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The British pop music film : the Beatles and beyond

Author: Stephen Glynn
Publisher: Houndsmill, Basingstoke, Hampshire : Palgrave Macmillan, 2013.
Edition/Format:   eBook : Document : EnglishView all editions and formats
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  Read more...
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Genre/Form: Electronic books
Criticism, interpretation, etc
History
Additional Physical Format: Print version:
Glynn, Stephen.
British pop music film.
New York : Palgrave Macmillan, [2013]
(DLC) 2013010737
(OCoLC)825047289
Material Type: Document, Internet resource
Document Type: Internet Resource, Computer File
All Authors / Contributors: Stephen Glynn
ISBN: 9780230392236 0230392237
OCLC Number: 844188226
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.
Responsibility: Stephen Glynn.

Abstract:

The first detailed examination of the place of pop music film in British cinema, Stephen Glynn explores the interpenetration of music and cinema in an economic, social and aesthetic context through  Read more...

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'This book should be read with profit by film scholars and students of genre studies, as well as enjoyed by pop music and movie fans. Glynn provides expert commentary on the most significant films in Read more...

 
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