LEADER 06139nam 2200529 450 001 9910822658703321 005 20200520144314.0 010 $a1-62103-999-4 035 $a(CKB)2670000000428182 035 $a(StDuBDS)EDZ0000234231 035 $a(MiAaPQ)EBC1181947 035 $a(OCoLC)843228811 035 $a(MdBmJHUP)muse28624 035 $a(Au-PeEL)EBL1181947 035 $a(CaPaEBR)ebr10769550 035 $a(CaONFJC)MIL838055 035 $a(OCoLC)861537825 035 $a(EXLCZ)992670000000428182 100 $a20130513d2013 uy 0 101 0 $aeng 135 $aur||||||||||| 181 $2rdacontent 181 $2rdacontent 182 $2rdamedia 183 $2rdacarrier 200 10$aHip hop on film $eperformance culture, urban space, and genre transformation in the 1980s /$fKimberly Monteyne 210 1$aJackson :$cUniversity Press of Mississippi,$d2013. 215 $a1 online resource (x, 277 pages) $cillustrations (black and white) 311 $a1-61703-922-5 320 $aIncludes bibliographical references and index. 327 $aIntroduction -- The Case for the Hip Hop Musical -- The Sound of the South Bronx: Wild Style Reinvents the Urban Musical -- Hip Hoppers and Valley Girls: The Economic and Racial Structuring of Youth Cinema in the 1980s -- Flashdance: Breaking, Ballet, and the Representation of Race and Gender -- Conclusion. 330 $a"Early hip hop film musicals have either been expunged from cinema history or excoriated in brief passages by critics and other writers. Hip Hop on Film reclaims and reexamines productions such as Breakin', Beat Street, and Krush Groove in order to illuminate Hollywood's fascinating efforts to incorporate this nascent urban culture into conventional narrative forms. Such films presented musical conventions against the backdrop of graffiti-splattered trains and abandoned tenements in urban communities of color, setting the stage for radical social and political tranformations. Hip hop musicals are also part of the broader history of teen cinema, and films such as Charlie Ahearn's Wild Style are here examined alongside other contemporary youth-oriented productions. Breakdancing, a central element of hip hop musicals, is also reconsidered. It gained widespread acclaim at the same time that these films entered theaters, but the nation's newly discovered dance from was embattled--caught between a multitude of institutional entities such as the ballet academy, advertising culture, and dance publications that vied to control its meaning. As street-trained breakers were enticed to join the world of professional ballet, this newly forged relationship was recast by dance promoters as a way to reinvigorate and "remasculinize" European dance, while young women simultaneously critiqued conventional masculinities through an appropriation of breakdance. These multiple and volatile histories influenced the first wave of hip hop films, and even structured the sleeper hit Flash dance. Monteyne places these films within the wider context of their cultural antecedents and reconsiders the genre's influence"--$cProvided by publisher. 330 $a"Early hip hop film musicals have either been expunged from cinema history or excoriated in brief passages by critics and other writers. Hip Hop on Film reclaims and reexamines productions such as Breakin' (1984), Beat Street (1984), and Krush Groove (1985) in order to illuminate Hollywood's fascinating efforts to incorporate this nascent urban culture into conventional narrative forms. Such films presented musical conventions against the backdrop of graffiti-splattered trains and abandoned tenements in urban communities of color, setting the stage for radical social and political transformations. Hip hop musicals are also part of the broader history of teen cinema, and films such as Charlie Ahearn's Wild Style (1983) are here examined alongside other contemporary youth-oriented productions. As suburban teen films banished parents and children to the margins of narrative action, hip hop musicals, by contrast, presented inclusive and unconventional filial groupings that included all members of the neighborhood. These alternative social configurations directly referenced specific urban social problems, which affected the stability of inner city families following diminished governmental assistance in communities of color during the 1980' s. Breakdancing, a central element of hip hop musicals, is also reconsidered. It gained widespread acclaim at the same time that these films entered the theaters, but the nation's newly discovered dance form was embattled--caught between a multitude of institutional entities such as the ballet academy, advertising culture, and dance publications that vied to control its meaning, particularly in relation to delineations of gender. As street-trained breakers were enticed to join the world of professional ballet, this newly forged relationship was recast by dance promoters as a way to invigorate and "remasculinize" European dance, while young women simultaneously critiqued conventional masculinities through an appropriation of breakdance. These multiple and volatile histories influenced the first wave of hip hop films, and even structured the sleeper hit Flash dance. This forgotten, ignored, and maligned cinema is not only an important aspect of hip hop history, but is also central to the histories of teen film, the postclassical musical, and even institutional dance. Kimberley Monteyne places these films within the wider context of their cultural antecedents and reconsiders the genre's influence"--$cProvided by publisher. 606 $aHip-hop in motion pictures 606 $aMotion pictures$zUnited States 615 0$aHip-hop in motion pictures. 615 0$aMotion pictures 676 $a791.43/611 686 $aPER004030$aMUS031000$aPER003060$2bisacsh 700 $aMonteyne$b Kimberley$01654612 801 0$bMiAaPQ 801 1$bMiAaPQ 801 2$bMiAaPQ 906 $aBOOK 912 $a9910822658703321 996 $aHip hop on film$94006563 997 $aUNINA