Dominic Broomfield-McHugh is Professor of Musicology at the University of Sheffield. He has published widely on the Broadway and Hollywood musicals, including seven previous books, and has collaborated with many of the world's leading arts organizations, ranging from the Sydney Opera House to the Library of Congress.

Since the release of Baz Luhrmann's Moulin Rouge! in 2001, the film musical has returned to popularity as one of the most important cinematic genres, with box office hits that appeal to audiences of all ages. Yet the history of the musical on film goes back over seven decades earlier, stretching from early examples like The Jazz Singer (1927), the first ever film with synchronized sound, through the Astaire-Rogers musicals of the 1930s, the MGM and Warner Brothers extravaganzas of the 1940s and '50s, and the roadshow era of the 1960s. The genre's renaissance with La La Land (2016) and The Greatest Showman (2017) proves that it remains as appealing as ever, capable of both high critical acclaim and widespread box office success.

The Oxford Handbook of the Hollywood Musical, curated by editor Dominic Broomfield-McHugh, reflects and expands on current scholarship on the film musical in a handbook that mixes new discoveries through archival research with new perspectives on familiar titles. It addresses issues such as why audiences accept people bursting into song in musicals; how technology affects the way numbers are staged; and how writers have adapted their material to suit certain stars. It also looks at critical issues such as racism and sexism, and assesses the role and nature of the film musical in the twenty-first century. A remarkable survey at the cutting edge of the field, The Oxford Handbook of the Hollywood Musical will be a resource for students and scholars alike for years to come.

Introduction
Acknowledgements
I The Conventions of Breaking into Song and Dance
Chapter 1--Expressive Thresholds and Anomalous Utterances
LLOYD WHITESELL
Chapter 2--"Make Like You're Singing It": Performing Musical Texture in Judy Garland's Early Films
DOMINIC SYMONDS
Chapter 3--Revealing the Subconscious: The Dream Ballet in Movie Musicals
KARA GARDNER
Chapter 4--Singing and Dancing in Widescreen: The Extreme Aesthetics of the Mid 1950s Studio Musical Number
TODD DECKER
II The Musical's Othering Impulse
Chapter 5--From Snow White to the Snow Queen: Voicing the Disney Princess
COLLEEN MONTGOMERY
Chapter 6--"Going Places": Musical Latins in Latin Musicals
DESIRÉE J. GARCIA
Chapter 7 --Performing Whiteness Through the First-Generation American Immigrant Experience from Viennese Nights to Perfect Pitch
WILLIAM EVERETT
Chapter 8 --"Cabenenic, Carabenic, Castalenic, Harlemenic": Reclaiming Blackness in Lena Horne's film musicals
HANNAH ROBBINS
Chapter 9--"I'd Do Anything" or Export Strategies for a Culturally Specific Product: Dubbing, Subtitling and Cutting the Hollywood Musical for the German-Austrian Market
OLAF JUBIN
III Production Histories
Chapter 10--"Hear the beat of dancing feet": 42nd Street (1933) and the "New" Film Musical
TIM CARTER
Chapter 11--When Fred Lost Ginger: Thoughts on the Genesis and Legacy of A Damsel in Distress
GEOFFREY BLOCK
Chapter 12--"The Perfect Nanny": Casting in Disney's Mary Poppins and the Children's Musical
MEGAN WOLLER
Chapter 13--Developing the Screenplay for Singin' in the Rain
ANDREW BUCHMAN
Chapter 14--Night and Day the Musical
CLIFF EISEN
IV Stars
Chapter 15--The Problem of Playing Oneself: Oscar Levant and the Hollywood Musical
NATHAN PLATTE
Chapter 16--"Hard to Replace": The Shadow of Judy Garland and the Artistic Remarriage of Fred Astaire and Ginger Rogers in The Barkleys of Broadway
DOMINIC BROOMFIELD-McHUGH
Chapter 17--"The Same Story Told Over and Over:" The Mythology of Stardom in the Musical A Star is Born Films
JULIE LOBALZO WRIGHT
Chapter 18--The Auteur as Ghost Star: Vincente Minnelli's Framings of Judy Garland
RAYMOND KNAPP
Chapter 19--Esther Williams' Latin Lovers
STEVEN COHAN
V After the Studio System
Chapter 20--Xanadu and the Musical's History of Failure
MARTHA SHEARER
Chapter 21--'An Inescapable Failure:' The Little Prince, Realism, and the Golden Age
KATHRYN JAYASURIYA
Chapter 22--Yentl, Barbra Streisand, and Music of the Mind
PAUL LAIRD
VI Musical Renaissance, Musical Reflexivity
Chapter 23--Theatricality, Artifice, and Affective Space in the Works of Baz Luhrmann
ROBYNN J. STILWELL
Chapter 24--Musical Television: Smash, the Backstager, and the Broadway Musical on TV
JANE FEUER
Chapter 25--The Virtuosic Camera: Nostalgia, Technology, and the Contemporary Hollywood Musical
HANNAH LEWIS
Chapter 26--P.T. Barnum Reinvented for the Twenty-First Century
JAMES LEVE