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1 Introduction Notes 1 Introduction 1. Anonymous, ‘Tommy Steele for Anglo Rock’n’Roll Film’, Kinematograph Weekly, 24 January 1957. 2. It is merely listed amongst ‘nineteen support films’ in Peter Hutchings’ monograph, Terence Fisherr (Manchester University Press, 2002), p. 57. 3. ‘While the use of the word “popular” in relation to the lighter forms of music goes back to the mid-19th century, the abbreviation “pop” was not in use as a generic term until the 1950s when it was adopted as the umbrella name for a special kind of musical product aimed at a teenage market.’ Peter Gammond, The Oxford Companion to Popular Music (Oxford University Press, 1991), p. 457. 4. Arthur Marwick, The Sixties: Cultural Revolution in Britain, France, Italy and the United States, c. 1958–1974 (Oxford University Press, 1998), p. 7. 5. Arthur Marwick, British Society since 1945, 4th edn (Harmondsworth: Penguin, 2003), p. 13. 6. Ibid., pp. 131–2. 7. Dick Hebdige, Hiding in the Light: On Images and Things (London: Routledge, 1988), p. 19. 8. Christine Gledhill, ‘Genre’, in Pam Cook (ed.), The Cinema Book, 3rd edn (London: British Film Institute, 2008), pp. 254, 259. 9. The book will not treat (those rare) British productions or co-productions where the star is not British, such as Frank Zappa’s 200 Motels (Frank Zappa, Tony Palmer, 1971), nor (those numerous) films where British pop artists make brief cameo appearances but do not star, such as the Searchers in Saturday Night Outt (Robert Hartford-Davis, 1963). 10. Eric Barnouw, Documentary: History of the Non-Fiction Film, 2nd edn (Oxford University Press, 1993), pp. 231–53; Michael Renov (ed.), Theorising Documentary (London: Routledge, 1993), pp. 37–57. For studies of the ‘rockumentary’, see Jonathan Romney and Adrian Wootton (eds), Celluloid Jukebox: Popular Music and the Movies since the 50s (London: British Film Institute, 1995), pp. 82–105; Thomas F. Cohen, Playing to the Camera: Musicians and Musical Performance in Documentary Cinema (London: Wallflower, 2012). 11. Romney and Wootton, Celluloid Jukebox, p. 7. 12. André Bazin, What Is Cinema, Vol. 2 (Berkeley: University of California Press, 2005); Robert Warshow, The Immediate Experience: Movies, Comics, Theatre and Other Aspects of Popular Culture (Cambridge, MA: Harvard University Press, 2002). While Bazin accesses a very limited archive, Warshow deduces generic shape from a reading of just three films. 13. Barry Langford, Film Genre: Hollywood and Beyondd (Edinburgh University Press, 2005), p. 135. 14. For informative surveys of ‘the king’ on celluloid, see Eric Braun, The Elvis Film Encyclopedia (London: Batsford, 1997) and Douglas Brode, Elvis, Cinema and Popular Culture (New York: McFarland, 2006). 213 214 Notes to Chapter 1 15. Steve Neale, Genre and Hollywoodd (London: Routledge, 1999), p. 51. 16. Andrew Caine, Interpreting Rock Movies: The Pop Film and its Critics in Britain (Manchester University Press, 2004), p. 8. 17. Rick Altman, Film / Genre (London: British Film Institute, 1999), p. 14. 18. Steve Neale, Genre (London: British Film Institute, 1980), p. 19. 19. Gregory Lukow and Steven Ricci, ‘The “Audience” goes “Public”: Inter- Textuality, Genre and the Responsibilities of Film Literacy’, On Film, 12, 1984, pp. 29–36. 20. Susan Hayward, Key Concepts in Cinema Studies (London: Routledge, 1996), p. 160. 21. Caine, Interpreting Rock Movies, pp. 15–33. 22. Ibid., p. 8. 23. Franco Moretti, Graphs, Maps, Trees: Abstract Models for a Literary Theory (London: Verso, 2005), p. 14. 24. Andrew Dix, Beginning Film Studies (Manchester University Press, 2008), p. 178. 25. Ibid. 26. David Buckingham, Children Talking Television: The Making of Television Literacyy (London: Falmer Press, 1993), p. 137. 27. Thomas Schatz, Hollywood Genres: Formulas, Filmmaking and the Studio System (New York: Random House, 1981). 28. Richard Dyer, The Movie, no. 75 (1981), p. 1484. 29. Jane Feuer, The Hollywood Musical (London: Macmillan, 1982), p. 88. 30. John G. Cawelti, ‘Chinatown and Generic Transformation in Recent American Films’, in Barry Keith Grant (ed.), Film Genre Reader (Austin: University of Texas Press, 1986), p. 200. 31. Brian Taves, The Romance of Adventure: The Genre of Historical Adventure Movies (Jackson: Mississippi University Press, 1993), p. 22. 32. Dyer, The Movie, p. 1484. 33. James Leggott, ‘Nothing to Do Around Here: British Realist Cinema in the 1970s’, in Robert Shail (ed.), Seventies British Cinema (London: Palgrave Macmillan, 2008), p. 98. 34. Terry Threadgold, ‘Talking about Genre: Ideologies and Incompatible Discourses’, Cultural Studies, vol. 3, no. 1, January 1989, p. 109. 35. John Fiske, Television Culture (London: Routledge, 1987), p. 110. 36. Will Wright, Six Guns and Society: A Structural Study of the Western (Berkeley: University of California Press, 1975). 37. Tim O’Sullivan et al., Key Concepts in Communication (London: Methuen, 1983), p. 128. 38. Hayward, Key Concepts in Cinema Studies, p. 161. 39. Neale, Genre, p. 62. 40. Hayward, Key Concepts in Cinema Studies, p. 165. 41. Christine Gledhill (ed.), Stardom: The Industry of Desire (London: Routledge, 1991), p. 215. 42. Margaret Hinxman, Daily Herald, 29 October 1960. 43. Additional Beatles’ histories include Bill Harry’s illustrated filmography, Beatlemania: The History of the Beatles on Film (London: Virgin, 1984) and Edward Gross’ anecdotal The Fab Films of the Beatles (Las Vegas: Pioneer Books, 1990). Even Bob Neaverson’s academic study The Beatles Movies (London: Cassell, 1997) is predominantly contextual and ‘leaves plenty of Notes to Chapter 2 215 room for further analysis and debate’. Rowana Agajanian, ‘Nothing Like any Previous Musical, British or American’, in Anthony Aldgate et al. (eds), Windows on the Sixties (London: I.B. Tauris, 2000), p. 110. 44. See also Fred Dellar, NME Guide to Rock Cinema (London: Hamlyn, 1981) and David Ehrenstein and Bill Reed, Rock on Film (London: Virgin, 1982). 45. Danny Graydon, Empire, no. 150, December 2001, p. 164. 46. Julian Petley, ‘The Lost Continent’, in Charles Barr (ed.), All Our Yesterdays: 90 Years of British Cinema (London: British Film Institute, 1986), p. 98. For the transformation from ‘scarcity to abundance’, see Alan Lovell, ‘The British Cinema: The Known Cinema’, in Robert Murphy (ed.), The British Cinema Book, 2nd edn (London: British Film Institute, 2002), p. 200. 47. One could cite inter alia Pam Cook (ed.), Gainsborough Pictures (London: Cassell, 1997); Steve Chibnall and Robert Murphy (eds), British Crime Cinema (London: Routledge, 1999); I.Q. Hunter (ed.), British Science Fiction Cinema (London: Routledge, 1999); Steve Chibnall and Julian Petley (eds), British Horror Cinema (London: Routledge, 2001); I.Q. Hunter and Laraine Porter (eds), British Comedy Cinema (London: Routledge, 2012). Peter Hutchings’ ground-breaking Hammer and Beyond: The British Horror Film (Manchester University Press, 1993) influences the subtitle of this study. 48. John Mundy, The British Musical Film (Manchester University Press, 2007), p. 9. 49. Steve Chibnall, Review of K.J. Donnelly and John Mundy, Music, Sound and the Moving Image, vol. 3, no. 2, 2009, p. 256. 2 The Primitive Pop Music Film 1. Fred Dellar, NME Guide to Rock Cinema (London: Hamlyn, 1981), p. 10; David Ehrenstein and Bill Reed, Rock on Film (London: Virgin, 1982), p. 14. 2. Sue Harper and Vincent Porter, British Cinema of the 1950s: The Decline of Deference (Oxford University Press, 2003), p. 1. 3. Jeffrey Richards, ‘New Waves and Old Myths: British Cinema in the Sixties’, in B. Moore-Gilbert and J. Seed (eds), Cultural Revolution? The Challenge of the Arts in the 1960s (London: Routledge, 1992), p. 218. 4. Anthony Bicat, ‘Fifties Children: Sixties People’, in V. Bogdanor and R. Skidelsky (eds), The Age of Affluence 1951–1964 (London: Macmillan, 1970), p. 324. 5. Nik Cohn, AwopBopALooBopAWopBamBoom: Pop from the Beginningg (London: Weidenfeld and Nicolson, 1969), p. 21. 6. Anonymous, Kinematograph Weekly, 23 May 1957. ‘B’ features rarely figured in the national press and there are no extant reviews in the BFI archive. 7. Matthew Sweet, British B-movies: Truly Madly Cheaply, BBC4, broadcast 21 June 2008. 8. George Melly, Revolt into Style (Harmondsworth: Penguin, 1972), p. 4. 9. Trevor Philpott, ‘Bermondsey Miracle’, Picture Post, 25 February 1957. 10. Anonymous, Sunday Times, 9 July 1957. 11. David Robinson, Sight and Sound, vol. 27, no. 1, Summer 1957, p. 43. 12. Harper and Porter, British Cinema of the 1950s, p. 308. 13. For the ‘real’ story of Steele’s apprenticeship, see Pete Frame, The Restless Generation: How Rock Music Changed the Face of 1950s Britain (London: Rogan 216 Notes to Chapter 2 House, 2007), pp. 138–50; Vickie Holt, ‘Tommy Steele: Before the Invasion’, Blue Suede News, vol. 69, Winter 2004, pp. 5–9. 14. Melly, Revolt into Style, p. 39. 15. Ibid., p. 47. 16. Colin MacInnes, ‘Pop Songs and Teenagers’, The Twentieth Century, February 1958, reprinted in Hanif Kureishi and Jon Savage (eds), The Faber Book of Pop (London: Faber and Faber, 1995), p. 85. 17. Press release of Anglo-Amalgamated Film Distributors Ltd – BFI microfiche. 18. Maureen Turim, Flashbacks in Film: Memory and History (London: Routledge, 1989), p. 17. 19. Susan Hayward, Key Concepts in Cinema Studies (London: Routledge, 1996), p. 124. 20. Turim, Flashbacks in Film, p. 17. 21. Melly, Revolt into Style, p. 48; Andrew Caine, Interpreting Rock Movies: The Pop Film and its Critics in Britain (Manchester University Press, 2004), p. 115. 22. Richard Dyer, Stars (London: British Film Institute, 1980), p. 35. 23. Advertisement, Kinematograph Weekly, 23 May 1957, p. 12. 24. Caine, Interpreting Rock Movies, p. 122. 25. MacInnes, ‘Pop Songs and Teenagers’, p. 89. 26. Harper and Porter, British Cinema of the 1950s, p. 192. 27. Turim, Flashbacks in Film, p. 171. 28. Philpott, ‘Bermondsey Miracle’, p. 66. Steele himself recalled how, in his first Variety performance, at the Sunderland Empire, ‘a mass scream started in the darkness of the auditorium and rolled over the footlights towards me like a giant killer wave’.
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