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Full Description
Popular Music and the Moving Image in Eastern Europe is the first collection to discuss the ways in which popular music has been used cinematically, from musicals to music videos to documentary film, in Eastern Europe from 1945 to the present day. It argues that during the period of state socialism, moving image was an important tool of promoting music in the respective countries and creating popular cinema. Yet despite this importance, filmmakers who specialized in musicals lacked the social prestige of leading 'auteurs' and received little critical attention. The resulting scholarly prejudice towards pop culture created a severe shortage of critical studies of the genre.
With the fall of state socialism - and with it, the need for economically viable film and media industries - brought about an unprecedented upsurge of films utilizing popular music, and a greater recognition of popular cinema as a legitimate object of study. Popular Music and the Moving Image in Eastern Europe fills the gap and demonstrates why the popular music-cinema interface needs to be theorized with respect to the political, ideological, and social forces invested in popular culture.
Contents
Table of Contents
Introductions: Popular Music and the Moving Image in Eastern Europe
Ewa Mazierska (University of Central Lancashire, UK) and Zsolt Gyori (University of Debrecen, Hungary)
Chapter 1
1968 Leftist Utopianism in The Young Girls of Rochefort and Hot Summer
Evan Torner (University of Cincinnati, USA)
Chapter 2
Representing Modern Romania in the Musical of State Socialist Period Gabriela Filippi (I.L. Caragiale National University of Theatre and Film, Romania)
Chapter 3
Worlds That Never Were: Contemporary Eastern European Musical Comedies and the Memory of Socialism
Balázs Varga (Eötvös Loránd University, Hungary)
Chapter 4
Pop Music, Nostalgia and Melancholia in Dollybirds and Liza, the Fox Fairy
Hajnal Király (Insitute for Hungarian Literary and Cultural Studies, Eötvös Lóránd University, Hungary)
Chapter 5
When the Golden Kids Met the Bright Young Men and Women: Rebellion, Innovation and Cultural Tradition in the Czech 1960s Music Film
Jonathan Owen (Courtauld Institute of Art, UK)
Chapter 6
'Music Isn't Music, Words Aren't Words': Underground Music in the Hungarian Cinema of the New Sensibility
Zsolt Gyori
Chapter 7
Socialist Night Fever: Yugoslav Disco on Film and Television
Marko Zubak (Croatian Institute of History, Croatia)
Chapter 8
Disco Polo and Techno according to Maria Zmarz-Koczanowicz
Ewa Mazierska
Chapter 9
Musical Variations in Karpo Godina's Alternative Cinema
Andrej Šprah (Slovenian Cinematheque, Slovenia)
Chapter 10
Polish Music Videos: Between Parochialism and Universalism
Ewa Mazierska
Chapter 11
'She Stole It from Beyoncé!' - Transnational Borrowing in Bulgarian Pop-Folk Music Videos and Audience Reaction to the Practice
Maya Nedyalkova (Oxford Brookes University, UK)
Chapter 12
Postsocialist Social Reality in Hungarian Rap Music Videos
Anna Batori (Babes-Bolyai University, Cluj-Napoca, Romania)
List of Contributors
Index
