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Hip Hop on FilmPerformance Culture, Urban Space, and Genre Transformation in the 1980s$
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Kimberly Monteyne

Print publication date: 2013

Print ISBN-13: 9781617039225

Published to University Press of Mississippi: May 2014

DOI: 10.14325/mississippi/9781617039225.001.0001

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date: 16 December 2017

The Case for the Hip Hop Musical

The Case for the Hip Hop Musical

Chapter:
(p.39) 1 The Case for the Hip Hop Musical
Source:
Hip Hop on Film
Author(s):

Kimberley Monteyne

Publisher:
University Press of Mississippi
DOI:10.14325/mississippi/9781617039225.003.0002

This chapter provides a revisionist history of the postclassical musical that makes room for early hip hop-oriented cinema, and significantly alters theories about the trajectory of the generic development of American musical film. It argues that hip hop culture made its biggest entrance into mainstream media through the narrative format of the musical. These productions envisioned a progressive postclassical “music man” who appropriated city spaces (and in some cases enacted important social transformations) through the various performative outlets of hip hop culture. This is a crucial development to bring to light since classical-era Hollywood musicals have habitually denied African American performers and other people of color the transcendent abilities of the “music man” embodied by hoofers such as Gene Kelly and Fred Astaire.

Keywords:   Postclassical musical, “music man,” Hollywood musicals, hip hop cinema, classical-era Hollywood

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