Pop Go the Warner Bros., et al.: Marketing Film Songs during the Coming of Sound

Spring, Katherine

doi:10.1353/cj.0.0066

Cited by 7 publications

(1 citation statement)

References 16 publications

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“…12 For early sound musicals, as Katherine Spring explores, a very similar cross-promotional function was served by radio airplay, and by sheet music and record sales. 13 For the Goldwyn/Cantor films, this musical multi-media advertising presence was strongly reinforced by Cantor's growing status as a national radio star, after he was chosen to succeed Maurice Chevalier as the host of NBC's hit Sunday night radio show, the Chase and Sanborn Hour, shortly before the release of the second film, Palmy Days, in 1931. 14 Another element common to both eras was the step-changes in the sophistication of the relationship between the Hollywood feature film and commercial brands and goods.…”

Section: Marketability Product Placement and Hollywood Production Modelsmentioning

confidence: 99%

‘Use The Songs to Sell Your SHOW!’ Sam Goldwyn, The Eddie Cantor Musicals and the development of product-centred marketability

Selfe¹

2020

Historical Journal of Film, Radio and Television

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This article advances understanding of Hollywood's relationship to advertising and commerce by demonstrating that deeply embedded product placement is an older practice than current scholarship recognises. Focusing on a series of musical comedies, produced by Samuel Goldwyn and released through United Artists in the early 1930s, it argues that the development of product-centred marketing was shaped "Use the SONGS to sell your SHOW!": Sam Goldwyn, the Eddie Cantor musicals and the development of product-centred marketability

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Section: Marketability Product Placement and Hollywood Production Modelsmentioning

confidence: 99%

‘Use The Songs to Sell Your SHOW!’ Sam Goldwyn, The Eddie Cantor Musicals and the development of product-centred marketability

Selfe¹

2020

Historical Journal of Film, Radio and Television

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Everybody’s Talking About Pop Music: The Evolution of the Cinematic Video Game

Heron

2015

Comput Game J

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Diegetic Withdrawal and Other Worlds: Film Music Strategies before King Kong , 1927–1933

Slowik¹

2013

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Resumen: La hipótesis de partida del presente artículo es que el cine de horror florece en los períodos de crisis social, los cuales a su vez intensifican el miedo al Otro. La película King Kong (1933) constituye un ejemplo paradigmático porque, al albur de la gigantesca crisis económica del 29, presenta a un monstruo que formaliza las más importantes representaciones imaginarias del miedo al Otro que se forjaron en la sociedad norteamericana del momento. Desde esta perspectiva, aquí se pretende analizar sociológicamente hasta qué punto el crack del 29 está detrás del film, qué tipos de miedo muestra y cómo se formaliza en él el terror al Otro. Al respecto, este trabajo concita dos reflexiones: King-Kong anuncia en 1933 la sociedad del riesgo que analizan, en la tardo-modernidad, A. Giddens y U. Beck y el miedo posee una connatural circularidad, presente en el tema y en la estructura narrativa del film. Finalmente, el artículo trata de responder a las preguntas de cómo salir de esta circularidad y cómo evitar el acostumbrado rechazo al Otro. Palabras clave: Sociología del cine. Hermenéutica. Cine de horror. King Kong. Terror al Otro. Abstract: The hypothesis of this paper is that the horror genre flourishes in times of social crisis, which at the same time intensifies the fear of the Other. The film King Kong (1933) is a paradigmatic example because, at the mercy of the huge economic crisis of 29, introduces a monster that formalizes the most important imaginary representations of fear of the Other that were forged in American society at the time. From this perspective, it is sociologically analyze to what extent 29 crack is behind King Kong, what kinds of fear shows the film and how terror to the Other is formalized in the film. This work involves two considerations: King-Kong presages the risk society that analyze, in late-modernity, A. Giddens and U. Beck; and fear has an inherent circularity present in the subject and narrative structure of the film. Finally, the article attempts to answer the questions of how to get out of this circularity and how to avoid the usual rejection to Other.

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Pop Go the Warner Bros., et al.: Marketing Film Songs during the Coming of Sound

Cited by 7 publications

References 16 publications

‘Use The Songs to Sell Your SHOW!’ Sam Goldwyn, The Eddie Cantor Musicals and the development of product-centred marketability

‘Use The Songs to Sell Your SHOW!’ Sam Goldwyn, The Eddie Cantor Musicals and the development of product-centred marketability

Everybody’s Talking About Pop Music: The Evolution of the Cinematic Video Game

Diegetic Withdrawal and Other Worlds: Film Music Strategies before King Kong , 1927–1933

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