A place for West Side Story (1961): Gender, race, and tragedy in Hollywood's adaptation

In 1961, three years after West Side Story premiered on Broadway, Hollywood created a highly successful film version. Although directors Robert Wise and Jerome Robbins strove to remain faithful to the original production in many ways, the change in medium necessitated a number of alterations, including those that conformed to the particular conventions of the Hollywood studio system. In this paper, I explore the film West Side Story as an adaptation in order to demonstrate how Hollywood’s conventions impact the show. The effects of the Production Code, the star system, and the practice of dubbing the actors all had a significant impact on the film. More than that, alterations made to Leonard Bernstein’s music coupled with cinematic techniques modify the musical’s dramatic arc while simultaneously affecting both the gendered and ethnic representations within the show. My approach within this paper takes into account how the music, lyrics, dialogue, and cinematography all work together to form a creative adaptation of West Side Story. Therefore, I combine cinematic and musical analysis in ways that have yet to be applied to this film. I take this approach in order to better understand how West Side Story reflects and even challenges the conventions and stereotypes present during the Hollywood studio era. Furthermore, this provides insight into the ways in which West Side Story fits into film history, particularly that of the movie musical.

Whiteness and news: the interlocking social construction of "realities"

This dissertation examines how mainstream U.S. journalism consistently serves white racial interests and the racial status quo, or what I call white incumbency, despite its push for diversity and its stated aims to improve coverage of nonwhite communities. It is based on an in-depth ethnographic study of two daily newspapers and extensive one-on-one interviews with 61 journalists. I found that although journalists strongly identify with the need for more diverse coverage in newspapers, they emphasize individual and personal stories that avoid recognition of historical racial power imbalances, exhibiting what Ruth Frankenberg calls power-evasive race cognizance. Journalists also demonstrate a number of often contradictory identifications and self-understandings about themselves and their work, such as commitments to diversity and not taking sides, but these conflicts are almost always resolved in favor of white incumbency. Journalistic conventions and practices, such as the watchdog function and its emphasis on public institutions, routinely produce stories that replay and reinforce racial hegemony by portraying nonwhites as problems or people seeking “special privileges.” Also, journalistic repertoires about those conventions and practices avoid interrogations of journalists’ ongoing complicity in the maintenance of white incumbency.