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Prospect From Confusion: Singin’ in the Rain (1952) and Opportunity of New Technology

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This paper interprets the reflection of Hollywood’s sound revolution in Singin’ in the Rain as a suggestion to its crisis created by the advent of television. Singin’ in the Rain, directed by Gene Kelly and Stanley Donen in 1952, illustrates Hollywood’s successful transition to sound films by overcoming the crisis brought to silent films in the late 1920s and early 1930s. Among numerous studies of the film’s self-reflexivity, this paper points to the film’s production period when Hollywood faced an eminent threat of television. The film is noted for its resemblance between the two periods, where Hollywood is faced with the threat of technology both in the 1930s and 1950s. This paper interprets that the film implies more than a mere echo of another crucial period in Hollywood history and that the directors suggest a solution to their current crisis. Thus, the film finds its solution be found in the use of the industry’s current technology to its advantage: by offering greater spectacles that only the wider screen can offer and in this case enhanced musical films.

Abstract

This paper interprets the reflection of Hollywood’s sound revolution in Singin’ in the Rain as a suggestion to its crisis created by the advent of television. Singin’ in the Rain, directed by Gene Kelly and Stanley Donen in 1952, illustrates Hollywood’s successful transition to sound films by overcoming the crisis brought to silent films in the late 1920s and early 1930s. Among numerous studies of the film’s self-reflexivity, this paper points to the film’s production period when Hollywood faced an eminent threat of television. The film is noted for its resemblance between the two periods, where Hollywood is faced with the threat of technology both in the 1930s and 1950s. This paper interprets that the film implies more than a mere echo of another crucial period in Hollywood history and that the directors suggest a solution to their current crisis. Thus, the film finds its solution be found in the use of the industry’s current technology to its advantage: by offering greater spectacles that only the wider screen can offer and in this case enhanced musical films.

참고문헌 (18)

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  4. Buzzard, Sharon, "The Do-It-Yourself Text: The Experience of Narrativity in Singin’ in the Rain", Journal of Film and Video, pp.18~26 (1988)
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  7. Crafton, Donald, "The Talkies: American Cinema’s Transition to Sound, 1926-1931" (1998), Scribner’s
  8. Feuer, Jane, "The Self-Reflective Musical and the Myth of Entertainment", Quarterly Review of Film & Video, 2(3), pp.313~326 (1977)
  9. Hess, Earl J., "Singin’ in the Rain: The Making of an American Masterpiece" (2009), UP of Kansas
  10. Juddery, Mark, "Breaking the Sound Barrier", History Today, 60(3), pp.37~43 (2010)
  11. Lev, Peter, "Transforming the Screen, 1950-1959" (2003), Scribner’s
  12. Mamber, Stephen, "Parody, Intertextuality, Signature: Kubrick, DePalma, and Scorsese", Quarterly Review of Film & Video, 12(1-2), pp.29~35 (1990), Taylor and Francis Online
  13. Mast, Gerald, "Can’t Help Singin’: The American Musical on Stage and Screen" (1987), The Overlook Press
  14. Petro, Patrice, "Idols of Modernity: Movie Stars of the 1920s" (2010), Rutgers UP
  15. "Singin’ in the Rain. Dir. Gene Kelly and Stan Donen. Perf. Gene Kelly, Donald O’Connor, Debby Reynolds", Metro-Goldwyn-Mayer, ~ (1952)
  16. Sklar, Robert, "Movie-Made America: A Cultural History of American Movies" (2012), Vintage
  17. Stam, Robert, "Reflexivity in Film and Literature: From Don Quixote to Jean-Luc Godard" (1992), Columbia University Press
  18. Wollen, Peter, "Singin’ in the Rain" (2012), British Film Institute

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