LEADER 03997nam 22007694a 450 001 9910450459503321 005 20200520144314.0 010 $a9786612763182 010 $a0-520-93857-7 010 $a1-282-76318-0 010 $a1-59734-527-X 024 7 $a10.1525/9780520938571 035 $a(CKB)1000000000024236 035 $a(EBL)222984 035 $a(OCoLC)475926817 035 $a(SSID)ssj0000119992 035 $a(PQKBManifestationID)11131988 035 $a(PQKBTitleCode)TC0000119992 035 $a(PQKBWorkID)10095883 035 $a(PQKB)10163276 035 $a(SSID)ssj0000559379 035 $a(PQKBManifestationID)11373972 035 $a(PQKBTitleCode)TC0000559379 035 $a(PQKBWorkID)10582659 035 $a(PQKB)11546801 035 $a(MiAaPQ)EBC222984 035 $a(OCoLC)56732990 035 $a(MdBmJHUP)muse31034 035 $a(DE-B1597)520262 035 $a(DE-B1597)9780520938571 035 $a(Au-PeEL)EBL222984 035 $a(CaPaEBR)ebr10068552 035 $a(CaONFJC)MIL276318 035 $a(EXLCZ)991000000000024236 100 $a20040112d2004 ub 0 101 0 $aeng 135 $aurcn||||||||| 181 $ctxt 182 $cc 183 $acr 200 10$aChanteuse in the city$b[electronic resource] $ethe realist singer in French film /$fKelley Conway 210 $aBerkeley $cUniversity of California Press$dc2004 215 $a1 online resource (277 p.) 300 $aDescription based upon print version of record. 311 $a0-520-24019-7 311 $a0-520-24407-9 320 $aIncludes filmography (p. 185), bibliographical references (p. 223-230), and index. 327 $aIntroduction -- 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. 330 $aLong 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. 606 $aPopular music$zFrance$xHistory and criticism 606 $aMotion picture music$zFrance$xHistory and criticism 606 $aWomen singers$zFrance 606 $aMotion pictures$zFrance$xHistory 608 $aElectronic books. 615 0$aPopular music$xHistory and criticism. 615 0$aMotion picture music$xHistory and criticism. 615 0$aWomen singers 615 0$aMotion pictures$xHistory. 676 $a782.42164/082/0944 700 $aConway$b Kelley$f1963-$0845382 801 0$bMiAaPQ 801 1$bMiAaPQ 801 2$bMiAaPQ 906 $aBOOK 912 $a9910450459503321 996 $aChanteuse in the city$91886698 997 $aUNINA