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CONTENTS. PREFACEI. An Introduction to the Theory of Genre Analysis,General Discourse on Meaning. The Role of Generic Formations in MeaningProduction. The Role of the Critic. Toward Objective Evaluation of SubjectiveCriticism. Establishing a Corpus. The American Film Musical as Dual-FocusNarrativeIII. The Structure of the American Film Musical. The film processthrough a series of paired segments matching the male and female leads. Eachseparate part of the film recapitulates the films overall duality. The basicsexual duality overlays a secondary dichotomy. The marriage which resolvesthe primary (sexual) dichotomy also mediates between the two terms of thesecondary (thematic) opposition IV. The Style of the American Film Musical.Audio Dissolve. Video Dissolve. Personality Dissolve.V. The Problem of GenreHistory.Problems with Current Terminology.Towards a New Terminology.Definingthe Corpus.Reformulating Genre Histor.The History of the American FilmMusical: A New Approach. VI. The Fairy Tale Musical. Prehistory. Sex as Sex.Sex as Battle. Sex as Adventure. VII. The Show Musical. The Sources of ShowMusical Semantics.Backstage: The Syntax of Illusion. Taking it Out of theTheater.Saving the Dying Myth: Reflexivity as Reinforcement. VIII. The FolkMusical. Elements of the Folk Musical. Building a Folk Syntax. A Folk Art inthe Age of Mass Media. IX. Genre and Culture. The Fundamental Characteristicsof Genre Film.Symbolic Spectatorship.Work and Entertainment.The MusicalsOperational Role.The Practice of Music in the Age of Electronic Reproduction.Conclusion. BIBLIOGRAPHICAL NOTES. NOTES. YEARLY TABLE OF MUSICALS BYSUBGENRE.INDEX.