ABSTRACT
This conclusion presents some closing thoughts on the concepts covered in the preceding chapters of this book. The book has tried to bring a renewed precision to the discussion of spectacle within two classical cinemas of the 1930s. It noted a wider cynicism in French musical films, described as ambivalent French musicality. The analysis of historical films of 1930s uncovered less profound differences between French and American examples. The emphasis on 'emotions' in both musicals and historical films demonstrates that the supposedly 'disruptive' effect of spectacle is often not that disruptive at all. The chapter provides less taxonomy of cinematic spectacle in particular forms of filmmaking than stress the role spectacle plays in the particular films. The future work might explore spectacle's engagement with emotions and intellects in a wider range of film genres from the classical era. It is hoped that future work might uncover the greater potential for ambivalence within American musicality.
