In Music Films, Neil Fox considers a broad range of music documentaries, delving into their cinematic style, political undertones, racial dynamics, and gender representations, in order to assess their role in the cultivation of myth.
Combining historical and critical analyses, and drawing on film and music criticism, Fox examines renowned music films such as A Hard Day's Night (1964), Dig! (2004), and Amazing Grace (2006), critically lauded works like Milford Graves Full Mantis (2018) and Mistaken for Strangers (2013), and lesser-studied films including Jazz on a Summer's Day (1959) and Ornette: Made in America (1985). In doing so, he offers a comprehensive overview of the genre, situating these films within their wider cultural contexts and highlighting their formal and thematic innovations.
Discussions in the book span topics from concert filmmaking to music production, the music industry, touring, and filmic representations of authenticity and truth. Overall, Music Films traces the evolution of the genre, highlighting its cultural significance and connection to broader societal phenomena.
Recenzijos
An impassioned and eclectic survey, Foxs book on what he calls music films not only introduces the canon, but explores its outer limits and limitations. -- Mark Duffett, University of Chester, UK This comprehensive analysis of music documentaries, tour films and other cinematic representations of popular music is an invaluable contribution to the field of film studies, music studies, media studies and to anyone interested in music on screen. -- Robert Edgar, York St John University, UK A good deal of Music Films is as much celebration as survey. Fox presents a thorough overview of key texts like Don't Look Back (1967), The Decline of Western Civilization (1981) and Stop Making Sense (1984), before building an argument that the years since the millennium have truly been the music films golden age. * Sight and Sound *
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Critiques the aesthetic and social history of the music documentary as a cinematic form through analysis of a wide range of films and filmmakers.
Foreword by Gruff Rhys
Introduction
I Form and Feel
1. What Should I Say? Milestones and Innovations
2. Well try for a groove Music Making and the Careers of Musicians
II Politics and Place
3. Secret Black Technologies Black Music
4. Wherever we are, we are Place
5. I just have to deal with it Women
III Performativity and Performance
6. Fuck continuity Truth and Myth
7. Walk on stage and fucking ave it Concert and Tour Films
Endnotes Omissions, Alternative Histories and Further Watching
References
Filmography
Index
Neil Fox is Associate Professor of Film Practice and Pedagogy at Falmouth University, UK. He leads the Research & Innovation programme, Pedagogy Futures, and convenes the Sound/Image Cinema Lab. He is an award-winning screenwriter whose short films and feature debut Wilderness (2017) have played to festival audiences around the globe. He is the co-founder and host of the leading film podcast The Cinematologists, the official podcast partner of the BFI national film seasons. He is the co-editor of Podcasting: New Aural Cultures and Digital Media (2018).
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