7 years ago
All posts by Kyle Turner
Mean Girls and Bad Boys: The Messy Gender Politics of “Grease” in 5 Songs
Grease is the word. Its first iteration was as a stage musical, conceived by Jim Jacobs and Warren Casey, first appearing on stage in Chicago in 1971, and then on Broadway in 1972. With book, music, and lyrics by Jacobs and Warren, the two tackled teenage life...
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Let’s Go Backwards When Forward Fails: Past Informs Present in “Everything Old is New Again” From “All That Jazz”
Songs in the Key of Cinema is a bi-weekly look at the use of songs in film and how that music fits within the context of the film as a whole and a place where we’ll cover the moments in cinema that were music to our eyes and ears.
In Bob Fosse’s All That J...
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Fight, Not Flight: The Sound and Fury of “Fight the Power” in “Do the Right Thing”
Songs in the Key of Cinema is a bi-weekly look at the use of songs in film and how that music fits within the context of the film as a whole and a place where we’ll cover the moments in cinema that were music to our eyes and ears.
Twenty-five years ago, Be...
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Out of the Cave: The Dark Magic of “O Children” and “Harry Potter and the Deathly Hallows – Part I”
Songs in the Key of Cinema is a bi-weekly look at the use of songs in film and how that music fits within the context of the film as a whole and a place where we’ll cover the moments in cinema that were music to our eyes and ears.
While JK Rowling’s seminal...
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Every Little Tear: The Transcendent Beauty of “Crying” in “Mulholland Drive”
Songs in the Key of Cinema is a bi-weekly look at the use of songs in film. We’ll explore how a piece of music fits within the context of a film as a whole, and we’ll cover the moments in cinema that were music to our eyes and ears.
Infamous for his abstra...
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The Edge of Glory: “Edge of Tomorrow” as Propaganda
In Doug Liman’s Edge of Tomorrow, Tom Cruise goes to battle. And then does it again. And again. And again. Trapped in a time loop worthy of your typical Marvel-esque exposition, Cruise's Bill Cage and his counterpart Rita Vrataski (Emily Bunt) act as beacons o...
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Korine’s Angels: The Ironic Harmony of “Everytime” and “Spring Breakers”
Songs in the Key of Cinema is a bi-weekly look at the use of songs in film. We'll explore how a piece of music fits within the context of a film as a whole, and we’ll cover the moments in cinema that were music to our eyes and ears.
There were snickers in ...
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“I Call Them Dogs”: Lars von Trier Calls Out Rape Culture
Lars von Trier wants to hold us accountable. His films sear and contain a rawness that’s rare in cinema. He shows a small town community protecting people who abuse a fugitive, sexually and emotionally, and a religious culture that allows its elders to be disp...
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The “World” As He Knows It: “Whole Wide World”, Perspective, and “Stranger Than Fiction”
Songs in the Key of Cinema is a bi-weekly look at the use of songs in film and how that music fits within the context of the film as a whole and a place where we’ll cover the moments in cinema that were music to our eyes and ears.
While Marc Forster’s Stra...
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Love, Ostentatiously: The Obsessive Infatuation of “Bang Bang” & “Pass This On” in “Heartbeats”
Songs in the Key of Cinema is a bi-weekly look at the use of songs in film and how that music fits within the context of the film as a whole and a place where we’ll cover the moments in cinema that were music to our eyes and ears.
It’s intoxicating. It has...
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