Rock 'n' film [electronic resource] : cinema's dance with popular music / David E. James.
James, David E., 1945- author.
2016
PN1995.9.M86 J37 2016eb
Available Online

Linked e-resources

Linked Resource Online Access

Details

Title Rock 'n' film [electronic resource] : cinema's dance with popular music / David E. James.
Author James, David E., 1945- author.
ISBN 9780199387632 (electronic book)
DOI https://doi.org/10.1093/acprof:oso/9780199387595
Published New York : Oxford University Press, [2016].
Language English
Description 1 online resource (470 pages) : illustrations
Item Number 10.1093/acprof:oso/9780199387595 doi
Call Number PN1995.9.M86 J37 2016eb
Dewey Decimal Classification 791.436578
Summary "For two decades after the mid-1950s, biracial popular music played a fundamental role in progressive social movements on both sides of the Atlantic. Balancing rock's capacity for utopian popular cultural empowerment with its usefulness for the capitalist media industries, Rock 'N' Film explores how the music's contradictory potentials were reproduced in various kinds of cinema, including major studio productions, minor studios' exploitation projects, independent documentaries, and the avant-garde. These include Rock Around the Clock and other 1950s jukebox musicals; the films Elvis made before being drafted, especially King Creole, as well as the formulaic comedies in which Hollywood abused his genius in the 1960s; early documentaries such as The T.A.M.I. Show that presented James Brown and the Rolling Stones as the core of a black-white, US-UK cultural commonality; A Hard Day's Night that marked the British Invasion; Dont Look Back, Monterey Pop, Woodstock, and other Direct Cinema documentaries about the music of the counterculture; and avant-garde films about the Rolling Stones by Jean-Luc Godard, Kenneth Anger, and Robert Frank. After the turn of the decade, notably Gimme Shelter, in which the Stones appeared to be complicit in the Hells Angels' murder of a young black man, 1960s' music-and films about it-reverted to separate black and white traditions based respectively on soul and country. These produced blaxploitation and Lady Sings the Blues on the one hand, and bigoted representations of Southern culture in Nashville on the other. Ending with the deaths of their stars, both films implied that rock 'n' roll had died or even, as David Bowie proclaimed, that it had committed suicide. But in his documentary about Bowie, Ziggy Stardust and the Spiders from Mars, D.A. Pennebaker triumphantly re-affirmed the community of musicians and fans in glam rock. In analyzing this history, David E. James adapts the methodology of histories of the classic film musical to show how the rock 'n' roll film both displaced and recreated it."--Book jacket.
Note "For two decades after the mid-1950s, biracial popular music played a fundamental role in progressive social movements on both sides of the Atlantic. Balancing rock's capacity for utopian popular cultural empowerment with its usefulness for the capitalist media industries, Rock 'N' Film explores how the music's contradictory potentials were reproduced in various kinds of cinema, including major studio productions, minor studios' exploitation projects, independent documentaries, and the avant-garde. These include Rock Around the Clock and other 1950s jukebox musicals; the films Elvis made before being drafted, especially King Creole, as well as the formulaic comedies in which Hollywood abused his genius in the 1960s; early documentaries such as The T.A.M.I. Show that presented James Brown and the Rolling Stones as the core of a black-white, US-UK cultural commonality; A Hard Day's Night that marked the British Invasion; Dont Look Back, Monterey Pop, Woodstock, and other Direct Cinema documentaries about the music of the counterculture; and avant-garde films about the Rolling Stones by Jean-Luc Godard, Kenneth Anger, and Robert Frank. After the turn of the decade, notably Gimme Shelter, in which the Stones appeared to be complicit in the Hells Angels' murder of a young black man, 1960s' music-and films about it-reverted to separate black and white traditions based respectively on soul and country. These produced blaxploitation and Lady Sings the Blues on the one hand, and bigoted representations of Southern culture in Nashville on the other. Ending with the deaths of their stars, both films implied that rock 'n' roll had died or even, as David Bowie proclaimed, that it had committed suicide. But in his documentary about Bowie, Ziggy Stardust and the Spiders from Mars, D.A. Pennebaker triumphantly re-affirmed the community of musicians and fans in glam rock. In analyzing this history, David E. James adapts the methodology of histories of the classic film musical to show how the rock 'n' roll film both displaced and recreated it."--Book jacket.
Bibliography, etc. Note Includes bibliographical references and index.
Access Note Access limited to authorized users.
Source of Description Description based on print version record.
Available in Other Form Rock 'n' film.
Linked Resources Online Access
Record Appears in Online Resources > Ebooks
All Resources
Introduction: rock 'n' film
Absolute beginnings : Blackboard jungle
Jukebox musicals
Dirty stars : Jayne Mansfield and Kenneth Anger
Rock 'n' roll noir : Elvis before the army
Sunshine Elvis : The devil in disguise
Back in the UK : the English Elvises
The Beatles I : Richard Lester and A hard day's night
The Beatles II : next morning
Toward documentary : bringing it all back home
D.A. Pennebaker : documentary from folk to folk rock and rock
Utopia and its discontents : from Woodstock to Message to love
The Rolling Stones : the greatest rock 'n' film band in the world
Mick Jagger, demon brother
Rock 'n' film crisis : The Rolling Stones in the United States
Back to black : soul
And white : country music
Rock 'n roll suicide film.

Browse Subjects

Show more subjects...

Statistics

from
to
Export