Contemporary Musical Film

Professor Kevin Donnelly is Professor of Film and Film Music at the University of Southampton. He has written or edited 12 books, including Occult Aesthetics: Sound and Image Synchronization (Oxford University Press, 2013; which received an award from the American Musicological Society), The Spectre of Sound (BFI, 2005, second edition 2020), Magical Musical Tour: Pop and Rock in Film Soundtracks (Bloomsbury, 2015; which received an award from the Southwest Popular and American Cultural Association), Pop Music in British Cinema (BFI, 2001), British Film Music and Film Musicals (Palgrave, 2007) and The Shining (Columbia University Press, 2018). He is co-series editor of EUP’s Music and the Moving Image series, and co-edited Contemporary Musical Film for the series (EUP, 2019) Professor Kevin Donnelly is Professor of Film and Film Music at the University of Southampton. He has written or edited 12 books, including Occult Aesthetics: Sound and Image Synchronization (Oxford University Press, 2013; which received an award from the American Musicological Society), The Spectre of Sound (BFI, 2005, second edition 2020), Magical Musical Tour: Pop and Rock in Film Soundtracks (Bloomsbury, 2015; which received an award from the Southwest Popular and American Cultural Association), Pop Music in British Cinema (BFI, 2001), British Film Music and Film Musicals (Palgrave, 2007) and The Shining (Columbia University Press, 2018). He is co-series editor of EUP’s Music and the Moving Image series, and co-edited Contemporary Musical Film for the series (EUP, 2019) Beth Carroll is a Lecturer in Film at the University of Southampton. Her research focuses on matters relating to audiovisual media, including space, place and the body. Beth is particularly interested in sound and the impact it has on issues of immersion and phenomenology in film, videogames, and VR. She is the author of Feeling Film: A Spatial Approach and co-editor of Contemporary Musical Film.

• Reimagining the Contemporary Musical in the Twenty First Century; K. J. Donnelly and Beth CarrollPart One: Original MusicalsAesthetic Absurdities in Takashi Miike’s The Happiness of the Katakuris; Craig HatchFilm and the Twilight of Rock (Rock is Dead and Film killed It) Nails in Rock’s Coffin: Post-Millennial Rock Musicals; K. J. DonnellyTeam America: World Police: Duplicitous Voices of the Socio-Political Spy Musical; Jack Curtis DubowskyThe Anti-Musical or Generic Affinity: Is there anything left to say?; Beth Carroll‘Is this real enough for you?’: Lyrical articulation of The Beatles’ songs in Across the Universe; Stephanie Fremaux ‘Love Is an Open Door’: Revising and Repeating Disney’s Musical Tropes in Frozen; Ryan BunchPart Two: Stage to ScreenStar quality? Song, celebrity, and the jukebox musical in Mamma Mia!; Catherine Haworth Beyond the Barricade: Adapting Les Misérables for the Cinema; Ian Sapiro Part Three: Musicals By Another NameO’ Brother, Where Art Thou?　The Coen Brothers and the musical genre contamination; Stefano Baschiera Racing in the Beat: Music in the Fast & Furious Franchise; Todd Decker Kill Bill to the Beat: Exploring Quentin Tarantino as a musical filmmaker; Geena Brown