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Ein Leben Aus Musik

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Ein Leben Aus Musik Kieler Beiträge zur Filmmusikforschung 05.2// August 201o Topic: Rockumentaries Kieler Beiträge zur Filmmusikforschung, 5.2, 2010 // 169 Kieler Beiträge zur Filmmusikforschung, 5.2, 2010 // 170 Kieler Beiträge zur Filmmusikforschung, 5.2, 2010 // 171 Impressum Copyright by Kieler Gesellschaft für Filmmusikforschung, Kiel 2010 Copyright (für die einzelnen Artikel) by den Autoren, 2010 ISSN 1866-4768 Verantwortliche Redakteure: Susan Levermann, Patrick Niemeier, Willem Strank Kieler Beiträge zur Filmmusikforschung ISSN 1866-4768 Herausgeber: Niemeier, Patrick (Kiel) Strank M.A., Willem (Kiel) Wulff, Prof. Dr. Hans Jürgen (Westerkappeln/Kiel) Redaktion: Kerstin Bittner (Kiel) Janwillem Dubil (Kiel) Julia Fendler (Kiel) Knut Heisler (Kiel) Jan Kästel (Kiel) Frederike Kiesel (Kiel) Patrick Kraft (Kiel) Susan Levermann (Kiel) Imke Schröder (Kiel) Editorial Board: Claudia Bullerjahn (Gießen) Christoph Henzel (Würzburg) Linda Maria Koldau (Frankfurt) Georg Maas (Halle) Siegfried Oechsle (Kiel) Albrecht Riethmüller (Berlin) Fred Ritzel (Oldenburg) Hans Christian Schmidt-Banse (Osnabrück) Bernd Sponheuer (Kiel) Jürg Stenzl (Salzburg) Wolfgang Thiel (Potsdam) Hans J. Wulff (Kiel) Kontakt: [email protected] Kieler Gesellschaft für Filmmusikforschung c/o Hans J. Wulff Institut für NDL- und Medienwissenschaft Leibnizstraße 8 D-24118 Kiel Kieler Beiträge zur Filmmusikforschung, 5.2, 2010 // 172 Inhaltsverzeichnis Impressum..........................................................................................................................171 Vorwort...............................................................................................................................174 Artikel „Rockin‘ the Screen“: Einflüsse des Films auf die Geschichte der Rockmusik. Von den Anfängen bis in die 1980er Jahre........................................................................................176 Maas, Georg Überblicksartikel Ein Leben aus Musik. Fiktionale Biografien von Rockstars im Film.................................185 Tieber, Claus Special: Don A. Pennebaker Programmatik und Verfahren des Direct Cinema (mit besonderem Augenmerk auf Don Alan Pennebaker)................................................................................................................198 Christine N. Brinckmann Don Alan Pennebaker..........................................................................................................203 Kevin Finner MONTEREY POP (1968)...........................................................................................................214 ZIGGY STARDUST AND THE SPIDERS FROM MARS – THE MOTION PICTURE (1983)...........................223 DEPECHE MODE – 101 (1989).................................................................................................229 WESTERNHAGEN – KEINE ZEIT (1996)......................................................................................239 65 REVISITED (2005 [1965])..................................................................................................247 Kieler Beiträge zur Filmmusikforschung, 5.2, 2010 // 173 Filmanalysen BORN TO BOOGIE (1972).........................................................................................................257 CONCERT FOR BANGLADESH (1972)...........................................................................................262 ELVIS: ALOHA FROM HAWAII (1973)..........................................................................................267 LIVE AFTER DEATH (1985).......................................................................................................271 LIVE AID (1985)....................................................................................................................276 1991 – THE YEAR PUNK BROKE (1992)...................................................................................281 THE FILTH AND THE FURY (2000).............................................................................................285 ONE NIGHT IN PARIS – THE EXCITER TOUR 2001 (2001)...........................................................289 ERIC CLAPTON AND FRIENDS IN CONCERT (2004).......................................................................294 SHOW: A NIGHT IN THE LIFE OF MATCHBOXTWENTY (2004).........................................................300 SOME KIND OF MONSTER (2004)..............................................................................................303 LIVE 8 (2005)........................................................................................................................308 THE JIMI HENDRIX EXPERIENCE – LIVE AT MONTEREY (2007).....................................................312 GLOBAL METAL (2008)...........................................................................................................317 Kieler Beiträge zur Filmmusikforschung, 5.2, 2010 // 174 Vorwort Der vorliegende zweite Teil unseres Lesebuchs zur Geschichte der Rockumentaries enthält neben einer kleinen Sammlung von Darstellungen einzelner Filme eine Reihe von kleinen Schwerpunkten, die wir im folgenden kurz erläutern wollen. Mit Don Alan Pennebaker stellen wir einen der Regisseure vor, der das Genre von Beginn an begleitet und in vielen Einzelheiten geprägt hat. Pennebaker gehört zum Gründerkreis des Direct Cinema, der wohl einflussreichsten Richtung des Dokumentarfilms seit 1960. Mit seinem Dylanfilm DON‘T LOOK BACK (1965) schuf er nicht nur einen der ersten, sondern auch bis heute Maßstab gebenden Film des Rock-Films. Mit MONTEREY POP (1967) war er einer der ersten, die die neu entstehende Gattung der großen Rock-Open-Air- Konzerte dokumentierte - und auch dieser Film gilt vielen bis heute als eine der intensivsten und reflektiertesten Konzertdokumentationen überhaupt. Pennebaker hat das Material aus den 1960ern mehrfach neu aufgegriffen, zu neuen Filmen verarbeitet. Seine Filme gehören zum Gedächtnis der Rockkultur, reaktualisieren beständig das Vergangene. Wir möchten auch darauf hinweisen, dass schon in der ersten Lieferung des Projekts kurze Analysen zu den Pennebaker-Filmen ONLY THE STRONG SURVIVE (2002) und ZIGGY STARDUST AND THE SPIDERS FROM MARS – THE MOTION PICTURE (1983) vorgestellt wurden. Ein zweiter kleiner Schwerpunkt sind Darstellungen der Groß- und Multikonzerte, die seit dem Concert for Bangladesh (1972) immer monumentalere Ausmaße angenommen haben und in denen sich die weltumspannende Popularität der Rockkultur dokumentiert (LiveAid, 1985, Live 8, 2005). Schon das ebenfalls hier dokumentierte Elvis-Presley-Konzert Aloha from Hawaii (1973) nutzte das satellitenverbreitete Fernsehsignal, um mehr als eine Milliarde Menschen zu erreichen, und setzte damit die Vorzeichen zu einer kaum noch überschaubaren globalen Verbreitung mancher Rockkonzerte. Die Reihe dieser Konzerte setzte sich fort in dem – allerdings wenig beachteten – Live-Earth-Projekt am 7.7.2007 mit elf Konzerten auf sieben Kontinenten, verbreitet auch als Livestream via Internet. Es mag zu den kompliziertesten Widersprüchen der Rockkultur gehören, dass die egalitäre und oppositionelle Tendenz, die den Rock von Beginn an begleitet hat, sich hier mit einem karitativ-politischen Interesse verbindet und doch nicht der Tatsache ausweichen kann, dass auch diese Veranstaltungen Promotionaktionen für die Musiker selbst sein können und zur Imagebildung oder -korrektur der Auftretenden beitragen können. Es hat diesen Zusammenhang von Beginn der Rock-Kultur an gegeben – Georg Maas‘ kleiner Artikel führt ihn bis in die Anfänge des Rock‘n‘Roll-Films zurück –, und es nimmt nicht wunder, dass in allen Artikeln darauf eingegangen wird. Kieler Beiträge zur Filmmusikforschung, 5.2, 2010 // 175 Wir bedanken uns bei allen Mitschreibern und unserer Redaktion. Insbesondere geht ein großer Dank an Kerstin Bittner, Janwillem Dubil, Julia Fendler, Knut Heisler, Jan Kästel, Matthias Koch, Frederike Kiesel, Susan Levermann und Imke Schröder. Beim Korrekturlesen dieser vorliegenden, veröffentlichten Version waren vor allem Kerstin Bittner, Julia Fendler und Frederike Kiesel sehr engagiert, wofür wir uns nochmal ausdrücklich bedanken wollen. Patrick Niemeier, Willem Strank, Hans J. Wulff im August 2010 Kieler Beiträge zur Filmmusikforschung, 5.2, 2010 // 176 „Rockin‘ the Screen“: Einflüsse des Films auf die Geschichte der Rockmusik. Von den Anfängen bis in die 1980er Jahre Georg Maas 1. BLACKBOARD JUNGLE: Die Initialzündung Ohne Film wäre die Geschichte der Rockmusik zweifellos eine andere geworden, als die, die sich uns heute im Rückblick darstellt. Bereits die Geburtsstunde des Rock‘n‘Roll, die Premiere des amerikanischen Films SAAT DER GEWALT (BLACKBOARD JUNGLE, USA 1955), weist dem Zweckbündnis von jugendorientiertem Musikmarkt und Filmgeschäft den Weg. Die Titelmusik des Films, Bill Haleys Rock Around the Clock, wurde durch den Film zum Hit und machte zugleich den Film zu einem Kassenschlager beim jugendlichen Publikum. BLACKBOARD JUNGLE ist ein gesellschaftskritischer Film, der am Beispiel des idealistischen Lehrers Dadier (Glenn Ford) die Erziehungsschwierigkeiten verwahrloster Großstadtjugendlicher thematisiert. Symbol für den moralischen Niedergang der amerikanischen Jugend ist die Titelmusik. Der Film behandelt sein Thema durchaus realistisch und für amerikanische Verhältnisse recht sachlich, wenig spekulativ. Das Ende ist allerdings, wie könnte es anders sein, optimistisch. In der amerikanischen Öffentlichkeit wurde der Film dennoch heftig diskutiert und musste massive Kritik einstecken (vgl. dazu
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