The relative success of Sebastiane encouraged Jarman, Whaley, and Malin to attempt the impossible and make another independently financed feature film. By 1977, the year of the Queen's Silver Jubilee, punk had spread beyond a handful of clubs and bands in London and New York and was starting to look like a complete new youth culture in the making. The starting point for Jubilee was Jarman's fascination with Jordan, a girl who worked at the King's Road clothes shop. Jarman's ambivalence about where all this violent youthful energy was heading resulted in an extremely interesting film, deliberately ugly in places, and very uncomfortable to watch, a film which, he tells us in the published script, 'always upset people' and who embodied the emerging punk style it was busy promoting. The authentic artistic individuality which he asserted so strongly against the sell-out represented by punk could be found within punk itself.
This introduction presents an overview of the key concepts discussed in the subsequent chapters of this book. The book considers memory as a specific framework for the study of popular film, intervening in growing debates about the status and function of memory in cultural life and discourse. It examines the relationship between official and popular history and the constitution of memory narratives in and around the production and consumption of American cinema. The book explores the political stakes of cinematic discourse in its production of national memory. It also examines the discursive and institutional apparatus that has come to support the memory of Classic Hollywood in British cultural life. The book also considers both the presence of music and colour in nostalgia films of the 1990s and the impact of digital and video technologies on the representational determinants of mediated memory.