MARKETING FICTION= SHOW BUSINESS= Stage = Fortune’s account of MGM as synechdoche for Hollywood, of Thalbergas synechdoche...
Corporate Marketing: MGM Brand              What Counts•   Logo and trademark.•   Leading Hollywood studio•   Commitment t...
Corporate Marketing: MGM Brand         What Doesn’t Count• Loew’s Inc.• Stars: disciplining them, breaking them• Labor• Wo...
Conditions of Existence for Singin’ in the Rain•   End of wartime bonanza•   Decline of audiences•   Suburbanization•   Al...
Conditions for existence of    Duelling Cavalier• CLIP
Conditions of Existence for Duelling Cavalier• Premiere• Search lights• Loudspeakers• Microphones• Radio• Gossip columnist...
Conditions of Existence for Dancing Cavalier   •   Competition with other studios for the movie       audience Microphones...
“What emerged from this rerouting of camp into the mainstream . . . was not camp itself butthe ‘camp trace,’ its recuperat...
signaling to each other shared interest as well. The coded texture of camp discourse made it hard to discern by outsiders ...
What’s Wrong with Lina?
•   Delusion of grandeur•   Delusion of romance with Don•   Voice•   Popularity•   Refusal to give credit•   Lack of sexua...
What’s Right about Don?
What’s Right about Don?• Produces camp--incongruity of narrative• Creativity / Adaptability• Responsiveness to audience• T...
What’s Right About Kathy?
What’s Right about Kathy?•   Face in the crowd•   Voice•   Versatility•   Pliability -- apparent lack of ambition•   Under...
What’s Right about Cosmo?
What’s Right about Cosmo?•   Talent•   Versatility•   Love for Don•   Hatred of Lina•   Gets camp•   Lack of sexuality•   ...
Revolution    or Counter-Revolution?
Singin+++in+the+rain
Singin+++in+the+rain
Singin+++in+the+rain
Singin+++in+the+rain
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Singin+++in+the+rain

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Singin+++in+the+rain

  1. 1. MARKETING FICTION= SHOW BUSINESS= Stage = Fortune’s account of MGM as synechdoche for Hollywood, of Thalbergas synechdoche for Hollywood, and of Hollywood as synechdoche forindustry based on marketing intangibles.----------------------------MARKETING FICTION= BUSINESS AS SHOW= Backstage= Thalberg’s executive techniquewhich is his capacity to pivot frombackstage producer to backstage audience by making himself cameraduring the day and projector at night. Self-reflexiveness that incorporatesexhibition in production. Sees things as audience sees them.Packaging.
  2. 2. Corporate Marketing: MGM Brand What Counts• Logo and trademark.• Leading Hollywood studio• Commitment to entertainment• Commitment to quality: “common denominator of goodness”• Commitment to musicals as epitome of quality entertainment• Commitment to show business historicism; self-reflexivity as a progressive method.• Stars: making them, publicizing them• Lavish productions: packaged like perfume• Studio lot• Uncredited backstage talent• Fans• Somewhat dignified, middle class audience
  3. 3. Corporate Marketing: MGM Brand What Doesn’t Count• Loew’s Inc.• Stars: disciplining them, breaking them• Labor• Working class audience• Fans
  4. 4. Conditions of Existence for Singin’ in the Rain• End of wartime bonanza• Decline of audiences• Suburbanization• Alternate forms of entertainment• Television• Paramount decision• Loosening of contractual commitments of stars• Unit production and, especially, Freed unit
  5. 5. Conditions for existence of Duelling Cavalier• CLIP
  6. 6. Conditions of Existence for Duelling Cavalier• Premiere• Search lights• Loudspeakers• Microphones• Radio• Gossip columnist• Appearance of stars -- Physical connection with audience• Fans• Fan magazines• Police• Recognizable genre--historical romance• [Backstage--Executives--History]
  7. 7. Conditions of Existence for Dancing Cavalier • Competition with other studios for the movie audience Microphones • Quiet on the set • Sound booths • Arc Lighting • Sound synchronization • Sound post-synchronization • Good singing voices • Movement, dancing
  8. 8. “What emerged from this rerouting of camp into the mainstream . . . was not camp itself butthe ‘camp trace,’ its recuperation as an unthreatening ‘queer aura’ giving special value tostraight tastes within the domain of heterosexuality” (7)“Camp sought to reclaim language and representationality as well as public spaces from aheteronormative mainstream culture that rendered homosexuality invisible except as astructuring absence for defining ‘manliness’ in opposition to ‘womanliness,’ whether ingendered or sexual terms” (9).“Camp is situational, ‘inhering not in the person or thing itself but in the tension between thatperson or thing itself but in the tension between that person or thing and the context orassociation. . . . Camp cohered around certain ‘strong themes,’ which ‘are intimately relatedto homosexual situation and strategy.’ These are incongruity, ‘the subject matter of camp’;theatricality, ‘its style’; and humor, ‘its strategy’” (10)“The cultural conundrum of seeing/not seeing queerness was the stuff of camp—and also thesource of its fun” (12) representation” (22-23)
  9. 9. signaling to each other shared interest as well. The coded texture of camp discourse made it hard to discern by outsiders exceptation to both the heteronormative world and the unseen queer culture present within it.”ly providing one with a comic appreciation of it contradictions’” (17)
  10. 10. What’s Wrong with Lina?
  11. 11. • Delusion of grandeur• Delusion of romance with Don• Voice• Popularity• Refusal to give credit• Lack of sexuality• Ambition• Delusion that “I ain’t people.”
  12. 12. What’s Right about Don?
  13. 13. What’s Right about Don?• Produces camp--incongruity of narrative• Creativity / Adaptability• Responsiveness to audience• Talent• Stardom• Friendship with Cosmo• Heterosexuality• Giving Credit to Kathy
  14. 14. What’s Right About Kathy?
  15. 15. What’s Right about Kathy?• Face in the crowd• Voice• Versatility• Pliability -- apparent lack of ambition• Under five year contract• Love for Don• Gets camp• “Heterosexuality”• Approval by Cosmo
  16. 16. What’s Right about Cosmo?
  17. 17. What’s Right about Cosmo?• Talent• Versatility• Love for Don• Hatred of Lina• Gets camp• Lack of sexuality• Approval by Kathy• Ambition
  18. 18. Revolution or Counter-Revolution?

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