LEADER 03855nam 2200613Ia 450 001 9910781176003321 005 20230725044911.0 010 $a0-292-79295-6 024 7 $a10.7560/721708 035 $a(CKB)2550000000010881 035 $a(OCoLC)610030192 035 $a(CaPaEBR)ebrary10381442 035 $a(SSID)ssj0000426476 035 $a(PQKBManifestationID)11965243 035 $a(PQKBTitleCode)TC0000426476 035 $a(PQKBWorkID)10373754 035 $a(PQKB)11126754 035 $a(MiAaPQ)EBC3443474 035 $a(MdBmJHUP)muse2420 035 $a(Au-PeEL)EBL3443474 035 $a(CaPaEBR)ebr10381442 035 $a(DE-B1597)586707 035 $a(OCoLC)1286806333 035 $a(DE-B1597)9780292792951 035 $a(EXLCZ)992550000000010881 100 $a20090616d2010 ub 0 101 0 $aeng 135 $aurcn||||||||| 181 $ctxt 182 $cc 183 $acr 200 10$aPunk slash! musicals$b[electronic resource] $etracking slip-sync on film /$fDavid Laderman 205 $a1st ed. 210 $aAustin $cUniversity of Texas Press$d2010 215 $a1 online resource (201 p.) 300 $aBibliographic Level Mode of Issuance: Monograph 311 0 $a0-292-72170-6 320 $aIncludes bibliographical references and index. 327 $aLet's do the time warp : welcome to the punk musical film cycle -- 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 1980's -- The queen is dead : Jubilee -- The punk meets the godfather : The great rock\ 'n' roll swindle -- Your face is a mess : Breaking glass -- American slip-sync remix : Blank generation, Rock\ 'n' roll high school, Out of the blue, Smithereens, Liquid sky -- Talk of the town : Times Square -- Uh huh her : Ladies and gentlemen, the fabulous stains -- Now entertain us : Starstruck, Sid and Nancy, True stories -- Postscript: slip-streaming. 330 $aPunk 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 inauthenticity. Laderman emphasizes the strong female lead performer at the center 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. 606 $aRock films$zGreat Britain$xHistory and criticism 606 $aRock films$zUnited States$xHistory and criticism 610 $aPunk rock musical films 615 0$aRock films$xHistory and criticism. 615 0$aRock films$xHistory and criticism. 676 $a791.43/6578 700 $aLaderman$b David$01520428 801 0$bMiAaPQ 801 1$bMiAaPQ 801 2$bMiAaPQ 906 $aBOOK 912 $a9910781176003321 996 $aPunk slash! musicals$93853619 997 $aUNINA