LEADER 04743oam 2200781I 450 001 9910779740303321 005 20230803021038.0 010 $a1-136-31103-3 010 $a0-415-52802-X 010 $a0-203-11868-5 010 $a1-136-31104-1 024 7 $a10.4324/9780203118689 035 $a(CKB)2550000001096217 035 $a(EBL)1244766 035 $a(OCoLC)852758100 035 $a(SSID)ssj0000918412 035 $a(PQKBManifestationID)12450868 035 $a(PQKBTitleCode)TC0000918412 035 $a(PQKBWorkID)10894603 035 $a(PQKB)10613720 035 $a(MiAaPQ)EBC1244766 035 $a(Au-PeEL)EBL1244766 035 $a(CaPaEBR)ebr10728166 035 $a(CaONFJC)MIL502795 035 $a(OCoLC)852158286 035 $a(FINmELB)ELB135536 035 $a(EXLCZ)992550000001096217 100 $a20180706d2013 uy 0 101 0 $aeng 135 $aur|n|---||||| 181 $ctxt 182 $cc 183 $acr 200 04$aThe music documentary $eacid rock to electropop /$fedited by Robert Edgar, Kirsty Fairclough-Isaacs, Benjamin Halligan 210 1$aNew York, N.Y. ;$aAbingdon, Oxon :$cRoutledge,$d2013. 215 $a1 online resource (264 p.) 225 1 $aRoutledge music and screen media series 225 0$aRoutledge music and screen media series 300 $aDescription based upon print version of record. 311 $a0-415-52801-1 311 $a1-299-71544-3 320 $aIncludes bibliographical references and index. 327 $aCover ; Title Information; Title Page; Copyright Page; Dedication ; Table of Contents; Series Foreword; Preface; Acknowledgments; Introduction: Music Seen: The Formats and Functions of the Music Documentary; Part I: Evolutions of the Music Documentary ; 1 Tony Palmer's All You Need Is Love: Television's First Pop History; 2 Retrospective Compilations: (Re)defining the Music Documentary; 3 Sound and Vision: Radio Documentary, Fandom, and New Participatory Cultures; Part II: Scenes from the Sixties ; 4 The Good, The Bad, and The Ugly '60s: The Opposing Gazes of Woodstock and Gimme Shelter 327 $a5 "Let Your Bullets Fly, My Friend": Jimi Hendrix at Berkeley 6 "You Can't Always Get What You Want": Riding on The Medicine Ball Caravan; Part III: Punk Cultures ; 7 No Wave Film and the Music Documentary: From No Wave Cinema "Documents" to Retrospective Documentaries; 8 The Anxiety of Authenticity: Post-punk Film in the 2000s; 9 "Every Tongue Brings in a Several Tale": The Filth and the Fury's Counterhistorical Transgressions; Part IV: "Mockumentaries" and "Rockumentaries" ; 10 The Circus is in Town: Rock Mockumentaries and the Carnivalesque 327 $a11 Visualizing Live Albums: Progressive Rock and the British Concert Film in the 1970sPart V: New Directions in the Music Documentary ; 12 "Moogie Wonderland": Technology, Modernity, and the Music Documentary; 13 An Ethnographic Video Project for the Music Classroom; 14 Mediating The Agony and the Ecstasy of Phil Spector: Documenting Monstrosity?; 15 Desperately Seeking Kylie! Critical Reflections on William Baker's White Diamond; List of Contributors; Index 330 $a

The Music Documentary offers a wide-range of approaches, across key moments in the history of popular music, in order to define and interrogate this prominent genre of film-making. The writers in this volume argue persuasively that the music documentary must be considered as an essential cultural artefact in documenting stars and icons, and musicians and their times - particularly for those figures whose fame was achieved posthumously.

In this collection of fifteen essays, the reader will find comprehensive discussions of the history of music documentaries, insights i 410 0$aRoutledge music and screen media series. 606 $aDocumentary films$xHistory and criticism 606 $aDocumentary television programs$xHistory and criticism 606 $aMusicians in motion pictures 606 $aConcert films$xHistory and criticism 606 $aRock films$xHistory and criticism 615 0$aDocumentary films$xHistory and criticism. 615 0$aDocumentary television programs$xHistory and criticism. 615 0$aMusicians in motion pictures. 615 0$aConcert films$xHistory and criticism. 615 0$aRock films$xHistory and criticism. 676 $a780.26/7 701 $aEdgar-Hunt$b Robert$01581801 701 $aFairclough-Isaacs$b Kirsty$01581802 701 $aHalligan$b Benjamin$01551489 801 0$bMiAaPQ 801 1$bMiAaPQ 801 2$bMiAaPQ 906 $aBOOK 912 $a9910779740303321 996 $aThe music documentary$93863621 997 $aUNINA