Recognizing the characteristics of classical musical cinema and its impact on contemporary films

Abstract

 This article aims at the theoretical recognition of the qualities of classic American musical cinema based on the scope and permanence of the characteristics that underlie contemporary musical films. Objective. It realizes the importance of the analysis of some constructive units of musical cinema for an approximation to the aesthetic importance of its characteristics, thus serving as a contribution to the exploration of new projects. In this sense, the look of authors such as Jaques Aumont enhances the focus of the conceptual aspects of the audiovisual aesthetics of musical cinema and supports the examination of the samples. Materials and methods. The qualitative perspective of the research uses bibliographic review and observation techniques that respond to the interpretive paradigm. A matrix is designed as a tool adapted to the analysis criteria of musical films, information that will later be crossed with the theories found. Results The results show recurring aesthetic categories and subcategories in musical films; in addition to a correlation between the characteristics of classic films and contemporary films in the intention of this genre. Discussion: Due to the intention of the stated objective, this study does not intend to be involved in public, economic, technical, cultural, political or religious effects and consequences that deviate from what has been proposed. Conclusion. In a conclusive way, it is proven that in the typical renowned musical cinema there are common distinctive features and aesthetic resources that inherent in its plot development have been sustained from much of its style by the contribution it generates in the viewer even in current cinematographies.