Popular Music and the Moving Image in Eastern Europe

Description

Popular Music and the Moving Image in Eastern Europe is the first collection to discuss the ways in which popular music has been used cinematically, from musicals to music videos to documentary film, in Eastern Europe from 1945 to the present day. It argues that during the period of state socialism, moving image was an important tool of promoting music in the respective countries and creating popular cinema. Yet despite this importance, filmmakers who specialized in musicals lacked the social prestige of leading 'auteurs' and received little critical attention. The resulting scholarly prejudice towards pop culture created a severe shortage of critical studies of the genre. With the fall of state socialism - and with it, the need for economically viable film and media industries - brought about an unprecedented upsurge of films utilizing popular music, and a greater recognition of popular cinema as a legitimate object of study. Popular Music and the Moving Image in Eastern Europe fills the gap and demonstrates why the popular music-cinema interface needs to be theorized with respect to the political, ideological, and social forces invested in popular culture. Cover page Halftitle page Title page Copyright page Contents Introduction Popular Music and the Moving Image in Eastern Europe Illustration, beautification, documentation and synaesthesia Stalinist utopianism The 1960s and 1970s: rock stars gain visibility The 1980s: Music sells films, films sell music The postcommunist period: nostalgia for the state socialist past Structure and chapter description Notes Bibliography 1 1968 Leftist Utopianism in The Young Girls of Rochefort and Hot Summer Political modernism and the 1968 musical The Young Girls of Rochefort – nostalgia for an egalitarian Hollywood Hot Summer : dreaming of blue jeans and beaches Curtain call Notes References 2 Representing Modern Romania in the Musical of State Socialist Period The Soviet model The beginnings: the lively musicals of late 1950s, early 1960s The musicals of the ‘thaw’ (1965–1971): a glamorous look The mini-cultural revolution of 1971: the attack on celebrity culture In search of originality: the musicals of the 1980s Conclusions Note References 3 Worlds that Never Were Musicals and Eastern European cinemas Tales from the ‘long Sixties’ Vinyl cultures The song will not remain the same Conclusion Special note Notes References 4 Pop Music, Nostalgia and Melancholia in Dollybirds and Liza, the Fox Fairy Musical scenes as social scenes Dollybirds and Liza : from nostalgia to melancholia Recorded music as collective experience Fetishism of recorded music The girl with the old tape player Conclusion Special note Notes References 5 When the Golden Kids Met the Bright Young Men and Women Communist culture industry Twin miracles: developments in popular music and film in the 1960s Popular music and fi lm form Meanings and associations of popular music in film Notes Bibliography 6 ‘Music isn’t Music, Words aren’t Words’ The concept of new sensibility New sensibility: origins and philosophy and the agency of rock music Staging dissensus Staging identity crisis The transgressive politics of the music video Post sensibility: the afterlife of new sensibility Conclusions Special note Notes References 7 Socialist Night Fever Disco at the movies: visions of Travolta Themes from the local dance floors Sound from the local dance floors Disco on the small screen Boban Petrovi ć ’s TV Party Conclusion Notes References Discography 8 Disco Polo and Techno According to Maria Zmarz-Koczanowicz Music documentaries in Poland Zmarz-Koczanowicz: a liberal ironist Hanky Panky : consumer as king Love for a Vinyl Record: in search of musical and personal autonomy Conclusion Notes References 9 Musical Variations in Karpo Godina’s Alternative Cinema Karpo Godina and the Yugoslav context Music in Godina’s short films Picnic on Sunday : a world of idyll and expectation The Gratinated Brains of Pupilija Ferkeverk: the intangible world Litany of Happy People: people in colour, the world in a shambles The dissolution of conventions and relations Conclusion Notes References 10 Polish Music Videos State of research on Polish music video Art, rather than commerce Polish music videos on Polish television and on festivals Polishness of disco polo and ‘intelligent rock’ videos Electronic and alternative videos The advantages of researching Polish music video Notes References 11 ‘She Stole it from Beyoncé !’ History of the pop-folk genre Terminology and sources Pop-folk music video remakes Beyonce’s Crazy in Love vs. Aneliya’s You Please Me So Audience reactions to You Please Me So Conclusion Notes References 12 Postsocialist Social Reality in Hungarian Rap Music Videos A short history of Hungarian rap Hip-hop music videos Glocalized aesthetics: Hungarian rap music videos Conclusion Notes References Contributors Index