Abstract

The integrated musical of the late 1940s (led by MGM) often excluded minority performers in an attempt to create a utopian environment. In contrast, Fox's nonintegrated musicals of the early 1940s negotiated a space for these performers, which, while problematic, created opportunities for individual agency.

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Additional Information

ISSN
1527-2087
Print ISSN
0009-7101
Pages
pp. 21-45
Launched on MUSE
2002-11-20
Open Access
No
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