Realistic Musical?: Allen – Resnais – von Trier
Abstract
In musical realism has many faces; as a category, it has many meanings and is subject to change. It is also dependent on the genre (e.g. in backstage musicals or in films about artists music, song and dance are quite justified). However it is not a constitutive feature of the genre in question and it is simply a convention. Nonetheless Koschany points to certain poetics and concepts that do not fit with this view and habits of the audiences. The article presents the analysis of three exceptional films by three directors: Woody Allen’s Everyone Says I Love You (1996), On connait la chanson (Same Old Song) by Alain Resnais (1997) and Dancer in the Dark by Lars von Trier (2000). For the directors in question, their musicals were important experiments - self reflective tales about the status of the genre and the possibility of its realistic version.
Keywords:
musical, Woody Allen, Alain Resnais, Lars von Trier, realismReferences
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Authors
Rafał Koschanykwartalnik.filmowy@ispan.pl
Adam Mickiewicz University, Poznań Poland
Adiunkt w Zakładzie Semiotyki Kultury Instytutu Kulturoznawstwa UAM, autor książki Przypadek. Kategoria artystyczna i egzystencjalna w literaturze i filmie (2006) oraz artykułów publikowanych w pracach zbiorowych i czasopismach naukowych; swoje zainteresowania badawcze lokuje m.in. na pograniczu literaturoznawstwa i filmoznawstwa.
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Copyright (c) 2011 Rafał Koschany
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