Dominic Broomfield-McHugh – författare

The first comprehensive collection of the letters of one of the most successful American songwriters of the twentieth centuryFrom Anything Goes to Kiss Me, Kate, Cole Porter left a lasting legacy of iconic songs including "You're the Top," "Love For Sale," and "Night and Day." Yet, alongside his professional success, Porter led an eclectic personal life which featured exuberant parties, scandalous affairs, and chronic health problems. This extensive collection of letters (most of which are published here for the first time) dates from the first decade of the twentieth century to the early 1960s and features correspondence with stars such as Irving Berlin, Ethel Merman, and Orson Welles, as well as his friends and lovers.Cliff Eisen and Dominic McHugh complement these letters with lively commentaries that draw together the loose threads of Porter’s life and highlight the distinctions between Porter’s public and private existence. This book reveals surprising insights into his attitudes toward Hollywood and Broadway, and toward money, love, and dazzling success.

Since the release of Baz Luhrmann's Moulin Rouge! in 2001, the film musical has returned to popularity as one of the most important cinematic genres, with box office hits that appeal to audiences of all ages. Yet the history of the musical on film goes back over seven decades earlier, stretching from early examples like The Jazz Singer (1927), the first ever film with synchronized sound, through the Astaire-Rogers musicals of the 1930s, the MGM and Warner Brothers extravaganzas of the 1940s and '50s, and the roadshow era of the 1960s. The genre's renaissance with La La Land (2016) and The Greatest Showman (2017) proves that it remains as appealing as ever, capable of both high critical acclaim and widespread box office success.The Oxford Handbook of the Hollywood Musical, curated by editor Dominic Broomfield-McHugh, reflects and expands on current scholarship on the film musical in a handbook that mixes new discoveries through archival research with new perspectives on familiar titles. It addresses issues such as why audiences accept people bursting into song in musicals; how technology affects the way numbers are staged; and how writers have adapted their material to suit certain stars. It also looks at critical issues such as racism and sexism, and assesses the role and nature of the film musical in the twenty-first century. A remarkable survey at the cutting edge of the field, The Oxford Handbook of the Hollywood Musical will be a resource for students and scholars alike for years to come.

Since the release of Baz Luhrmann''s Moulin Rouge! in 2001, the film musical has returned to popularity as one of the most important cinematic genres, with box office hits that appeal to audiences of all ages. Yet the history of the musical on film goes back over seven decades earlier, stretching from early examples like The Jazz Singer (1927), the first ever film with synchronized sound, through the Astaire-Rogers musicals of the 1930s, the MGM and Warner Brothers extravaganzas of the 1940s and ''50s, and the roadshow era of the 1960s. The genre''s renaissance with La La Land (2016) and The Greatest Showman (2017) proves that it remains as appealing as ever, capable of both high critical acclaim and widespread box office success. The Oxford Handbook of the Hollywood Musical, curated by editor Dominic Broomfield-McHugh, reflects and expands on current scholarship on the film musical in a handbook that mixes new discoveries through archival research with new perspectives on familiar titles. It addresses issues such as why audiences accept people bursting into song in musicals; how technology affects the way numbers are staged; and how writers have adapted their material to suit certain stars. It also looks at critical issues such as racism and sexism, and assesses the role and nature of the film musical in the twenty-first century. A remarkable survey at the cutting edge of the field, The Oxford Handbook of the Hollywood Musical will be a resource for students and scholars alike for years to come.

Since the release of Baz Luhrmann''s Moulin Rouge! in 2001, the film musical has returned to popularity as one of the most important cinematic genres, with box office hits that appeal to audiences of all ages. Yet the history of the musical on film goes back over seven decades earlier, stretching from early examples like The Jazz Singer (1927), the first ever film with synchronized sound, through the Astaire-Rogers musicals of the 1930s, the MGM and Warner Brothers extravaganzas of the 1940s and ''50s, and the roadshow era of the 1960s. The genre''s renaissance with La La Land (2016) and The Greatest Showman (2017) proves that it remains as appealing as ever, capable of both high critical acclaim and widespread box office success. The Oxford Handbook of the Hollywood Musical, curated by editor Dominic Broomfield-McHugh, reflects and expands on current scholarship on the film musical in a handbook that mixes new discoveries through archival research with new perspectives on familiar titles. It addresses issues such as why audiences accept people bursting into song in musicals; how technology affects the way numbers are staged; and how writers have adapted their material to suit certain stars. It also looks at critical issues such as racism and sexism, and assesses the role and nature of the film musical in the twenty-first century. A remarkable survey at the cutting edge of the field, The Oxford Handbook of the Hollywood Musical will be a resource for students and scholars alike for years to come.

The Oxford Handbook of the Disney Musical brings together scholars from a range of disciplines to interrogate an enduringly popular and influential cultural phenomenon. Broadening the purview of extant scholarship while also reflecting its methodological multiplicity, this collection takes an expansive approach to the Disney musical.From animated musical shorts to Disney video games, the Handbook acknowledges that the Walt Disney Company uses the musical across a range of media and explores what that means culturally, commercially, and technologically. The chapters cover case studies from the classical (Alice in Wonderland, Bambi) and more contemporary (Aladdin, Frozen II) eras, acknowledge the importance of theme parks, television, and video games to Disney's success, and explore cultural figures and themes. Contributors also unpack Disney's complicated relationship with race, gender, and sexuality, and the company's recent centennial provides an apt opportunity to reflect on the importance of the musical to the conglomerate's evolution in diverse segments of the media industries. Taken together, the Handbook combines innovative original research, analyses of previously unexamined archival documents, case studies, topical discussions, and critiques of current knowledge and existing scholarship to give voice to new perspectives on this important topic. By including the perspectives of scholars from film, theater, television, musicology, children's literature, and cultural studies, serving as a multidisciplinary resource.

The Oxford Handbook of the Disney Musical brings together scholars from a range of disciplines to interrogate an enduringly popular and influential cultural phenomenon. Broadening the purview of extant scholarship while also reflecting its methodological multiplicity, this collection takes an expansive approach to the Disney musical.From animated musical shorts to Disney video games, the Handbook acknowledges that the Walt Disney Company uses the musical across a range of media and explores what that means culturally, commercially, and technologically. The chapters cover case studies from the classical (Alice in Wonderland, Bambi) and more contemporary (Aladdin, Frozen II) eras, acknowledge the importance of theme parks, television, and video games to Disney''s success, and explore cultural figures and themes. Contributors also unpack Disney''s complicated relationship with race, gender, and sexuality, and the company''s recent centennial provides an apt opportunity to reflect on the importance of the musical to the conglomerate''s evolution in diverse segments of the media industries. Taken together, the Handbook combines innovative original research, analyses of previously unexamined archival documents, case studies, topical discussions, and critiques of current knowledge and existing scholarship to give voice to new perspectives on this important topic. By including the perspectives of scholars from film, theater, television, musicology, children''s literature, and cultural studies, serving as a multidisciplinary resource.

The Oxford Handbook of the Disney Musical brings together scholars from a range of disciplines to interrogate an enduringly popular and influential cultural phenomenon. Broadening the purview of extant scholarship while also reflecting its methodological multiplicity, this collection takes an expansive approach to the Disney musical.From animated musical shorts to Disney video games, the Handbook acknowledges that the Walt Disney Company uses the musical across a range of media and explores what that means culturally, commercially, and technologically. The chapters cover case studies from the classical (Alice in Wonderland, Bambi) and more contemporary (Aladdin, Frozen II) eras, acknowledge the importance of theme parks, television, and video games to Disney''s success, and explore cultural figures and themes. Contributors also unpack Disney''s complicated relationship with race, gender, and sexuality, and the company''s recent centennial provides an apt opportunity to reflect on the importance of the musical to the conglomerate''s evolution in diverse segments of the media industries. Taken together, the Handbook combines innovative original research, analyses of previously unexamined archival documents, case studies, topical discussions, and critiques of current knowledge and existing scholarship to give voice to new perspectives on this important topic. By including the perspectives of scholars from film, theater, television, musicology, children''s literature, and cultural studies, serving as a multidisciplinary resource.

Hollywood's conversion to sound in the 1920s created an early peak in the film musical following the immense success of The Jazz Singer. The opportunity to synchronize moving pictures with a soundtrack suited the musical in particular, since the heightened experience of song and dance drew attention to the novelty of the technological development. Until the near-collapse of the genre in the 1960s, the film musical enjoyed around thirty years of development, as landmarks such as The Wizard of Oz, Meet Me in St. Louis, Singin' in the Rain, and Gigi showed the exciting possibilities of putting musicals on the silver screen. The first of three volumes, The Politics of the Musical Theatre Screen Adaptation: An Oxford Handbook traces how the genre of the stage-to-screen musical has evolved, starting with early screen adaptations such as the Fred Astaire-Ginger Rogers movie Roberta and working through to Into the Woods (2014). Many chapters examine specific screen adaptations in depth, while others deal with broad issues such as realism or the politics of the adaptation in works such as Li'l Abner and Finian's Rainbow. Together, the chapters incite lively debates about the process of adapting Broadway for the big screen and provide models for future studies.Volume I: The Politics of the Musical Theatre Screen AdaptationVolume II: Race, Sexuality, and Gender and the Musical Screen AdaptationVolume III: Stars, Studios, and the Musical Theatre Screen Adaptation

Hollywood''s conversion to sound in the 1920s created an early peak in the film musical following the immense success of The Jazz Singer. The opportunity to synchronize moving pictures with a soundtrack suited the musical in particular, since the heightened experience of song and dance drew attention to the novelty of the technological development. Until the near-collapse of the genre in the 1960s, the film musical enjoyed around thirty years of development, as landmarks such as The Wizard of Oz, Meet Me in St. Louis, Singin'' in the Rain, and Gigi showed the exciting possibilities of putting musicals on the silver screen. The first of three volumes, The Politics of the Musical Theatre Screen Adaptation: An Oxford Handbook traces how the genre of the stage-to-screen musical has evolved, starting with early screen adaptations such as the Fred Astaire-Ginger Rogers movie Roberta and working through to Into the Woods (2014). Many chapters examine specific screen adaptations in depth, while others deal with broad issues such as realism or the politics of the adaptation in works such as Li''l Abner and Finian''s Rainbow. Together, the chapters incite lively debates about the process of adapting Broadway for the big screen and provide models for future studies.Volume I: The Politics of the Musical Theatre Screen AdaptationVolume II: Race, Sexuality, and Gender and the Musical Screen AdaptationVolume III: Stars, Studios, and the Musical Theatre Screen Adaptation

Hollywood''s conversion to sound in the 1920s created an early peak in the film musical following the immense success of The Jazz Singer. The opportunity to synchronize moving pictures with a soundtrack suited the musical in particular, since the heightened experience of song and dance drew attention to the novelty of the technological development. Until the near-collapse of the genre in the 1960s, the film musical enjoyed around thirty years of development, as landmarks such as The Wizard of Oz, Meet Me in St. Louis, Singin'' in the Rain, and Gigi showed the exciting possibilities of putting musicals on the silver screen. The first of three volumes, The Politics of the Musical Theatre Screen Adaptation: An Oxford Handbook traces how the genre of the stage-to-screen musical has evolved, starting with early screen adaptations such as the Fred Astaire-Ginger Rogers movie Roberta and working through to Into the Woods (2014). Many chapters examine specific screen adaptations in depth, while others deal with broad issues such as realism or the politics of the adaptation in works such as Li''l Abner and Finian''s Rainbow. Together, the chapters incite lively debates about the process of adapting Broadway for the big screen and provide models for future studies.Volume I: The Politics of the Musical Theatre Screen AdaptationVolume II: Race, Sexuality, and Gender and the Musical Screen AdaptationVolume III: Stars, Studios, and the Musical Theatre Screen Adaptation

Hollywood's conversion to sound in the 1920s created an early peak in the film musical, following the immense success of The Jazz Singer. The opportunity to synchronize moving pictures with a soundtrack suited the musical in particular, since the heightened experience of song and dance drew attention to the novelty of the technological development. Until the near-collapse of the genre in the 1960s, the film musical enjoyed around thirty years of development, as landmarks such as The Wizard of Oz, Meet Me in St. Louis, Singin' in the Rain, and Gigi showed the exciting possibilities of putting musicals on the silver screen. The second of three volumes, Race, Sexuality, and Gender and the Musical Screen Adaptation: An Oxford Handbook, traces how the genre of the stage-to-screen musical has evolved, focusing in particular of issues of race, gender and sexuality. Enduringly popular adaptations such as Kiss Me Kate and Pal Joey are considered through the lens of identity, while several chapters consider how different adaptations of the same stage musical reflect shifting historical contexts. Together, the chapters incite lively debates about the process of adapting Broadway for the big screen and provide models for future studies.Volume I: The Politics of the Musical Theatre Screen AdaptationVolume II: Race, Sexuality, and Gender and the Musical Screen AdaptationVolume III: Stars, Studios, and the Musical Theatre Screen Adaptation

Hollywood''s conversion to sound in the 1920s created an early peak in the film musical, following the immense success of The Jazz Singer. The opportunity to synchronize moving pictures with a soundtrack suited the musical in particular, since the heightened experience of song and dance drew attention to the novelty of the technological development. Until the near-collapse of the genre in the 1960s, the film musical enjoyed around thirty years of development, as landmarks such as The Wizard of Oz, Meet Me in St. Louis, Singin'' in the Rain, and Gigi showed the exciting possibilities of putting musicals on the silver screen. The second of three volumes, Race, Sexuality, and Gender and the Musical Screen Adaptation: An Oxford Handbook, traces how the genre of the stage-to-screen musical has evolved, focusing in particular of issues of race, gender and sexuality. Enduringly popular adaptations such as Kiss Me Kate and Pal Joey are considered through the lens of identity, while several chapters consider how different adaptations of the same stage musical reflect shifting historical contexts. Together, the chapters incite lively debates about the process of adapting Broadway for the big screen and provide models for future studies.Volume I: The Politics of the Musical Theatre Screen AdaptationVolume II: Race, Sexuality, and Gender and the Musical Screen AdaptationVolume III: Stars, Studios, and the Musical Theatre Screen Adaptation

Hollywood''s conversion to sound in the 1920s created an early peak in the film musical, following the immense success of The Jazz Singer. The opportunity to synchronize moving pictures with a soundtrack suited the musical in particular, since the heightened experience of song and dance drew attention to the novelty of the technological development. Until the near-collapse of the genre in the 1960s, the film musical enjoyed around thirty years of development, as landmarks such as The Wizard of Oz, Meet Me in St. Louis, Singin'' in the Rain, and Gigi showed the exciting possibilities of putting musicals on the silver screen. The second of three volumes, Race, Sexuality, and Gender and the Musical Screen Adaptation: An Oxford Handbook, traces how the genre of the stage-to-screen musical has evolved, focusing in particular of issues of race, gender and sexuality. Enduringly popular adaptations such as Kiss Me Kate and Pal Joey are considered through the lens of identity, while several chapters consider how different adaptations of the same stage musical reflect shifting historical contexts. Together, the chapters incite lively debates about the process of adapting Broadway for the big screen and provide models for future studies.Volume I: The Politics of the Musical Theatre Screen AdaptationVolume II: Race, Sexuality, and Gender and the Musical Screen AdaptationVolume III: Stars, Studios, and the Musical Theatre Screen Adaptation

Hollywood's conversion to sound in the 1920s created an early peak in the film musical, following the immense success of The Jazz Singer. The opportunity to synchronize moving pictures with a soundtrack suited the musical in particular, since the heightened experience of song and dance drew attention to the novelty of the technological development. Until the near-collapse of the genre in the 1960s, the film musical enjoyed around thirty years of development, as landmarks such as The Wizard of Oz, Meet Me in St. Louis, Singin' in the Rain, and Gigi showed the exciting possibilities of putting musicals on the silver screen. The final of three volumes, Stars, Studios, and the Musical Theatre Screen Adaptation: An Oxford Handbook traces how stardom and technology has affected the evolution of the genre of the stage-to-screen musical. Many chapters examine specific screen adaptations in depth, with case studies on the screen versions of Broadway favorites Carousel and Brigadoon, while others deal with broad issues such as how music rights affected how studios approached screen adaptations. Together, the chapters incite lively debates about the process of adapting Broadway for the big screen and provide models for future studies.Volume I: The Politics of the Musical Theatre Screen AdaptationVolume II: Race, Sexuality, and Gender and the Musical Screen AdaptationVolume III: Stars, Studios, and the Musical Theatre Screen Adaptation

Hollywood''s conversion to sound in the 1920s created an early peak in the film musical, following the immense success of The Jazz Singer. The opportunity to synchronize moving pictures with a soundtrack suited the musical in particular, since the heightened experience of song and dance drew attention to the novelty of the technological development. Until the near-collapse of the genre in the 1960s, the film musical enjoyed around thirty years of development, as landmarks such as The Wizard of Oz, Meet Me in St. Louis, Singin'' in the Rain, and Gigi showed the exciting possibilities of putting musicals on the silver screen. The final of three volumes, Stars, Studios, and the Musical Theatre Screen Adaptation: An Oxford Handbook traces how stardom and technology has affected the evolution of the genre of the stage-to-screen musical. Many chapters examine specific screen adaptations in depth, with case studies on the screen versions of Broadway favorites Carousel and Brigadoon, while others deal with broad issues such as how music rights affected how studios approached screen adaptations. Together, the chapters incite lively debates about the process of adapting Broadway for the big screen and provide models for future studies.Volume I: The Politics of the Musical Theatre Screen AdaptationVolume II: Race, Sexuality, and Gender and the Musical Screen AdaptationVolume III: Stars, Studios, and the Musical Theatre Screen Adaptation

Hollywood''s conversion to sound in the 1920s created an early peak in the film musical, following the immense success of The Jazz Singer. The opportunity to synchronize moving pictures with a soundtrack suited the musical in particular, since the heightened experience of song and dance drew attention to the novelty of the technological development. Until the near-collapse of the genre in the 1960s, the film musical enjoyed around thirty years of development, as landmarks such as The Wizard of Oz, Meet Me in St. Louis, Singin'' in the Rain, and Gigi showed the exciting possibilities of putting musicals on the silver screen. The final of three volumes, Stars, Studios, and the Musical Theatre Screen Adaptation: An Oxford Handbook traces how stardom and technology has affected the evolution of the genre of the stage-to-screen musical. Many chapters examine specific screen adaptations in depth, with case studies on the screen versions of Broadway favorites Carousel and Brigadoon, while others deal with broad issues such as how music rights affected how studios approached screen adaptations. Together, the chapters incite lively debates about the process of adapting Broadway for the big screen and provide models for future studies.Volume I: The Politics of the Musical Theatre Screen AdaptationVolume II: Race, Sexuality, and Gender and the Musical Screen AdaptationVolume III: Stars, Studios, and the Musical Theatre Screen Adaptation

The first collected correspondence of one of America’s greatest songwriters—revealing a fascinating life and lasting influence  Frank Loesser was one of the most versatile and influential figures of the Golden Age of Broadway, most famous for Guys and Dolls. A Pulitzer Prize– and Academy Award–winning composer and lyricist, he was also a successful producer and businessman who maintained a wide and rich correspondence. From Richard Rodgers and Ira Gershwin to Sammy Davis Jr. and Marlon Brando, his milieu included the great creatives of the day.  Dominic Broomfield-McHugh and Cliff Eisen draw together the best of Loesser’s letters to reveal the mind behind numerous hit musicals and a wealth of perennially popular songs. Clever, funny, and original, the letters shed light on Loesser’s creative process, his cultural Jewishness, and his keen business sense and relationship with the musical profession.  This correspondence allows us dazzling new access to the world of Broadway at its height—and reveals the scale of Loesser’s influence to this day.