In The Space Of A Song

<p>Songs take up space and time in films. Richard Dyer's <em>In the Space of a Song</em> takes off from this perception, arguing that the way songs take up space indicates a great deal about the songs themselves, the nature of the feelings they present, and who is allowed to present feelings how, when and where. <em>In the Space of a Song</em> explores this perception through a range of examples, from classic MGM musicals to blaxploitation cinema, with the career of Lena Horne providing a turning point in the cultural dynamics of the feeling.</p><p>Chapters include:</p><ul> <li>The perfection of Meet Me in St. Louis</li> <li>A Star Is Born and the construction of authenticity</li> <li>‘I seem to find the happiness I seek’: Heterosexuality and dance in the musical</li> <li>The space of happiness in the musical</li> <li>Singing prettily: Lena Horne in Hollywood</li> <li>Is Car Wash a musical?</li> <li>Music and presence in blaxploitation cinema</li> </ul><p><em>In the Space of a Song</em> is ideal for both scholars and students of film studies.</p> <p><strong>Chapter 1.</strong> Introduction Something about singing; No musicals: Italian cinema; All musicals: Hindi cinema <strong>Chapter 2.</strong> The Perfection of Meet Me in St. Louis <strong>Chapter 3.</strong> A Star Is Born and the Construction of Authenticity <strong>Chapter 4.</strong> ‘I Seem to Find the Happiness I Seek’: Heterosexuality and Dance in the Musical <strong>Chapter 5.</strong> The Space of Happiness in the Musical <strong>Chapter 6.</strong> Singing Prettily: Lena Horne in Hollywood <strong>Chapter 7.</strong> Is Car Wash a Musical? <strong>Chapter 8.</strong> Music and Presence in Blaxploitation Cinema</p>