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The British pop music film = the Beatles and beyond /

Record Type:	Language materials, printed : Monograph/item
Title/Author:	The British pop music film/ Stephen Glynn.
Reminder of title:	the Beatles and beyond /
Author:	Glynn, Stephen.
Published:	New York :Palgrave Macmillan, : 2013.,
Description:	1 online resource.
Subject:	Musical films - History and criticism. - Great Britain -
Online resource:	http://www.palgraveconnect.com/doifinder/10.1057/9780230392236
ISBN:	9780230392236 (electronic bk.)

The British pop music film = the Beatles and beyond /
Glynn, Stephen.

The British pop music filmthe Beatles and beyond /[electronic resource] :Stephen Glynn. - New York :Palgrave Macmillan,2013. - 1 online resource.

Includes bibliographical references and filmography.

PART I: INTRODUCTION -- 1. Genre, Academia and the British Pop Music Film -- PART II: THE PRIMITIVE POP MUSIC FILM: COFFEE-BARS, COSH BOYS AND CLIFF -- 1. Introduction: Evasions and Imitations -- 2. Coffee Bar Pop Idols: "The Tommy Steele Story" (1957), "The Golden Disc" (1958) and "Expresso Bongo" (1959) -- 3. Coffee Bar Cosh Boys: "Serious Charge" (1959) and "Beat Girl" (1960) -- 4. Cliff Richard: "The Young Ones "(1962), "Summer Holiday" (1963), "Wonderful Life" (1964) -- PART III: THE MATURE POP MUSIC FILM: BOMBS, BEATLEMANIA AND BOORMAN -- 1. Introduction: Rockets and Rehearsals -- 2. The Pop Music Film as Political Allegory: "It's Trad, Dad""!" (1962) -- 3. The Canonical Pop Music Film:" A Hard Day's Night" (1964) -- 4. The Colonial Pop Music Film: "Help! "(1965) -- 5. The Chekbovian Pop Music Film: "Catch Us If You Can" (1965) -- PART IV: THE DECADENT POP MUSIC FILM: POLITICS, PSYCHEDELIA AND PERFORMANCE -- 1. Introduction: Blow Up and the Backlash -- 2. The Pop Music Film as Personal Polemic: "Privilege" (1967) -- 3. The Pop Music Film as Underground Parable: "Yellow Submarine "(1968) -- 4. The Pop Music Film as Political Diptych: "One Plus One / Sympathy For the Devil" (1968) -- 5. The Pop Music Film as Finale: "Performance" (1970) -- PART V: AFTERLIFE: THE HISTORICAL POP MUSIC FILM -- 1. The Grit and the Glam: "Tommy" (1975) and "Quadrophenia "(1979) -- 2. The Punk and the Pink: "The Great Rock'n'Roll Swindle" (1980) and "Pink Floyd: The Wall" (1982) -- 3. The Postmodern and Plan B: "Absolute Beginners" (1986) and "Spice World" (1997) -- PART VI: CONCLUSION -- 1. Music Matters.

"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."

ISBN: 9780230392236 (electronic bk.)

Source: 570368Palgrave Macmillanhttp://www.palgraveconnect.comSubjects--Topical Terms:

941107
Musical films
--History and criticism.--Great BritainIndex Terms--Genre/Form:

554714
Electronic books.

LC Class. No.: PN1995.9.M86 / G59 2013

Dewey Class. No.: 791.43/75

The British pop music film = the Beatles and beyond /
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505 0 $a PART I: INTRODUCTION -- 1. Genre, Academia and the British Pop Music Film -- PART II: THE PRIMITIVE POP MUSIC FILM: COFFEE-BARS, COSH BOYS AND CLIFF -- 1. Introduction: Evasions and Imitations -- 2. Coffee Bar Pop Idols: "The Tommy Steele Story" (1957), "The Golden Disc" (1958) and "Expresso Bongo" (1959) -- 3. Coffee Bar Cosh Boys: "Serious Charge" (1959) and "Beat Girl" (1960) -- 4. Cliff Richard: "The Young Ones "(1962), "Summer Holiday" (1963), "Wonderful Life" (1964) -- PART III: THE MATURE POP MUSIC FILM: BOMBS, BEATLEMANIA AND BOORMAN -- 1. Introduction: Rockets and Rehearsals -- 2. The Pop Music Film as Political Allegory: "It's Trad, Dad""!" (1962) -- 3. The Canonical Pop Music Film:" A Hard Day's Night" (1964) -- 4. The Colonial Pop Music Film: "Help! "(1965) -- 5. The Chekbovian Pop Music Film: "Catch Us If You Can" (1965) -- PART IV: THE DECADENT POP MUSIC FILM: POLITICS, PSYCHEDELIA AND PERFORMANCE -- 1. Introduction: Blow Up and the Backlash -- 2. The Pop Music Film as Personal Polemic: "Privilege" (1967) -- 3. The Pop Music Film as Underground Parable: "Yellow Submarine "(1968) -- 4. The Pop Music Film as Political Diptych: "One Plus One / Sympathy For the Devil" (1968) -- 5. The Pop Music Film as Finale: "Performance" (1970) -- PART V: AFTERLIFE: THE HISTORICAL POP MUSIC FILM -- 1. The Grit and the Glam: "Tommy" (1975) and "Quadrophenia "(1979) -- 2. The Punk and the Pink: "The Great Rock'n'Roll Swindle" (1980) and "Pink Floyd: The Wall" (1982) -- 3. The Postmodern and Plan B: "Absolute Beginners" (1986) and "Spice World" (1997) -- PART VI: CONCLUSION -- 1. Music Matters.
520 $a "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."
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