000			03233cam a22003618i 4500
001			ocm286341563
003			SKY
005			20220308105007.0
008			170303s2017 nyu b 001 0 eng
010			_a2016043882
020			_a0195382188
020			_a9780195382181
040			_aDLC _beng _erda _cDLC _dSKYRV _dUtOrBLW _dMiTN
042			_apcc
050	0	0	_aGV1779 _b.G46 2017
082	0	0	_a792.8 _223
092			_a792.8 GEN
100	1		_aGenné, Beth,
245	1	0	_aDance me a song : _bAstaire, Balanchine, and Kelly, and the American Film Musical / _cBeth Genné.
263			_a1706.
264		1	_aNew York : _bOxford University Press, _c[2017]
300			_axv, 355 pages : _bphotographs ; _c24 cm.
336			_atext _btxt _2rdacontent.
337			_aunmediated _bn _2rdamedia.
338			_avolume _bnc _2rdacarrier.
504			_aIncludes bibliographical references and index.
520			_aDancer-choreographer-directors Fred Astaire, George Balanchine and Gene Kelly and their colleagues helped to develop a distinctively modern American film-dance style and recurring dance genres for the songs and stories of the American musical. Freely crossing stylistic and class boundaries, their dances were rooted in the diverse dance and music cultures of European immigrants and African-American migrants who mingled in jazz age America. The new technology of sound cinema let them choreograph and fuse camera movement, light, and color with dance and music. Preserved intact for the largest audiences in dance history, their works continue to influence dance and film around the world. This book centers them and their colleagues within the history of dance (where their work has been marginalized) as well as film tracing their development from Broadway to Hollywood (1924-58) and contextualizing them within the American history and culture of their era. This modern style, like the nation in which it developed, was pluralist and populist. It drew from aspects of the old world and new, "high" and "low", theatrical and social dance forms, creating new sites for dance from the living room to the street. A definitive ingredient was the freer more informal movement and behavior of their jazz-age generation, which fit with song lyrics that poeticized slangy American English. The Gershwins, Rodgers and Hart, and others wrote not only songs but extended dance-driven scores tailored to their choreography, giving a new prominence to the choreographer and dancer-actor. This book discuss how these choreographers collaborated with directors like Vincente Minnelli and Stanley Donen and cinematographers like Gregg Toland, musicians, dancers, designers and technicians to synergize music and moving image in new ways. Eventually, concepts and visual-musical devices derived from dance-making would give entire films the rhythmic flow and feeling of dance. Dancing Americans came to be seen around the world as archetypal embodiments of the free-spirited optimism and energy of America itself.-- _cBaker & Taylor.
600	1	0	_aAstaire, Fred.
600	1	0	_aBalanchine, George.
600	1	0	_aKelly, Gene, _d1912-1996.
650		0	_aChoreography.
650		0	_aDance in motion pictures, television, etc.
999			_c506650 _d506650