| Description |
1 online resource (viii, 258 pages) : illustrations |
| Contents |
Introduction: Genre, academia and the British pop music film. Generic focus -- Genre terminology and empirical parameters -- Genre and the problems of definition -- Genre and life-cycles -- Genre and academia -- The primitive pop music film: coffee bars, cosh boys and Cliff. Introduction: evasions and imitations -- Coffee bar pop idols -- Coffee bar cosh boys -- Cliff Richard -- The mature pop music film: bombs, Beatlemania and Boorman. Introduction: rockets and rehearsals -- The pop music film as political allegory: It's trad, dad! (1962) -- The canonical pop music film: A hard day's night (1964) -- The colonial pop music film: Help! (1965) -- The Chekhovian pop music film: Catch us if you can (1965) -- Coda -- The decadent pop music film: politics, psychedelia and performance. Introduction: Blow up and the backlash -- The pop music film as personal polemic: Privilege (1967) -- The pop music film as underground parable: Yellow submarine (1968) -- The pop music film as political diptych: One plus one/Sympathy for the Devil (1968) -- The pop music film as finale: Performance (1970) -- Coda -- Afterlife: the historical pop music film. The grit and the glam -- The punk and the Pink -- The postmodern and plan B -- Conclusion: music matters. An affective genre |
| Summary |
"From Cliff Richard to The Rolling Stones, and from The Beatles to Plan B, pop music has been inseparable from its cinematic exploitation. This book constitutes the first delivered examination of the place of the pop music film in British cinematic and musical history. It explores the way music and film have exerted a mutual influence at an economic, social and artistic level. From The Tommy Steel Story, a cheap and cheerful 'cash in' on what was considered a passing fad, through Richard Lester's innovative and globally successful Beatles vehicles and on to the Jungian artistic maze of Mick Jagger's Performance, the 1950s and 1960s saw pop acts and directors create an entire life-cycle for a new film genre. Thereafter, its intermittent revivals, be it Slade in Flame or the Spice Girls in Spice World, have kept sound and vision inseparable in the public consciousness, revisiting and reshaping our pop and film heritage." |
| Bibliography |
Includes bibliographical references (pages 233-239), filmography (pages 240-243) , and index |
| Notes |
Print version record |
| Subject |
Musical films -- Great Britain -- History and criticism
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Popular music -- Social aspects -- Great Britain -- History
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Motion pictures and music.
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Film: styles & genres -- United Kingdom, Great Britain.
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Rock & Pop music -- United Kingdom, Great Britain.
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PERFORMING ARTS -- Film & Video -- Guides & Reviews.
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PERFORMING ARTS -- Film & Video -- History & Criticism.
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Performing Arts.
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Motion pictures and music
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Musical films
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Popular music -- Social aspects
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Great Britain
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| Genre/Form |
Criticism, interpretation, etc.
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History
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| Form |
Electronic book
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| ISBN |
9780230392236 |
|
0230392237 |
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