Abstract only
East German punk in its social, political and historical context
Aimar Ventsel

-five and forty-five. Punk in (East) Germany Germany has one of the world’s largest independent punk scenes, with several booking agencies, probably hundreds of clubs (focused exclusively or partly on punk), and a lively fanzine culture. Most of the scene is run on a DIY basis and brings very little commercial revenue to its organisers. Large German-based festivals, such as Endless Summer, With Full Force and Search and Destroy, are internationally renowned; foreign punk bands constantly tour the country. However, the punks of West and East Germany have rather different

in Fight back
Abstract only
National cinema and unstable genres
Valentina Vitali

films have always been the object of study, but I am not concerned here with the immense body of non-academic writing and other activities on popular cinema – from such magazines as the French Midi-Minuit Fantastique and fanzines to film festival retrospectives and 4 CAPITAL AND POPULAR CINEMA cinema websites. Rather, this book began as an attempt to identify the factors that have determined what may be a revealing shift within the canon of film studies. Why have European and North American academics begun to pay attention to films that, until the late 1980s, were

in Capital and popular cinema
Abstract only
David Ranc

then resort to alternative sources to the press to read about their teams and, to paraphrase Mignon, learn about the games, events surrounding the team and most importantly to share their analyses. Fanzines have been the first alternative medium but the relatively recent development of the internet has multiplied the number of sources of information for the supporters: on-line releases from news agencies (such as AFP or Reuters) and supporters-run forums, websites or mailing lists. The press must therefore be envisaged as only one actor among others in the definition

in Foreign players and football supporters
Abstract only
Nick Crossley

least with shifting it to the centre of the subcultural agenda (McKay 1996, 1998). Early punk pioneers encouraged others to make their own clothes (and clothing styles), form their own bands, make their own records, organise their own gigs and write their own fanzines. Subcultural styles do not emerge out of thin air. Each successive subculture builds upon and responds to its predecessors according to 24 Networks of sound, style and subversion the CCCS. This was especially true of punk, according to Hebdige, for whom: ‘punk style contained a distorted reflection of

in Networks of sound, style and subversion
How the Communist Party of Great Britain discovered punk rock
Matthew Worley

quo’.50 Conclusion The YCL’s embrace of punk has been well documented elsewhere.51 Following Bradshaw’s lead, Challenge lent support to the ‘new wave’ from early 1977 via approving summaries of the emergent scene, positive record reviews and, belatedly, support for RAR.52 Not only did the paper’s language and design transform ever closer to a superficially ‘punk’ style through 1977–79, mimicking the cut ’n’ paste aesthetic of fanzines and the 48 CPGB, The British Road to Socialism (London: CPGB, 1978). Recognition of the ‘specific problems’ of young people as a

in Labour and working-class lives
Creativity at a time of institutional decline
Jesse Adams Stein

be connected to the 1970s and 1980s DIY aesthetic of fanzines. DIY zine production often featured low-resolution, collaged or appropriated imagery, deliberately low-tech and handmade in appearance. This graphic style was associated with punk and other anti-establishment subcultures; it rejected the ideological drivers that lay behind high-production value commercial image making.61 A similarly hacked-up collage aesthetic is visible in many examples from the Gov (despite the fact that the pieces would have taken time and care to produce). In this case, however, the

in Hot metal
Catholicism and devotion in The Smiths
Eoin Devereux

have developed an intense connection with him.52 Morrissey is variously deified, canonised or cast in the role of preacher. In 2006, for example, the Guardian newspaper published a fan essay in conjunction with interviews with five Smiths fans. In ‘The Songs That Saved My Life’, the founder of Smiths fanzine Smiths Indeed stated that the band was a source of personal redemption for him when he was a teenager.53 In the face of CAMPBELL PRINT.indd 73 21/09/2010 11:24 74 Catholicism and devotion in The Smiths loneliness and social isolation, The Smiths were his

in Why pamper life's complexities?
Nick Crossley

on its way by the fact, noted by David Hesmondhalgh (1998: 258), that specialist and independent record shops were on the increase in the late 1970s, following a dip in the late 1960s. In 1978 there were 1,750 such shops in Britain, accounting for 32 per cent of the country’s total outlets. By 1981 the figure had risen to 2,370 (ibid.). This practice further evolved when some labels and particularly record shops began to distribute by mail order. This was usually backed up, as in the case of Spiral Scratch, with adverts in fanzines and sometimes the national music

in Networks of sound, style and subversion
The transnational and transgeneric initiative of La Zanfoña Producciones
Josetxo Cerdán and Miguel Fernández Labayen

of the archival material by Miguel Brieva brings the result closer to underground fanzines than to orthodox representations of the past. Finally, the recreation of this same past by a contemporary group of hippies (who actually take the leading voice in the documentary) invites us to reflect on those old experiences, not from a nostalgic point of view, but more from an actual and contemporary re-vision and repetition

in Contemporary Spanish cinema and genre
The Clash as my ‘true fiction’
Martin James

allusions to, punk’s DIY activities. The Clash’s Alex Michon-styled stencilled clothes were contrived to look as much a part of their DIY self-expression as their highly controlled earliest ‘showcase’ performances in their Rehearsal Rehearsals studios. Fanzine editor Tony Moon’s renowned illustration ‘here’s a chord, here’s another, here’s a third, now form a band’11 gave rise to the notion that the auto-didactic performer was itself evidence of DIY ideologies among the earliest punk bands. The reality, however, was that these first bands were less interested in DIY

in Working for the clampdown