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• Introduction
• The fabulous 1950s
• The swinging 1960s
• The slippery 1970s
• From the 1980s to now
• Epilogue: the hits just keep on coming.

Rock `n' Roll Movies presents an eclectic look at the many manifestations of rock in motion pictures, from teen-oriented B-movies to Hollywood blockbusters to avant-garde meditations to reverent biopics to animated shorts to performance documentaries. Acclaimed film critic David Sterritt considers the diverse ways that filmmakers have regarded rock `n' roll, some cynically cashing in on its popularity and others responding to the music as sincere fans, some depicting rock as harmless fun and others representing it as an open challenge to mainstream norms.
(source: Nielsen Book Data)

• Acknowledgments
• 1. Let's Do the Time Warp: Welcome to the Punk Musical Film Cycle--
• 2. Situating Slip-Sync: In/authenticity, Singin' in the Rain, A Hard Day's Night, The Rocky Horror Picture Show, Blank Generation, Illusions, Nice Coloured Girls, Neocon 1980s--
• 3. The Queen Is Dead: Jubilee--
• 4. The Punk Meets the Godfather: The Great Rock 'n' Roll Swindle--
• 5. Your Face Is a Mess: Breaking Glass--
• 6. American Slip-Sync Remix: Blank Generation, Rock 'n' Roll High School, Out of the Blue, Smithereens, Liquid Sky--
• 7. Talk of the Town: Times Square--
• 8. Uh Huh Her: Ladies and Gentlemen, the Fabulous Stains--
• 9. Now Entertain Us: Starstruck, Sid and Nancy, True Stories-- Postscript: Slip-Streaming Notes-- Works Cited-- Index.
• (source: Nielsen Book Data)

"Punk Slash! Musicals" is the first book to deal extensively with punk narrative films, specifically British and American punk rock musicals produced from roughly 1978 to 1986. Films such as "Jubilee", "Breaking Glass", "Times Square", "Smithereens", "Starstruck", and "Sid and Nancy" represent a convergence between independent, subversive cinema and formulaic classical Hollywood and pop musical genres. Guiding this project is the concept of 'slip-sync'. Riffing on the commonplace lip-sync phenomenon, 'slip-sync' refers to moments in the films when the punk performer 'slips' out of sync with the performance spectacle, and sometimes the sound track itself, engendering a provocative moment of tension. This tension frequently serves to illustrate other thematic and narrative conflicts, central among these being the punk negotiation between authenticity and un-authenticity. Laderman emphasizes the strong female lead performer at the centre of most of these films, as well as each film's engagement with gender and race issues. Additionally, he situates his analyses in relation to the broader cultural and political context of the neo-conservatism and new electronic audio-visual technologies of the 1980s, showing how punk's revolution against the mainstream actually depends upon a certain ironic embrace of pop culture.
(source: Nielsen Book Data)

• Introduction
• The fabulous 1950s
• The swinging 1960s
• The slippery 1970s
• From the 1980s to now
• Epilogue: the hits just keep on coming.

Rock `n' Roll Movies presents an eclectic look at the many manifestations of rock in motion pictures, from teen-oriented B-movies to Hollywood blockbusters to avant-garde meditations to reverent biopics to animated shorts to performance documentaries. Acclaimed film critic David Sterritt considers the diverse ways that filmmakers have regarded rock `n' roll, some cynically cashing in on its popularity and others responding to the music as sincere fans, some depicting rock as harmless fun and others representing it as an open challenge to mainstream norms.
(source: Nielsen Book Data)

• Table of Contents
• 1. Introduction: Rock 'n' Film
• 2. Absolute Beginnings: Blackboard Jungle
• 3. Jukebox Musicals
• 4. Dirty Stars: Jayne Mansfield and Kenneth Anger
• 5. Rock 'n' Roll Noir: Elvis Before the Army
• 6. Sunshine Elvis: The Devil in Disguise
• (inc Morphology of the Elvis Movie)
• 7. Back in the UK: The English Elvises
• 8. Beatles I: Richard Lester and A Hard Day's Night
• 9. Beatles II: Next Morning
• 10. Bringing It All Back Home: Toward the Folk Documentary
• 11. D. A. Pennebaker: Documentary from Folk to Folk Rock and Rock
• 12. Utopia and Its Discontents: Woodstock
• 13. The Rolling Stones I: The Greatest Rock 'n' Film Band in the World
• 14. Mick Jagger, Demon Brother
• 15. The Rolling Stones II: The U.S. Tours, From Concert Film to Film Concert:
• 16. Back To Black ... : Soul
• 17... And White: Country
• 18. Retrospection and Reflexivity: Rock 'n' Film Suicide
• Index.
• (source: Nielsen Book Data)

Rock 'N' Film presents a cultural history of films about US and British rock music during the period when biracial popular music was fundamental to progressive social movements on both sides of the Atlantic. Considering the music's capacity for utopian popular cultural empowerment and its usefulness for the capitalist media industries, Rock 'N' Film explores how its contradictory potentials were reproduced in various kinds of cinema, including major studio productions, minor studios' exploitation projects, independent documentaries, and avant-garde works. These include Rock Around the Clock (Fred F. Sears, 1956) and other 1950s jukebox musicals; Elvis's King Creole (Michael Curtiz, 1958) and other important films he made before being drafted as well as the formulaic musical comedies in which Hollywood abused his genius in the 1960s; early documentaries such as The T.A.M.I. Show (Steve Binder, 1964) that presented James Brown and the Rolling Stones as core of a black-white, US-UK cultural commonality; A Hard Day's Night (Richard Lester, 1964) that precipitated the British Invasion, Dont Look Back (1967), Monterey Pop (1968), and other Direct Cinema documentaries about the music of the counterculture by D. A. Pennebaker; Woodstock (1970); avant-garde documentaries about the Rolling Stones by Jean-Luc Godard, Kenneth Anger, Robert Frank, and others. After the turn of the decade, notably Gimme Shelter (1970) in which Charlotte Zwerin edited David and Albert Maysles's footage of the Altamont free concert so as to portray the Stone's complicity in the Hells Angels' murder of a young man, the 60s' utopian biracial 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 (Sidney J. Furie, 1972) on the one hand, and bigoted representations of the Southern culture in Nashville (Robert Altman, 1975) on the other. Both these last two films ended with the deaths of their stars, and it seemed that rock 'n' roll had died or even, as David Bowie proclaimed, that it had committed suicide. But in another documentary about Bowie's concert, Ziggy Stardust and the Spiders from Mars (1973), D.A. Pennebaker triumphantly re-affirmed the community of musicians and fans in glam rock. In analyzing this history, David James adapts the methodology of histories of the classic musical to rock 'n' roll to show how the rock 'n' roll film both displaced and recreated the film musical.
(source: Nielsen Book Data)