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Out of place with The Smiths

voices and codes in dialogical contestation;4 this also applies to songs that offer ostensibly simple and singular messages, like those of Sham 69 and Skrewdriver, for example. Collected together, The Smiths’ songs constitute an audiotopia, rich with the resonances of many other codes and voices from the history of popular music and culture. Blues, rockabilly, folk rock, girl group pop, English music-hall, New York bohemian rock, punk and glam rock immediately come to mind. However, these genres or styles hardly exhaust the meaning of The Smiths since there are many

in Why pamper life's complexities?
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– Colonel. (pause held at the end) (cut to CS Frank) FRANK: (long pause): You sharpshootin’ me, punk? (cut to Charlie) (reaction

in Film editing: history, theory and practice
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Episodic erotics and generic structures in Ventura Pons’s ‘Minimalist Trilogy’

accelerated speed during the interstitial, encounters a punk dressed in black, a 13-year-old boy who kicks the bum awake and demands money only to eventually sit down beside the man and offer him a cigarette. The kid then relates a story, accompanied by grainy video footage (the film’s only flashback), about how he bought some hash and stole the dealer’s lighter. In one of the green-tinted flashback

in Contemporary Spanish cinema and genre
Beineix, Besson, Carax from Diva to Le Grand Bleu

and imperishable. But Leos Carax, knowing exactly how to make use of fashion, is careful not to throw his characters into punk, and the miracle happens: these characters become beautiful. (Perez 1984 : 23) A couple of years later, Perez writes as follows: ‘Visually the signs of Mauvais sang are casual chic, destructuring

in The films of Luc Besson
Blackpool, Casanova, State of Play

’s health. As she leaves, the hand of Henrietta is glimpsed in the departing carriage and Giacomo realises that, though she will not leave her children, she still loves him and is looking out for him. Rocco is not so lucky. As they travel on towards Naples, he dies of a common cold. The court of Naples is depicted as a cocaine-snorting cross between punk and gothic, presided over, as chance would have it, by Bellina and her now-grownup daughter, Leonilda, who takes a shine to the-now grown-up Jack. When Leonilda leads Jack away to entertain him, Bellina reveals that she

in State of play
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3 Negativity I’m a negative creep – and I’m stoned! (Nirvana, ‘Negative Creep’,1989) 9 November 1989 The subject of ‘Negative Creep’, one of the highlights of Nirvana’s first album Bleach (1989), is generally taken to be the singer himself, Kurt Cobain (Sandford, 1995: 116). As such it is one of the early signature tracks to establish a certain negative persona which became mythologised in the early 1990s pop phenomenon called grunge. Musically, grunge is characterised by a combination of punk and heavy metal, though with a lyrical and melodic sensibility that

in Great Satan’s rage

fact whilst paying its chief respects to fiction. Put more simply, what is presented as fact is, in fact, fiction.’ 71 27 Henry VIII (Jonathan Rhys Meyers) as a ‘punk-rock’ ruler in The Tudors (Showtime, 2007–10). The disregard for historical veracity in Hirst

in The British monarchy on screen
Embedded, embodied and multivalent

. Second, and conversely, there are cases of what some people would call music which, on first blush, don’t involve humanly organised sound: John Cage’s ‘4’33’, for example, whose score instructs musicians to lay down their instruments and sit silently for four minutes and thirty-three seconds, or Crass’ ‘The Sound of Free Speech’. When workers refused to press their EP, ‘Feeding of the Five Thousand’, on account of its blasphemous opening track, UK punk group, Crass (for the first pressing of the EP),2 dropped the track and replaced it with two minutes of silence, which

in Connecting sounds

film’s three lovers, on deciding that they cannot live with or without each other, opt instead for a lethal combination (initiated by the woman character) of suicide, murder and spiritual desolation. Two 1980s biographical films, by depicting the doomed love affairs of dramatist Joe Orton (1933–67) and punk musician Sid Vicious (1957–79), were able to construct narratives depicting love as a phenomenon capable of moments of

in Tears of laughter
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The past in the present/the present in the past

lifestyles. But while the potential reading of the Ranters as hippies is rich here, we might also be tempted to read these characters retrospectively as proto-punks; as young people who refuse to play by the rules (and the ethics) of an older generation, and instead choose a ‘do-it-yourself ’ approach to everyday life built upon notions of simplicity and self-sufficiency. Arguing the case for Winstanley’s enduring relevance as a historical and political figure in the film, Christopher Durston puts it that ‘Gerrard Winstanley is shown as the upholder of the mid

in British films of the 1970s