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| Introduction: Berkeley and the Berkeleyesque | |
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| Berkeleyesque Traditions | |
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| Roots: From Barnum to Ziegfeld Integration and the Musical Aggregate Forms | |
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| The Black Crook Spectacle Forms Revue Forms | |
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| The Backstage Format Evolution of the Backstage Musical | |
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| An "Impossible" Genre Space and Discourse Berkeley vs. Sandrich | |
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| The Importance of Excess | |
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| The DeMillesque Spectacularization of the Camera | |
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| Berkeleyesque Theater | |
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| Berkeley on Broadway Apprenticeship: Operettas and Obscurity (1925-1927) | |
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| Breakthrough: A Connecticut Yankee (1927) | |
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| Spectacle: Earl Carroll Vanities of 1928 Fluidity: Good Boy (1928) | |
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| Broadway and "42nd Street" | |
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| Revue International (1930) | |
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| Broadway Before Berkeley Specific Antecedents Objectification of the Feminine Evolution of the Chorus Line | |
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| Berkeleysque Cinema | |
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| An Introductory Outline of Berkeley's Film Career Phases and Variables | |
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| Studio Collaborators Stylistic and Structural Contexts | |
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| Early Period (1930-1933) | |
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| The Early Film Musical and the Berkeleyesque | |
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| The Cantor Comedies | |
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| Whoopee! (1930) | |
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| Palmy Days (1931) | |
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| The Kid from Spain (1932) | |
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| Roman Scandals (1933) | |
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| Classic Warner Bros. Period (1933-1934) | |
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| Advantages of the Warner Bros. Musical 42nd Street (1933) | |
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| Gold Diggers of 1933 (1933) | |
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| Deprived Women, Forgotten Men | |
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| Footlight Parade (1933) | |
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| Paradigm Parade | |
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| Dames (1934) | |
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| Later Warner Bros. Period (1935-1939) | |
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| A Genre in Transition | |
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| Gold Diggers of 1935 (1935) | |
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| Gold Diggers of 1937 (1936) | |
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| Hollywood Hotel (1937) | |
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| MGM Period (1939-1943) | |
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| From Warners to Metro | |
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| Broadway Serenade (1939) | |
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| The Mickey Rooney/Judy Garland "Trilogy" | |
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| Babes in Arms (1939) | |
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| Strike Up the Band (1940) | |
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| Lady Be Good (1941) | |
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| For Me and My Gal (1942) | |
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| Girl Crazy (1943) | |
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| Fox Period (1943) | |
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| The Gang's All Here (1943) and the Fox Musical Garish Delirium Eccentric Editing A Musical Turned Inside Out "What If?" | |
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| Late Period (1949-1954, 1962) | |
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| Simplification | |
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| Take Me Out to the Ball Game (1949) | |
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| Call Me Mister (1951) | |
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| Two Tickets to Broadway (1951) | |
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| Million Dollar Mermaid (1952) | |
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| Rose Marie (1954) | |
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| Jumbo (1962) and the Elephants' Graveyard | |
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| Conclusion | |