Comparative Study: Inquiry Part 2

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Annotated Bibliography
Allan, Blaine. “Musical Cinema, Music Video, Music Television.” Film Quarterly, vol. 43, no. 3, 1990, pp. 2–14. JSTOR, www.jstor.org/stable/1212631.
  • This source discusses the importance of music in a film, especially for movie-musicals, in conjuction with the themes, composition, and editing of the film.
Breznican, Anthony. “‘Les Miserables’: First interviews with Hugh Jackman and Anne Hathaway.” Entertainment Weekly, 21 Nov. 2012, https://ew.com/article/2012/11/21/les-miserables-hugh-jackman-anne-hathaway-2/.
  • This source is an interview with Hugh Jackman and Anne Hathway on what was like to create this movie and what it meant for them and what they did to help create a certain meaning.
“Contemporary Musical Film.” Contemporary Musical Film, by Kevin J. Donnelly and Beth Carroll, Edinburgh University Press., 2017, p. 123-126, 129, 132-133.
DanceOn, director. Les Miserables - Official Movie Trailer 2012 (HD). YouTube, YouTube, 1 June 2012, www.youtube.com/watch?v=IuEFm84s4oI.
  • This source is the official movie trailer for the 2012 version of Les Miserables, and it encompasses the plot and themes of the movie that the directors wanted to display in order to grab the attention of the audience.
Ezrati, Milton. “Les Misérables.” The National Interest, no. 128, 2013, pp. 25–36. JSTOR, www.jstor.org/stable/42896476.
  • This source provides background knowledge of Victor Hugo’s novel and different ways it has been portrayed in film and in musicals over the years since its publication. 
Fattal, Laura Felleman. “The Search for Narrative.” Journal of Aesthetic Education, vol. 38, no. 3, 2004, pp. 107–115. JSTOR, www.jstor.org/stable/3527446.
  • This source provides background knowledge on the structure of narrative in literature, specifically film, in order to convey a certain meaning. This source can help understand certain choices in the films I choose to study. 
Feuer, Jane. “College Course Film: THE HOLLYWOOD MUSICAL.” Journal of the University Film and Video Association, vol. 35, no. 4, 1983, pp. 70–78. JSTOR, www.jstor.org/stable/20686970.
  • This source discusses how move-musicals became an idea and how it was originally seen in the industry and then how it was incorporated to become a well-known and enjoyable genre.
Greenspan, Charlotte. “Death Comes to the Broadway Musical.” Daedalus, vol. 141, no. 1, 2012, pp. 154–159., www.jstor.org/stable/23240310.
  • This source discusses the change in musical genres in corrleation with the changes of the world,; for example, the themes of war, violence, and sex entered the industry after the 1940s.
Hamilton, Jake, director. LES MISERABLES Interviews: Jackman, Hathaway, Seyfried, Redmayne, Barks. YouTube, YouTube, 2 Dec. 2012, www.youtube.com/watch?v=EP2ZXNLt9NY.
  • Hamilton asks really great questions for the actors of the 2012 version of Les Miserables to answer about their experience and they’re process in creating a musical that conveys so much emotion and meaning.
Morgan, Rikki. “Nostalgia and the Contemporary Spanish Musical Film.” Revista Canadiense De Estudios Hispánicos, vol. 20, no. 1, 1995, pp. 151–166. JSTOR, www.jstor.org/stable/27763273.
  • This source discusses certain attributes of Spanish musical film that the Spanish culture has adapted over time that makes it so popular in their cinema, as literature and performing arts is a huge part of their culture.
Perri, Dennis. “SINISTERRA'S AND SAURA'S ¡AY CARMELA!: REMEMBERING AND DEALING WITH THE CIVIL WAR.” Hispanic Journal, vol. 23, no. 1, 2002, pp. 113–124. JSTOR, www.jstor.org/stable/44284702.
  • This source provides insight on the plot line for Ay Carmela! And what its socio-polictical messages were.
Saval, José-Vicente. “¡AY, CARMELA!, REIVINDICACIÓN DE LA REPÚBLICA, REIVINDICACIÓN DE LA MUJER.” Romance Notes, vol. 43, no. 1, 2002, pp. 85–90. JSTOR, www.jstor.org/stable/43802752.
  • I’m currently working on translating the article so that I properly analyze it, however, from the translations I’ve done thus far, this source discusses the image of having theatrical performers entertain republican and fascist soldiers in the film Ay Carmela!.
Weintraub, Steve. “Anne Hathaway, Hugh Jackman, Amanda Seyfried, Eddie Redmayne, and Samantha Barks Talk LES MISERABLES, Singing, and Bonding on Set.” Collider, 23 Dec. 2012, collider.com/anne-hathaway-hugh-jackman-les-miserables-interview/. 
  • This source is an interview with the cast of the 2012 version of Les Miserables, talking yet again about their expereinces on creating such an emotional, classical, and musical film.
Wylie, Thomas F. “Eisenstein, Kracauer and Marx: Socio-Political Influence in Film Theory.” Journal of the University Film Association, vol. 30, no. 3, 1978, pp. 15–18. JSTOR, www.jstor.org/stable/20687434.
  • This source discusses how the theme of socio-politics were included into film given the period of time in history when ideas were implemented into the film industry in order to communicate a certain message to the world.

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