Illustrated throughout with color images of the period, Psychedelic Celluloid covers over 300 British and European films and TV shows from the Beatles via Bond spin offs to crazy personal follies de grandeur, Blow Up and its imitators, concert movies, documentaries, stylish horror films and many more. Carefully researched and drawing on interviews with some of the survivors of the era, this guide provides a witty and detailed account of each major production listing its stars, directors, producers and music and showing how they were linked to the fashion and trends of the period.
Celluloid Symphonies is a unique sourcebook of writings on music for film, bringing together fifty-three critical documents, many previously inaccessible. It includes essays by those who created the music—Max Steiner, Erich Korngold, Jerry Goldsmith, Elmer Bernstein and Howard Shore—and outlines the major trends, aesthetic choices, technological innovations, and commercial pressures that have shaped the relationship between music and film from 1896 to the present. Julie Hubbert’s introductory essays offer a stimulating overview of film history as well as critical context for the close study of these primary documents. In identifying documents that form a written and aesthetic history for film music, Celluloid Symphonies provides an astonishing resource for both film and music scholars and for students.
Andrew Caine details the reaction to British and American pop films during the 1950s and 1960s to provide a valuable insight into British film criticism, teenage culture during the 1950s and 1960s and the generic status of rock films/teen movies and cultural hierarchies.
Elvis Presley and Bill Haley. Sam Cooke and the Shirelles. The Crows and the Chords. American Bandstand and Motown. From its first rumblings in the outland alphabet soup of R&B and C&W, rock & roll music promised to change the world--and did it. Combining social history with a treasure trove of trivia, Richard Aquila unleashes the excitement of rock's first decade and shows how the music reflected American life from the mid-1950s through the dawn of Beatlemania. His year-by-year timelines and a photo essay place the music in historical perspective by linking artists and their hits to the news stories, movies, TV shows, fads, and lifestyles. In addition, he provides a concise biographical dictionary of the performers who made the charts between 1954 and 1963, along with the label and chart position of each of their hit songs.
It's now over twenty years since punk pogo-ed its way into our consciousness. Punk Rock So What?brings together a new generation of academics, writers and journalists to provide the first comprehensive assessment of punk and its place in popular music history, culture and myth. The contributors, who include Suzanne Moore, Lucy OBrien, Andy Medhurst, Mark Sinker and Paul Cobley, challenge standard views of punk prevalent since the 1970s. They: * re-situate punk in its historical context, analysing the possible origins of punk in the New York art scene and Manchester clubs as well as in Malcolm McClarens brain * question whether punk deserves its reputation as an anti-fascist, anti-sexist movement which opened up opportunities for women musicians and fans alike. * trace punks long-lasting influence on comics, literature, art and cinema as well as music and fashion, from films such as Sid and Nancy and The Great Rock n Roll Swindle to work by contemporary artists such as Gavin Turk and Sarah Lucas. * discuss the role played by such key figures as Johnny Rotten, Richard Hell, Malcolm McClaren, Mark E. Smith and Viv Albertine. Punk Rock Revisited kicks over the statues of many established beliefs about the meaning of punk, concluding that, if anything, punk was more culturally significant than anybody has yet suggested, but perhaps for different reasons.
The function of print resources as instructional guides and descriptors of popular music pedagogy are addressed in this concise volume. Increasingly, public school teachers and college-level faculty members are introducing and utilizing music-related educational approaches in their classrooms. This book lists reports dealing with popular music resources as classroom teaching materials, and will stimulate further thought among students and teachers. It focuses on the growing spectrum of published scholarship available to instructors in specific teaching fields (art, geography, social studies, urban studies, and so on) as well as on the multitude of general resources (including biographical directories and encyclopedias of artist profiles). Building on two recent publications: Teaching with Popular Music Resources: A Bibliography of Interdisciplinary Instructional Approaches, Popular Music and Society, XXII, no. 2 (Summer 1998), and American Culture Interpreted through Popular Music: Interdisciplinary Teaching Approaches (Bowling Green State University Popular Press, 2000), this volume focuses on the growing spectrum of published scholarship that is available to instructors in specific teaching fields (art, geography, social studies, urban studies, and so on) as well as on the multitude of general resources (including biographical directories and encyclopedias of artist profiles).
This is a comprehensive guide to popular music literature, first published in 1986. Its main focus is on American and British works, but it includes significant works from other countries, making it truly international in scope.
Dubbed 'the Citizen Kane of juke-box movies', voted among the top 100 British films of all time, accorded a high-profile release on DVD, A Hard Day's Night, the Beatles' film debut of 1964, has proven to be that rare event - an exploitation 'quickie' that has firmly entered the cultural canon. A Hard Day's Night was shot, edited and distributed in a matter of weeks early in 1964 to cash in on a passing local fad. Yet by the time of its release the Beatles had conquered America, and their film debut was instantly recognised as a major movie phenomenon. Placing the film in its social context, Stephen Glynn relates it to other examples of the genre, discusses its frantic making and its euphoric critical and popular reception. He analyses the film in depth, highlighting the 'revolt' in its depiction of youth, class and sexuality, and the style in director Richard Lester's Pop Art visual correlation to the myth-making soundtrack of Beatlemania. Essential reading for students of film, fans of popular music and the fab four and those interested in the Sixties, Glynn's guide also explores the legacy of A Hard Day's Night from the Monkees through to MTV and beyond.
