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Vic Reeves, Bob Mortimer and the cultification of light entertainment
Leon Hunt

ironic, the comic at odds with the easy-listening classic and performing a strange spoken section that provides background information on the song. In the cover versions in Big Night Out, there is a tension between the comedy and the dynamics of a less ironic rock performance. The ‘liveness’ adds an excitement and energy to the music – ‘Dizzy’ simply took this a stage further. When Big Night Out showcased an original song, the effect was different – ‘I Remember Punk Rock’, a cheesily nostalgic song, reduced anarchic pop to banalities about ‘Mr Buzzcock on my shoulder

in Cult British TV comedy
Inventing popular culture in contemporary France
David Looseley

Cultural Studies in the 1970s that, within working-class youth subcultures, style and taste act as a form of quasipolitical resistance to dominant values is one illustration. More recently, there have been attempts to widen this reading beyond dissident, usually male subcultures such as bikers, Teddy Boys and punks, and to show that mainstream popular practices (pop music, girls’ magazines, romantic fiction, television-watching) demonstrate a comparable capacity for creativity and invention, rather than limp passivity. As pointed out in the Introduction, however, France

in Imagining the popular in contemporary French culture
Douglas Morrey

uninteresting. As Terry Eagleton has suggested, if postmodernism becomes a catch-all term to define broad cultural phenomena, covering ‘everything from punk rock to the death of metanarrative, fanzines to Foucault’, then the question of whether one can be ‘for’ or ‘against’ it loses all sense (Eagleton 1996 : 21–2). The first and most rigorous theorists of postmodernism gave the term a much more specific

in Jean-Luc Godard
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Andy Birtwistle

career. When scratch was required to provide its own soundtrack, it sometimes adopted techniques from hip-hop, but rarely its specific sound. Much more common was the use of contemporary post-punk rock and pop, produced by British groups such as New Order and Joy Division. In its close association with popular music, scratch was not only informed by, but also influenced the pop video – one of the defining cultural forms of the

in Cinesonica
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Nous ne vieillirons pas ensemble, La Gueule ouverte and Passe ton bac d’abord
Marja Warehime

lifestyle between the bourgeoise, Frédérique, and the rest of group. Bernard, attempting to rendez-vous with her (accompanied by faithful sidekick Patrick) has to wait for her to get out of mass. She has a car – primly putting on her glasses before she drives off with them – and lives in a large summer beach home where she later invites Bernard to her equally large room to listen to punk rock. She then propositions him, revealing as she undresses a teddy printed with a huge tiger’s head, its teeth bared in a savage snarl. In the final beach sequence, Bernard, having

in Maurice Pialat
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Autobiography and the imaginary self
Michael Leonard

, producing a chiaroscuro effect reminiscent of the paintings of Georges de la Tour. The modesty of the means is evident in a tracking-shot of Jean-Baptiste, Elie and Swann walking alongside a wall surrounded with trees, filmed through the back of a car window. Recorded at a slightly canted angle, the thin strips along the rearview window are visible in the frame. In addition to the principal couple in the film, Garrel incorporates members of the nascent punk scene in France in acting roles, including Elli Medeiros, Edwige and Caroline Paulus (Bambou). This taste for

in Philippe Garrel
Capitalism, industry and the mainstream
Nick Crossley

‘selling out’, generating an opposing pressure upon artists. Alternative music worlds, from avant-garde art music via folk to underground metal and punk generate their own aesthetic, which is often opposed to that of ‘the mainstream’. And they involve audiences for whom that aesthetic is important; audiences upon whom both artists and support personnel depend. Making aesthetic compromises in pursuit of bigger audiences and the greater economic rewards this might confer is risky because it may both fail and cause the artist to lose a niche (non-mainstream) audience upon

in Connecting sounds
Fergus Daly and Garin Dowd

stylistically the Belmondo of A Bout de Souffle and the late punk drifting into the New Romantic so fashionable in the early 1980s. But this is the street punk with both a dress sense and a too-contrived sense of purpose. His clothes are carefully cut and he wants to set up a band; his character is, in a manner of speaking, a cyborg à la mode – as if Besson wanted to absorb a long tradition of purposelessness and despair and turn

in Leos Carax
Susan Hayward

body can be decorated’ or, conversely, ‘it can be cut up to look like a piece of meat’. 24 Self-mutilation, punk hairstyles and dress-codes are markers, not so much of difference, but of the ‘disavowal of the will to queue for work’. 25 Hebdige’s second point concerns the way in which that body is viewed. Since it knows it is being watched, ‘it translates the fact of being under scrutiny into the

in Luc Besson
Romeo and Juliet and romantic tragedy
R. S. White

declare the origin in their titles: for example, Fire with Fire (USA, 1986), in which Lisa is a Catholic schoolgirl and Joe a juvenile offender in a boot camp, and The Punk and the Princess (Australia, 1993), based on love between a rich girl and a street boy. Lost and Delirious (2001) is a rather disjointed and even hysterical Canadian film made for television. Set in a college, it foregrounds an

in Shakespeare’s cinema of love