Description
Both the (transnational) genre of the musical film in the 1940s and the cultural-historical discussion of
the attached production contexts represent desiderata in musicological research. Using the example of the flourishing transnational musical film production of the 1940s that was located in the Mediterranean region of southern France, the contribution sheds light to the multiple transnational interactions between Germany and France under the angle of mobility and migration, in order to overcome the hitherto dominant linkage to the national in favor of a perspectivization that reconstructs the musical film and its production mechanisms as transnational and dynamic cultural-historical phenomena.
Building on the concept of cultural mobility (Greenblatt et al) Musical Mobility will be discussed (1) as a driving force for stable linkages between regions that extend over longer periods of time and are absorbed into diverse historical formations. On the other hand (2) territorial boundaries come to the fore, because they are experiencing resignification and revitalization in conjunction with the increasing historical, political, and cultural pressures faced by local, national, and international communities at various levels.
Deciphering the multiple interconnections between German and French Popular Culture in the 1940s the contribution further discusses the identity constructing potential of the chosen examples through the determination of the inherent personnel constellations during the production processes as well as through the analysis of the aesthetic references. Therefore the paper argues for a re-reading of music history that recognizes the processuality and dynamics of cultural practices.
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