Analysing the integrated musical number with new perspectives for women’s identities nowadays

Abstract

The musical number as a recurring comedy is on fashion nowadays, not only in cinema but also in advertising. Stopping at the movies where these musical number have a role of metatext, we can see that they began to brand new twenty-five years ago, from Everybody says I love you (Woody Allen, 1996) to Annette (2021). The musical of today, the nowadays music, is a type which characteristics are not preconceived but are common moments of the current storylines, very different from the musical theatre of the early twentieth century, where the musical classics were formed, and with a preeminent role for the new women’s identities.