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백스테이지 뮤지컬에 나타난 영화매체적 무용표현 특성- 버스비 버클리(Busby Berkeley)와 프레드 아스테어(Fred Astire)를중심으로 -

The Characteristics of Dance Expressions in Backstage Musicals of Busby Berkeley and Fred Astaire

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In the early 20C, Busby Burkeley and Fred Astaire newly introduced backstagemusical. This study aims not only comparing two musicals to show how backstagemusical have been studied and developed, and also to research what the earlyhistory of dance film is. For the study, it reviewed the books which explain the character of popularentertainment and film at the time when backstage musical initiated. To analysethe specific expression of dance, I choose three scene of works, Gold Diggers(1933),Footlight Parade(1933), Dames(1934), Flying Down to Rio(1933), Swing Time(1936) andRoyal Wedding(1951). The analysis is focused on style of dance, how the dancerinvolved, and techniques of camera. At result, Burkeley’s style is spectacle. He separate spectacle from narrativeusing a dancer as a tool of visual composition. On the contrary, Astaire’s style isnarrative. He interweave narrative with spectacle using a dance as a part of thenarrative structure in the film.

Abstract

In the early 20C, Busby Burkeley and Fred Astaire newly introduced backstagemusical. This study aims not only comparing two musicals to show how backstagemusical have been studied and developed, and also to research what the earlyhistory of dance film is. For the study, it reviewed the books which explain the character of popularentertainment and film at the time when backstage musical initiated. To analysethe specific expression of dance, I choose three scene of works, Gold Diggers(1933),Footlight Parade(1933), Dames(1934), Flying Down to Rio(1933), Swing Time(1936) andRoyal Wedding(1951). The analysis is focused on style of dance, how the dancerinvolved, and techniques of camera. At result, Burkeley’s style is spectacle. He separate spectacle from narrativeusing a dancer as a tool of visual composition. On the contrary, Astaire’s style isnarrative. He interweave narrative with spectacle using a dance as a part of thenarrative structure in the film.

참고문헌 (25)

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  2. Billman, Larry, "Film Choreographers and Dance Directors" (1997), Mcfarland & Company Inc., Publishers
  3. Brannigan, Erin, "Dancefilm: Choreography and Moving Image" (2011), Oxford University Press
  4. Copeland, Roger, "Merce Cunningham: The Modernizing of Modern Dance" (2004), Routledge
  5. Delameter, J., "Dance in the Hollywood musical" (1981), UMI Research Press
  6. Feuer, J., "The Hollywood musical" (1982), Macmillan
  7. Porter, Jenelle, "Dance with Camera" (2009), University of Pennsylvania
  8. Rosenberg, Douglas, "Screendance: Inscribing the Ephemeral Image" (2012), Oxford University Press
  9. Rubin, Martin, "Hollywood Musical, the Film Reader" (2002), Rougtledge
  10. 강현두, "초기 미국영화의 실험과 정착: 1920~30년대 헐리우드", 언론정보연구, 34, pp.79~117 (1997)
  11. 이지선, "매체미학적 관점에서 본 춤 환영성 연구", 무용예술학연구, 33(33), pp.71~110 (2011), 한국무용예술학회
  12. 이지선, "춤의 사회적 생산과 수용 - 20세기초 미국 현대춤의 등장을 중심으로 -", 무용예술학연구, 22(22), pp.95~118 (2007), 한국무용예술학회
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  14. Siegel, Marcia B., "Busby Berkeley and the Projected Stage", The Hudson Review, 62(1), pp.106~112 (2009)
  15. "두산백과" (2013)[URL]
  16. "브리태니커 온라인 백과사전" (2013)[URL]
  17. "Footlight Parade" (2013)[URL]
  18. "Gold Diggers(1933), Footlight Parade(1933), Dames(1934)", Warner Bros(DVD), ~
  19. "Royal wedding" (1951)[URL]
  20. "Flying Down to Rio" (2013)[URL]
  21. "Music Makes Me" (2013)[URL]
  22. "Carioca" (2013)[URL]
  23. "Pick Yourself Up" (2013)[URL]
  24. "Waltz in Swing Time" (2013)[URL]
  25. "Bojangles of Harlem" (2013)[URL]

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