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Popular song in the films of Pedro Almodóvar
Eric M. Thau

Since his films were first analysed in the early 1980s, Pedro Almodóvar’s use of music has been duly noted as an essential element of his filmic vision. Indeed, his intimate, even emblematic participation in la movida , Madrid’s countercultural liberal arts movement of the late 1970s, signalled the close association between music and a punk/kitsch attitude toward cultural markers of all kinds

in Screening songs in Hispanic and Lusophone cinema
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Lisa Shaw and Rob Stone

(To Return, 2006). His appreciation of Almodóvar’s selection of popular songs and their impact (both diegetic and non-diegetic) on the plot, characters and mood of his films includes analysis of punk, folksong, boleros and world music, and prompts an analysis of how these songs offer the filmmaker an opportunity to advance the romantic ironies inherent in his films. In building his argument, Thau demonstrates how these songs

in Screening songs in Hispanic and Lusophone cinema
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Fanzines, politics and agency
Matthew Worley

3 Whose culture? Fanzines, politics and agency Matthew Worley The impetus for starting a (punk) fanzine was often clear enough. Writing in the first issue of Sniffin’ Glue (1976), Mark Perry bemoaned the weekly music press’s failure to understand ‘this thing called “punk rock”’. ‘The weeklys [sic] are so far away from the kids that they can’t possibly say anything of importance’, he complained: ‘why don’t they stick to Queen and all that trash that drive around in expensive cars’.1 For Tony Drayton, communicating from the edge of Glasgow in November 1976, Ripped

in Ripped, torn and cut
Jo George

avant garde, searching for the art work of the future. For example, his second feature, Jubilee (1978), was ‘Britain’s first official punk movie’ 7 and a legitimate reflection of the zeitgeist of the late 1970s; yet Jarman sees it as a ‘healing fiction’ which ‘harked back to Pearl and Piers Ploughman ’, 8 poems within the medieval dream-vision tradition. British art cinema and the avant garde Jubilee is in many ways the direct precursor to The Last of England and The Garden . All three were very much

in British art cinema
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Susan Hayward

-mother-lover ( Le Grand Bleu , 1988) 8 Anne Parillaud as the punk Nikita and director Luc Besson ( Nikita , 1990) 9 Bob-the-father (Tchéky Karyo) in probing mood ( Nikita

in Luc Besson
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Writing from the dark underground, 1976–92
Claire Nally

the fact that many zines only ran to a few issues, they provide a clear insight into the transition from punk to post-punk and goth, as well as a useful corrective to the focus on the London scene which often characterises academic studies of goth. This chapter will explore the emergence of goth zine culture through three different zines: Panache, Whippings and Apologies and Propaganda. These zines have been strategically chosen as they represent iterations of early postpunk, goth as it emerged in the 1980s and, finally, the mainstreaming of the Goth zines -111

in Ripped, torn and cut
Lucy Robinson

)zines rather than conference packs to match form with content in the history of subcultures.5 The Edmonton Zine fair, for example, launched a collaborative history zine, The History of Punk.6 Zines were utilised at various points during the fortieth anniversary of punk. The British Library used its zine collection to collate a narrative from the Sex Pistols’ breakthrough to the wider national punk story, whereas Matthew Worley’s community project -40- Going underground focused on the local experience of Norwich’s punk scene. Worley combined a street exhibition with a zine

in Ripped, torn and cut
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Scoring Statham
Shelley O’Brien

’s for Crank: High Voltage are major factors in the characterisation of Chev and the Statham comic/action star persona. Similarly, the pre-recorded tracks in both films are a mixture of styles and are used specifically to reinforce the frantic pace of the editing, the plot and the movement and psychology of Chev. The range of styles – punk rock, speed metal, rock, ‘urban

in Crank it up
Riot grrrl and body politics from the early 1990s
Laura Cofield

subcultural -298- Global communications punk/post-punk genealogies. Kate Eichhorn’s reappraisal has been crucial in moving beyond the idea that riot grrrl was simply an oppositional or reactionary statement to parental cultures of second-wave feminism and the male-dominated punk scene.11 Such a model, she argues, obscures its wider intellectual and aesthetic heritage as a ‘queer feminist hybrid of punk, continental philosophy, feminism, and avant-garde literary and art traditions’.12 Michelle Kempson has similarly demonstrated zine creators’ uneasiness with locating

in Ripped, torn and cut
Paul Sutton

of his adolescence (he was thirteen in May 1968): George Orwell, Jerry Rubin, Abby Hoffman, a passion for London and Punk Rock and a decisive encounter with Situationism while at university. 5 Assayas recounts viewing the films of René Viénet and later discovering Debord’s seminal La Société du spectacle: j’ai adopté ce livre comme point de

in Five directors