the appropriation of cultural elements without proper understanding or respect for their significance. While the film's score and visual aesthetics draw from African musical traditions and imagery, there is a danger of these elements being co-opted for the purpose of entertainment without meaningful engagement with the cultures from which they originate.

3. In what ways does the film use musical “framing” to structure the score within familiarized styles?

The Lion King utilizes musical framing to structure its score within familiarized styles while incorporating African influences, creating a blend of familiarity and exoticism that appeals to a broad audience. This approach allows the film to maintain accessibility while still immersing viewers in the African setting and cultural context. Robin Armstrong's exploration of musical colonization and appropriation in films like "Moana" provides a lens through which to analyze how this framing functions within The Lion King.

In what ways does the film’s score situate the story with its narrative context?

The Little Mermaid (1989) utilizes its score to immerse viewers in the enchanting and fantastic underwater world of Atlantica while also underscoring key emotional beats and developments. In “Part of Your World”, bright, shimmery strings and uplifting major chords accompany Ariel’s longing exploration of all things human. This evokes a sense of wonder and possibility for somewhere beyond her underwater world. Additionally, whimsical woodwinds and bouncy brass instruments enliven the vibrant world of Atlantica, particularly in numbers like “Under the Sea”, immersing viewers in the magical realm.

How do songs use character performance to push cultural authenticity in the film’s diegesis?

The Little Mermaid (1989) has a weak cultural identity as it is not based in a real culture or experience. The source material that the film is very loosely based on, The Little Mermaid by Hans Christian Andersen, is theorized to take place near Denmark and that influence is not present in the film. Prince Eric’s Kingdom is vaguely Mediterranean and lacks any distinct traits outside of white and coastal. There is the inclusion of a French-styled musical number in the form of Les Poissons but its inclusion has little to do with the world of the story and more with the stereotype of the neurotic French chef.

A shot of Prince Eric's kingdom.

In The Little Mermaid (1989), while songs like “Under the Sea” and “Kiss the Girl” incorporate elements of Calypso music, a common music style across the Caribbean, with the inclusion of steel drums, call and response, and syncopated rhythms, the film does not distinctly portray Caribbean culture or locations. Instead, it focuses on creating a general oceanic, island feel for its aquatic settings. This approach overlooks the cultural heritage and origins of Calypso music, attributing the style to a generic “island” vibe rather than specifically acknowledging its Caribbean roots.

The film may have chosen to avoid specific cultural references in order to create a fantastical, universal story to appeal to the masses as Disney usually does. However, this approach leads to usage of Caribbean music and culture as an aesthetic rather than a genuine cultural representation.

Additionally, while Sebastien the Crab is voiced with a Jamaican accent, he is portrayed by an African-American actor, making it more of a character choice than a cultural one. This reinforces the film's lack of authentic use of Caribbean music culture.

In what ways does the film use musical “framing” to structure the score within familiarized styles?

In “Under the Sea”, Calypso elements and the familiarized classical Broadway/Disney style intertwine, serving as an example of musical “framing”. The song’s lively instrumentation, including steel drums and percussion, along with  syncopated rhythms and call-and-response vocals, show the incorporation of Calypso elements into the film’s score. However, “Under the Sea” uses familiar Western elements to make the less common Calypso style more familiar to wider audiences. The elements are blended in a pretty harmonious way which leads to a fun and catchy song but the framing of the Calypso elements may diminish the authenticity of its influence by prioritizing accessibility to mainstream audiences. 

Moreover, “Under the Sea” also incorporates elements that are typical in Broadway and classical Disney musicals, made very obvious by the presence of Alan Menken on the soundtrack. Some of the elements are the upbeat tempo,whimsical lyrics, brass, woodwinds, and string. The arrangement of the piece also follows a structured and melodic format commonly seen in Broadway and Disney musical numbers, with distinct verses, choruses, and instrumental interludes.

Illumination's 2016 animated feature "Sing" follows a cast of lovable animals with dreams bigger than their fears. In a city much like our own, a dapper Koala named Buster Moon stages the world's greatest singing competition to save his crumbling theater. As the contest unfolds, each character discovers their true voice and confronts personal challenges, showcasing themes of perseverance, friendship, difference, and the transformative power of music. Backed by a star-studded cast (seen below), the musical numbers are fantastic and the emotional depth that is delivered by the characters' performance drives the narrative home. It is a heartwarming, feel-good, family film that ventures into greater themes of identity, belonging, and self-expression.

CAST

Rosita - Reese Witherspoon

Johnny - Taron Egerton

Ash - Scarlett Johansson

Miss Crawly - Garth Jennings

Buster Moon - Matthew McConaughey

Meena - Tori Kelly

Gunter - Nick Kroll

Norman - Nick Offerman

Nana Noodleman - Jennifer Hudson

A jukebox musical, the film elegantly weaves various popular music into the narrative progression, mirroring both the tone of the action depicted on-screen as well as the personalities and struggles of the characters. The various music numbers serve both as a window to their inner-struggles and distinctive voice as well as advances the plot forward. Each performance marks a pivotal point in the characters' journeys, whether it's overcoming stage fright, finding confidence, or reconciling with loved ones. A great example of this can be seen in a particular scene where Johnny, a gorilla trying to break free from his family's criminal background, sings "I'm Still Standing" by Elton John, symbolizing his resilience and desire to carve out a new path.

Songs are chosen not just for their entertainment value but for lyrical relevance to the film's message. This thematic alignment further ensures that the music enriches both the individual character development as well as the overarching narrative.

There is a sense of cohesion amongst the various numbers, underlining the film's central themes of perseverance, self-discovery, and the transformative power of embracing one's true identity.

QUESTION TWO:

Cultural diversity certainly seems to be a central theme of the film. The film features a wide variety of characters, stemming from all different walks of life, each with their own backstory that is intimately connected to their musical performances. For instance, Rosita, an overworked mother pig, performs "Shake It Off" by Taylor Swift, a song intended to be an anthem of liberation and self-expression, reflecting her desire to break free from her domestic constraints. The choice of song, coupled with her performance, speaks to the broader cultural narrative of empowerment and self-discovery.

It's clear to see that, in the various musical numbers, the characters are not treating their performance as an act of escapism. They are wearing their identities on their sleeves and embracing a sense of authenticity to who they are. By carefully matching the songs to the characters' emotional journeys, the film ensures that each performance resonates with authenticity, allowing audiences from different cultural backgrounds to find something relatable, bridging cultural gaps and fostering a sense of universal connection.

QUESTION THREE:

The film strategically incorporates well-known songs and anthems, tapping into the audience's pre-existing emotional associations with these tracks. The choice of music is very intentional, serving almost as a shortcut to evoke specific feelings and memories, enriching the narrative with a deeper layer of emotional resonance. For example, the use of famous tracks like "Hallelujah" or "Don't You Worry 'Bout A Thing" immediately sets a tone that resonates with the audience's prior experiences of these songs, enhancing the film's emotional impact.

There seems to be a notion of consistency among character themes as well. Each character in Sing is associated with specific musical styles that reflect their personalities and narratives, using these familiarized styles as thematic leitmotifs. This musical framing helps the audience to quickly grasp the essence of each character, facilitating a deeper emotional connection as their stories unfold. For instance, Johnny’s preference for rock and pop reflects his youthful rebellion and desire for self-expression, while Meena’s affinity for powerful ballads underscores her journey to overcome shyness and find her voice.

More than just linking the musical numbers to character sentiment, the film uses music to frame the narrative's pacing. Uptempo songs propel the story forward, creating a sense of excitement and anticipation during the competition's build-up. While, in juxtaposition, slower, more introspective tracks are used to highlight moments of uncertainty and general dismay. This trade off aligns with familiar Hollywood storytelling rhythms, guiding the audience through the narrative's highs and lows in a coherent and engaging manner.

RELEVANCE TO ARMSTRONG:

It's worth mentioning that this practice of 'musical framing' is not always executed in a positive way. Robin Armstrong's article "Time to Face the Music: Musical Colonization and Appropriation in Disney's Moana" provides a critical perspective on how certain films (namely Moana) use music to present a culturally authentic narrative, which simultaneously falls into patterns of Western dominance and appropriation. In the article, Armstrong critiques Disney's approach to representing Polynesian culture, highlighting how, despite efforts to engage with Polynesian musicians and cultural experts, the musical score ultimately frames Polynesian sounds within a Western musical context. This 'framing' technique, where unfamiliar Polynesian music is enveloped by familiar Western musical traits, not only limits the audience's exposure to authentic Polynesian music but also subtly reinforces Western dominance over the depicted culture.

As you can see, a similar technique of 'musical framing' that Sing employs has the potential to both enhance narrative direction and character sentiment while also posing a risk of steamrolling cultural influence, compounding it into a homogenous form, a reduction of it's original form.

I'm not sure I see a whole lot of this issue present in Sing. The film does not intend to focus on a single cultural or ethnic narrative.

In what ways does the film’s score situate the story with its narrative context?

"The Princess and the Frog" employs its score to situate the story within its narrative context by drawing on a diverse range of musical genres, including jazz, blues, gospel, and traditional New Orleans music. The score dynamically responds to the emotional arcs of the characters and the progression of the plot, enhancing the audience's engagement with the narrative. Additionally, recurring musical motifs reinforce thematic elements and character development, providing a cohesive and immersive experience that enriches the overall viewing experience. However, the film did face criticism for its portrayal of Louisiana Voodoo and accusations of historical negationism regarding its depiction of the Southern United States during the Jim Crow era. Overall, the score plays a vital role in shaping the audience's understanding of the story, conveying the cultural richness of New Orleans, and deepening their connection to the characters and themes of the film.

How do songs use character performance to push cultural authenticity in the film’s diegesis?

Unlike in Moana, The Princess and the Frog's score has received praise for the character performances within the songs and how they enhance cultural authenticity by incorporating diverse accents and vocal styles that resonate with the film's setting. For instance, Princess Tiana's Southern drawl, Louis's bayou accent, Dr. Facilier's Creole intonations, and Ray's Cajun inflections authentically represent the characters' backgrounds. These accents, combined with genuine vocal deliveries, root the characters firmly within their cultural milieu, adding depth and realism to their portrayals.

In what ways does the film use musical “framing” to structure the score within familiarized styles?

As mentions, "Musical “framing” is a structure in which a familiar set of ‘normal’ musical sounds precede, follows, and accompanies a different set of unfamiliar or ’other’ sounds". (1) In this case, this film employs musical "framing" to structure the score within familiarized styles, blending elements of traditional or "normal" Disney music with the distinct or "other" sounds of New Orleans jazz and blues. For instance, the opening number "Down in New Orleans" acquaints audiences with the film's setting and characters through a lively jazz ensemble, establishing the tone for the rest of the film. As the story progresses, the score seamlessly transitions between different musical styles, such as the gospel-inspired "Dig a Little Deeper". Nevertheless, throughout the movie, one can consistently discern a Broadway element, as exemplified prominently in the ballad "Ma Belle Evangeline.

How does the diverse range of musical genres used in "The Princess and the Frog" contribute to the film's portrayal of its setting and era, particularly in capturing the essence of 1920s New Orleans?

How does Disney navigate the fine line between celebrating cultural diversity and potentially appropriating cultural elements in the musical score of "The Princess and the Frog"?

-In what ways does the film’s score situate the story with its narrative context? 

Incorporation of Traditional Chinese Instruments and Melodies: The composer, Jerry Goldsmith, integrates traditional Chinese instruments, such as the erhu (a two-stringed fiddle), pipa (a four-stringed lute), and dizi (a bamboo flute), into the score. This not only provides an authentic sound that anchors the film in its Chinese setting but also supports the cultural authenticity and period setting of the story.

-How do songs use character performance to push cultural authenticity in the film’s diegesis? 

In "Mulan," songs are not just musical interludes; they are integral to the narrative and character development

"I'll Make a Man Out of You": Sung by Captain Li Shang during the training montage, this song directly engages with themes of masculinity and the expectations placed on soldiers in the context of defending their country. The use of traditional Chinese military drills and the emphasis on discipline, strength, and bravery in the song's visuals and lyrics convey aspects of Chinese martial culture. The transformation of Mulan and her fellow soldiers from misfits to a cohesive unit underlines the Confucian value of hard work and personal improvement, further pushing cultural authenticity through character performance.

"Honor to Us All": This song is performed as Mulan prepares to meet the matchmaker, with the women in her village participating in the ritual. The song's lyrics and performance emphasize the cultural significance of bringing honor to one’s family through marriage, a value deeply ingrained in traditional Chinese society. The meticulous preparation and the communal participation reflect the collective nature of Chinese culture and the emphasis on conforming to societal roles.

"Reflection": Performed by Mulan after she fails the matchmaker's test, this song is a window into her internal struggle with societal expectations versus her true self. The setting of the song, in front of a temple with ancestral connections, and the lyrics, which express a longing for acceptance and self-identity, push cultural authenticity by highlighting the importance of family honor and individual identity in Chinese culture. This moment underscores the Confucian values of filial piety and the role of women, situating Mulan’s personal conflict within the broader context of her society.

-In what ways does the film use musical “framing” to structure the score within familiarized styles?

Incorporation of Broadway-Style Songs: The film features songs that follow the tradition of Broadway musicals, with clear, narrative-driven lyrics and memorable melodies. Songs like "A Girl Worth Fighting For" are structured and performed in a style reminiscent of American musical theater, making them instantly appealing and accessible. This musical framing situates the story within a familiar musical tradition, even as it explores themes and settings specific to Chinese culture.