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Rockumentary: Style, Performance & Sound in a Documentary Genre

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Rockumentary: Style, Performance & Sound in a Documentary Genre Rockumentary: Style, Performance & Sound in a Documentary Genre Michael Brendan Baker Department of Art History & Communication Studies McGill University, Montr#al $une 2011 A thesis submitted to McGill University in partial ful)llment of the re*uirements of the de+ree of Doctor of Philosophy in Communication Studies , Michael Brendan Baker 2011 Abstract Rockumentary: Style, Performance, and Sound in a Documentary Genre is the comprehensive study of an audio-visual genre concerned with the nonfctional representation of rock music and related idioms. Sparked by the explosive rise in popularity of rock music in the 1960s, rockumentary follo.s a tra3ectory tracing the broader history of documentary practice, at times serving to reshape that history and at others providing the clearest examples of documentary4s limits and potentials. It both captures and contributes to histories of documentary flm and popular music generally, and rock music and rock culture specifcally/ 5t is note.orthy for its visual style, inno"ation in the area of flm sound technolo+y, and the complex industrial interactions which in part foster its de"elopment. Moreo"er, rockumentary ser"es as an early and ongoing example of the ne+otiation of the presence of stars and sta+ed spectacles in the context of nonfction flm and video. It is the site where the anxieties about sound and the documentary ima+e—an unease which runs throu+hout the history of cinema and has specifc implications within the context of nonfction flm—are particularly acute, and the various conceptual and sociolo+ical issues surrounding flm as a mediation of live experience versus a wholly constructed entity are crystallized most concretely. Tis dissertation presents rockumentary as an audio-visual genre with both artistic rele"ance and commercial appeal, and poses questions about the role of pleasure as a means of diferentiating the corpus from other nonfction flm and video genres. Trou+h textual analysis, reception studies, and documentary research, this dissertation contributes to )lm, media, and popular music studies, and lays the foundation for the study of nonfction representations of popular music in contemporary moving ima+es and ne. media/ ii R#sum# Rockumentary: Style, Performance, and Sound in a Documentary Genre est une étude approfondie d:un genre audio-visuel d#dié à la repr#sentation non-)ctive de la musique rock et de ses idiomes. N#e de l:explosive croissance de popularité de la musique rock dans les années 60, le rockumentaire é"olue en bordure de l:historique plus large de la pratique documentaire, se trou"ant parfois à la remodeler et parfois à d#montrer les limites et le potentiel du genre. Le rockumentaire contribue à l:histoire du documentaire et de la musique populaire en g#néral, ainsi qu:; celle de la culture et de la musique rock. Il se d#mar*ue par son style visuel, son inno"ation dans le domaine de la technolo+ie sonore cinémato+raphique et par les relations industrielles comple0es qui ont fa"oris# son d#"eloppement. En outre, le rockumentaire met en évidence les tractations entre la pr#sence de prestations misent en scène et de vedettes dans le cadre de flms et de vid#os de non- )ction. Le rockumentaire est un lieu o@ les angoisses liées au son et à l:ima+e documentaire – un malaise qui tra"erse l:histoire du cinéma et qui a des implications pr#cises dans le contexte du cinéma de non-)ction – sont particulièrement vives. É+alement, les questions conceptuelles et sociolo+iques qui entourent le cinéma en tant que m#diation de l:expérience en direct par rapport à une entité fabriqu#e y sont cristalis#es de manière des plus concr?tes/ ette dissertation pr#sente le rockumentaire comme un genre audio-visuel ayant à la fois une pertinence artistique et un attrait commercial qui remet en question le rCle du plaisir comme manière de diférencier le corpus des autres genres de flms et de vid#os de non-)ction. A"ec l:aide de l:analyse textuelle, d:#tudes de r#ception et de recherche documentée, cette dissertation est un apport dans le domaine des études cinémato+raphiques, m#diatiques ainsi *ue des études de la musique populaire, puis*u:elle jette les bases sur l:#tude des repr#sentations non-)ctives de la musique populaire dans les nou"eaux m#dias et les ima+es contemporaines/ iii Ackno.led+ements 8is pro3ect was frst ima+ined during my time in the Department at Film & Eideo at Fork !niversity, was revisited during my Masters de+ree in the Mel Hoppenheim School of inema at Concordia University, and fnally undertaken and completed after many delays and pleasant interruptions while working in the Department of Art History & ommunication Studies at McGill University. Te friends, family members, and collea+ues .ho lent their encoura+ement and support both personally and professionally during my studies are too numerous to name here but I o.e them all a tremendous debt of gratitude/ 8is pro3ect was funded in part by the Fonds de recherche sur la société et la culture GBourse de doctorat en rechercheG and the MediaHMcGill Bea"erbrook Dissertation ompletion Grant. Portions of this pro3ect were formally presented and casually discussed o"er many years and in se"eral forums including conferences hosted by Film Studies Association of Canada, the Society for Cinema and Media Studies, and the inau+ural Sound, Music & the Moving Ima+e conference/ Special thanks to Profs. Iill Stra., Jonathan Sterne, and Tomas Iau+h, for their +uidance, patience, and good humour, my proposal and defence committee members, the faculties of the Mel Hoppenheim School of Cinema and the Department of Art History & ommunication Studies for your instruction, pro"ocations and support, and my classmates for your endless curiosity and conviviality/ Do people dedicate dissertationsJ If so, I dedicate this work to my mother, my sister, my grandparents, and my incredibly supportive wife, Laurel6.e need a vacation. Charlotte, you can come, too/ iv Kable of Contents A(stract ii R#sum# iii Ackno.led+ements iv 5ntroduction ' Ihat 5s Rockumentary? % Methodology & Lutline 1 hapter 1: Genre & Mode in Cinema 'M Genre 8eory & Dilm '2 Modes of Representation of inema, Modes of Representation in Documentary %N Documentary inema as >"idence OP onclusion: Documentary Genres Q' hapter 2: Genre in Popular Music & A Kypolo+y of the Rockumentary QO Genre in Popular Music Studies Q2 Rock M% Re"ie. of >0istin+ =iterature on Rockumentary MP Rockumentary: A Kypology of urrents and Krends 2M hapter 3: Te Pre-History of Rockumentary: From Eitaphone Shorts to Ja77 Giants NQ Iarner Bros., Eitaphone Shorts and the Arrival of Synchronized Sound to inema NN Soundies and Popular Music on Dilm in the '1Q&s PO Jazz on a Summer's Day and the Arrival of the Deature-=en+th Popular Music Documentary PP hapter 4: Te History of Rockumentary I '&P A <ote on Dilm Style: 8e $ournalistic and the 5mpressionistic Strate+ies for the Eisual Representation of Musical Performance ''O Kimid Be+innin+s: 8e Roots of the 8eatrical Rockumentary in Short <on)ction Su(3ects and Kele"ision ''P 8e lassical Rockumentary of the =ate-'12&s 'Q2 Ko Be ontinued/// 'NQ hapter 5: Te History of Rockumentary I5 'NN A Block(uster & the Rockumentary Boom 'P' 8e >nd of the Be+innin+: ReRection, Recollection, and ompilation '1N onclusion: 8e 8ird Ia"e—Punk >thnography and the Home Eideo Migration %%' hapter 6: Tis Film Should Be Played LoudS Understanding Sound in Rockumentary %%1 5ma+inin+ the Sound of Music Documentaries %O' oncert Dilms, Sound 8eory, and K.o ommon Sonoric Strate+ies %Q& onclusion: Te Rockumentary Renaissance %Q1 Selected Dilmography %MN Bibliography %2% <e.spaper and Ma+a7ine Sources %NO 5ntroduction 5n 2008, the Rolling Stones made their nth appearance as the headlining stars in a documentary flm in Martin Scorsese:s concert extra"a+anza, Shine A Light. By conser"ative counts, this was the twelfth appearance of the Stones in a feature-length documentary and the third time Scorsese directed a ma3or music documentary, but it was the frst occasion these two flm and music luminaries collaborated on a pro3ect. Shine A Light, released theatrically in standard and IMAT formats, was celebrated by fans and critics alike and prompted numerous articles on the popularity of “rock docsV—those flm and television features we all kno. for their spectacular representations of live musical e"ents, culturally important documents of historic musical gatherings, and occasionally trashy behind-the- scenes tell-alls of life on the road as a rock:n:roll star. It was a bo0-oWce success, grossing $15.8 million world.ide, ranking it among the highest-+rossing documentary releases of 2008 and in the top ten highest-+rossing concert documentaries of all-time/' By the end of the calendar year the flm was a"ailable commercially for home video enthusiasts in standard DED and high-de)nition Blu-Ray formats. But Shine A Light was signifcant for other reasons as well, not least of which its symbolic value as the capstone to ffty years of the most commercially viable and aesthetically rich cate+ory of nonfction flm—the rockumentary/ 1 Ko put these numbers in perspecti"e, and to hi+hli+ht a generational shift in the audiences for concert documentaries, the documentary bo0-ofce winner of 2008 was also the most successful concert flm of all-time up to that point: "annah Montana$#iley Cyrus: Best of Both 'orlds Concert (our (Bruce Hendricks, USAZ earned $65.2 million worldwide, a f+ure lar+er than the combined total of the other top ten flms in this bo0- ofce cate+ory.
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