04990nam 22011654a 450 991081678020332120240410062607.097866127631820-520-93857-71-282-76318-01-59734-527-X10.1525/9780520938571(CKB)1000000000024236(EBL)222984(OCoLC)475926817(SSID)ssj0000119992(PQKBManifestationID)11131988(PQKBTitleCode)TC0000119992(PQKBWorkID)10095883(PQKB)10163276(SSID)ssj0000559379(PQKBManifestationID)11373972(PQKBTitleCode)TC0000559379(PQKBWorkID)10582659(PQKB)11546801(MiAaPQ)EBC222984(OCoLC)56732990(MdBmJHUP)muse31034(DE-B1597)520262(DE-B1597)9780520938571(Au-PeEL)EBL222984(CaPaEBR)ebr10068552(CaONFJC)MIL276318(dli)HEB08036(MiU)MIU01000000000000009826704(EXLCZ)99100000000002423620040112d2004 ub 0engurcn|||||||||txtccrChanteuse in the city the realist singer in French film /Kelley Conway1st ed.Berkeley University of California Pressc20041 online resource (277 p.)Description based upon print version of record.0-520-24019-7 0-520-24407-9 Includes filmography (p. 185), bibliographical references (p. 223-230), and index.Introduction -- Caf-conc' : the rise of the unruly woman -- Music hall Miss -- Voices from the past -- The revue star and the realist singer : the return of the unruly woman -- Violent spectatorship : mechanical reproduction, the female voice, and the imaginary of intimacy -- Conclusion.Long before Edith Piaf sang "La vie en rose," her predecessors took to the stage of the belle epoque music hall, singing of female desire, the treachery of men, the harshness of working-class life, and the rough neighborhoods of Paris. Icon of working-class femininity and the underworld, the realist singer signaled the emergence of new cultural roles for women as well as shifts in the nature of popular entertainment. Chanteuse in the City provides a genealogy of realist performance through analysis of the music hall careers and film roles of Mistinguett, Josephine Baker, Fréhel, and Damia. Above all, Conway offers a fresh interpretation of 1930's French cinema, emphasizing its love affair with popular song and its close connections to the music hall and the café-concert. Conway uncovers an important tradition of female performance in the golden era of French film, usually viewed as a cinema preoccupied with masculinity. She shows how-in films such as Pépé le Moko, Le Crime de Monsieur Lange, and Zouzou-the realist chanteuse addresses female despair at the hopelessness of love. Conway also sheds light on the larger cultural implications of the shift from the intimate café-concert to the spectacular music hall, before the talkies displaced both kinds of live performance altogether.Popular musicFranceHistory and criticismMotion picture musicFranceHistory and criticismWomen singersFranceMotion picturesFranceHistory1930s.beauty.belle epoque music hall.cafe concert.cinema lovers.cinemaphiles.cultural implications.cultural roles.cultural studies.female desire.femininity.film and culture.film historians.france.french cinema.french culture.french film.gender roles.golden era.music hall careers.music.paris.popular entertainment.popular music.realist performance.realist singer.singers.theatre.women in film.womens roles.working class life.Popular musicHistory and criticism.Motion picture musicHistory and criticism.Women singersMotion picturesHistory.782.42164/082/0944Conway Kelley1963-845382MiAaPQMiAaPQMiAaPQBOOK9910816780203321Chanteuse in the city1886698UNINA