Auteurship and exploitation in the history of punk cinema
Like its expression in music, fashion and design, punk's presence in cinema has been eclectic. Undoubtedly, a marked dimension of avant-garde auteurship has always featured in punk's relation with film. Punk cinema's association with the camp and the carnivalesque was continued in John Waters' Polyester. Several independent filmmakers developed a sustained relationship with punk as both, a theme and a source of creative inspiration. The early 1980s boom in independent filmmaking also brought several punk-oriented films centred on young women. As Nicholas Rombes observes, 'new punk cinema' was less a coherent, unified school of film than a loose set of filmmaking styles and production strategies informed by the sensibilities of punk. The democratic spur and antipathy to Hollywood orthodoxy has a distinct affinity with Stacy Thompson's 'punk cinema' ideals.
Matthew Worley, Keith Gildart, Anna Gough-Yates, Sian Lincoln and Bill Osgerby
This introduction presents an overview of the key concepts discussed in the subsequent chapters of this book. The book explores some of the different ways in which punk has been understood, adopted and utilised since it first established itself in the cultural consciousness from the mid-1970s. It also explores the contemporary punk scene in Russia, concentrating on the nexus between violence, masculinity and subcultural affinity. The book looks at punk's relationship to locality and space, and concentrates on communication and reception. It examines the transgressive concept of 'immigrant punk' to present bands such as Kultur Shock as both reflecting and resisting the processes of postmodernity. The book also examines the representation of punk in film, exploring the diverse forms of 'punk cinema' forged since the 1970s. It explains academic and non-academic interest in the politics of a cultural form that continues to reverberate across the world.
Matthew Worley, Keith Gildart, Anna Gough-Yates, Sian Lincoln, Bill Osgerby, Lucy Robinson, John Street and Pete Webb
The introduction outlines the ways by which fanzines were integral to the
development of punk-related cultures and embodied the ethos of
do-it-yourself (DIY). It assesses some of the previous writing on fanzines
and outlines the content of the book.