Popcorn

Fifty Years of Rock 'n' Roll Movies

Nonfiction, Entertainment, Music, Theory & Criticism, History & Criticism, Reference
Cover of the book Popcorn by Garry Mulholland, Orion Publishing Group
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Author: Garry Mulholland ISBN: 9781409112204
Publisher: Orion Publishing Group Publication: April 29, 2010
Imprint: Orion Language: English
Author: Garry Mulholland
ISBN: 9781409112204
Publisher: Orion Publishing Group
Publication: April 29, 2010
Imprint: Orion
Language: English

Hugely acclaimed author of THIS IS UNCOOL and FEAR OF MUSIC turns his attention to rock 'n' roll movies.

From BLACKBOARD JUNGLE to QUADROPHENIA, from 8 MILE to ABBA: THE MOVIE, no one has seriously looked at the strange phenomenon that is the rock 'n' roll movie.

Garry Mulholland turns his focus away from classic records to the best, the worst, the weird and the completely deranged from the world of the rock movie. Part serious critical appreciation, part celebration of B-movie trash, Garry Mulholland's inclusive approach is the key to his success. He is as comfortable deconstructing the likes of PERFORMANCE, GIMME SHELTER or JUBILEE as he is celebrating FOOTLOOSE or JAILHOUSE ROCK.

As he writes: '... Anyone who rejects the joy that the likes of GREASE or DIRTY DANCING or FAME have brought millions of people without even attempting to engage with why such unapologetic trash works can't really be that interested in filmgoers at all.'

View on Amazon View on AbeBooks View on Kobo View on B.Depository View on eBay View on Walmart

Hugely acclaimed author of THIS IS UNCOOL and FEAR OF MUSIC turns his attention to rock 'n' roll movies.

From BLACKBOARD JUNGLE to QUADROPHENIA, from 8 MILE to ABBA: THE MOVIE, no one has seriously looked at the strange phenomenon that is the rock 'n' roll movie.

Garry Mulholland turns his focus away from classic records to the best, the worst, the weird and the completely deranged from the world of the rock movie. Part serious critical appreciation, part celebration of B-movie trash, Garry Mulholland's inclusive approach is the key to his success. He is as comfortable deconstructing the likes of PERFORMANCE, GIMME SHELTER or JUBILEE as he is celebrating FOOTLOOSE or JAILHOUSE ROCK.

As he writes: '... Anyone who rejects the joy that the likes of GREASE or DIRTY DANCING or FAME have brought millions of people without even attempting to engage with why such unapologetic trash works can't really be that interested in filmgoers at all.'

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