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| | Musical Film: The Umbelievable Genre, Ramon Paredes |
 | | According to Kracaucer, film “is uniquely equipped to record and reveal physical reality and, hence, gravitates toward it.” Even when the film reflects the irregularities of life, he adds, it’s accepted as a representation of reality. |
 | | Basically, there are four kinds of musicals: a) operas[6]; b) “all-sung musicals”; c) unintegrated musicals (that is, it deals with a singer or a dancer, and the audience or viewer is forced to see sequences of his or her work); and d) integrated musicals (that is, the singing and/or dancing are “part” of the dialogue). |
 | | Sometimes, opposite to the integrated musicals, the dialogues between numbers in the unintegrated musicals are, as writes Solomon, “frequently tedious or insipid.” In fact, in the early unintegrated musicals, the dialogue tedious that it impossible to listen to it. |
| www.paredes.us /musical.html (2326 words) |
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