'I don't owe you anything'
The Smiths and kitchen-sink cinema
in Why pamper life's complexities?
Abstract only
Log-in for full text

You are not authenticated to view the full text of this chapter or article.

manchesterhive requires a subscription or purchase to access the full text of books or journals - to see content that you/your institution should have access to, please log in through your library system or with your personal username and password.

If you are authenticated and think you should have access to this title, please contact your librarian.

Non-subscribers can freely search the site, view abstracts/extracts and download selected front and end matter. 

Institutions can purchase access to individual titles; please contact manchesterhive@manchester.ac.uk for pricing options.

ACCESS TOKENS

If you have an access token for this content, you can redeem this via the link below:

Redeem token

The music of The Smiths enjoys a fruitful relationship with cinema which long surpasses the five years in which the band was together. This chapter examines how the kitchen-sink dramas of the early 1960s influenced Morrissey's writing. It proposes that beyond the literal references in his lyrics there lies a sensibility at the heart of these films akin to the one found in his poetic impulse. The chapter explains how cinema has 'returned the favour' by employing The Smiths' songs in various ways. From the 1960s onwards, it was indeed pop music and not literature, theatre or cinema that could most effectively speak for the young working classes. The references to kitchen-sink films in Smiths lyrics, album covers and pop videos are too numerous. Amongst the films that inspired him were Saturday Night and Sunday Morning, A Taste of Honey, The L-Shaped Room, Billy Liar and Poor Cow.

Why pamper life's complexities?

Essays on The Smiths

Metrics

All Time Past Year Past 30 Days
Abstract Views 124 39 2
Full Text Views 25 3 0
PDF Downloads 20 4 0