The celluloid waltz: Memories of the fairground carousel

Like a prism, this dissertation refracts several ideas. About the link in the popular imagination between the waltz and fairground carousel, it is also about the ways in which such a connection is perceived aurally and visually. As well, it serves as a record of a partnership both technological and aesthetic which, forged through the ideas and language of the industrial revolution, is maintained essentially intact through the dominant cultural-electronic medium, film, of the twentieth century. Yet another facet of the prism reveals an account of the waltz that has gone largely unacknowledged: its use throughout the twentieth century in a variety of media evinces a musical genre so ubiquitous it is virtually invisible and inaudible. It is this last facet---the "so-ubiquitous-it's invisible" thesis---that is at the core of the carousel-waltz and all it signifies.;The historical connection between the waltz and applied science is unearthed in chapter one; further, the developments that saw the automation of the carousel circa 1860--1890 are seen as contributing to the mass desire to create a steam-age waltz. Chapter two takes as its starting point the waltz, "Sobre las Olas"/"Over the Waves," so widely experienced it sits below our aural radar as familiar-sounding yet unattended-to sonic material. Partnered with images of the circus and fairground from the 1930s onward, the "Sobre las Olas"/carousel sound-image increasingly stands in for nostalgically remembered entertainments. In chapter three, docudramatic reenactments of the carousel-waltz are viewed in their role as officially-sanctioned "memories" of the past. Chapters four and five explore how cinematic conventions of seeing and hearing have constructed the carousel-waltz as simultaneously they have conformed to its needs. In the former, the carousel-waltz is seen as a fully formed convention by the early 1930s, relying on the synchrony of sound and image, as well as the idea of the waltz as round sounding music to construct an "authentic" carousel. In the latter chapter, various sound-images are examined for the way in which they attempt to obscure the carousel-waltz. Reading such phenomena allegorically, they are akin to Fredric Jameson's "blind spots" of our everyday existence.