Titlebook: British Film Music and Film Musicals; K. J. Donnelly Book 2007 Palgrave Macmillan, a division of Macmillan Publishers Limited 2007 film.So

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History of British Film Musicals,he British musical film, has become something of an occasional treat rather than a consistently productive film genre. The 1930s were a particularly rich decade for the British film musical. In fact, British cinema was buoyant on and off throughout this decade and held its own in the home market aga

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,The Perpetual Busman’s Holiday: Sir Cliff Richard and the British Pop Musical, film, Cliff Richard plays a mechanic who with some co-workers borrows a bus from their workplace and drives across Europe, serving up a number of wholesome songs along the way. Adorno’s rather catchy phrase underlines what he saw as the conservative nature and function of popular music, and Cliff R

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The Musical Revolution: The Beatles in ,the presales of soundtrack LPs.. . was the first of the two film vehicles for The Beatles and has to be seen as a significant point for the development of the relationship between music and cinema. The Beatles’s film displaced the model of the classical film musical and offered a distinct alternativ

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Constrained Marginal Space Learning,lid in terms of Gainsborough’s music as there were no “great composers” about which to wax lyrical. There was something else: a communal production of music, a production line of sorts, under the aegis of Gainsborough and Gaumont-British musical director Louis Levy.

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Quantization-Based Numerical Schemest of the relationship between music and cinema. The Beatles’s film displaced the model of the classical film musical and offered a distinct alternative: rough and ready action and fast-paced excitement, all to the staunch beat of pop music rather than the smooth sophistication of show music.