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Berichte Und Papiere 161, 2015: Biopics Der Unterhaltungsmusiker

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Berichte Und Papiere 161, 2015: Biopics Der Unterhaltungsmusiker Medienwissenschaft: Berichte und Papiere 161, 2015: Biopics der Unterhaltungsmusiker. Redaktion und Copyright dieser Ausgabe: Katja Bruns, Hans J. Wulff. ISSN 2366-6404. URL: http://berichte.derwulff.de/0161_15.pdf. Letzte Änderung: 24.1.2015. Biopics der Unterhaltungsmusiker: Eine Arbeitsfilmographie Nebst erster bibliographischer Notizen Zusammengestellt von Hans J. Wulff und Katja Bruns Inhalt: sichtlich ihrer Bedeutung als biographische Ausein- – Bibliographie andersetzungen mit den Biographierten, des analyti- – Filmographie schen Werts der Darstellung der Musikszene und – Index -industrie sowie der ästhetischen Qualitäten des je- weiligen Films mit bis zu drei Sternen auszuzeich- Die hier vorliegende Filmographie sucht die biogra- nen. Sofern wir uns nicht auf die Kenntnis der Filme phischen Filme über Unterhaltungs-Musiker seit stützen konnten, haben wir die zugänglichen Rezen- 1930 zu versammeln. Aufgenommen wurden aus- sionen zu Rate gezogen. Die Bewertungen im schließlich Langfilme mit einer Spieldauer von mehr einzelnen: als 60 Minuten. Nur marginal sind auch wenige Pseudo-Biopics und Mockumentaries verzeichnet *** herausragend (einschließlich weniger Filme über die Geschichte ** gut, interessant von Plattenlabels). Auf eine Differenzierung der Un- * akzeptabel ohne Kennzeichnung: inakzeptabel (bzw. auf terhaltungsformen (Musical und Operette, Showbüh- Grund der Quellenlage nicht zu beurteilen) ne und Revuetheater, Country-Music, Chanson, Schlager, Rock- und Popmusik etc.) haben wir ange- sichts des Nebeneinanders der Gattungen sowie des Literatur rasanten historischen Wandels der populären musi- kalischen Unterhaltungsformen verzichtet. Atkinson, Michael: Long Black Limousine: Pop Die Beschreibungen stützen sich zum geringeren Biopics. In Celluloid Jukebox: Popular Music and Teil auf Autopsie, größeren Teils auf die vorliegen- the Movies Since the 50s. Ed. Jonathan Romney & den Beschreibungen in Katalogen, Lexika und bio- Adrian Wootton: London: BFI 1995, S. 20–31. graphischen Abrissen, Pressemitteilungen, Kritiken Rer. In Atkinsons: Ghosts in the machine: specu- und anderem mehr. Wurden die Filme auch in lating on the dark heart of pop cinema. 1st Lime- light ed. New York: Limelight Editions 1999, S. Deutschland gezeigt, haben wir die deutschen Ver- 91–102. leih- bzw. Sendetitel mit aufgeführt. Alle Texte wur- den von Katja Bruns, z.T. von Caroline Amann Babington, Bruce: Star Personae and Authenticity in durchgesehen. Vor die Filmographie haben wir die the Country Music Biopic. In: Conrich, Ian / Tinck- wissenschaftlich bedeutsamen Artikel und Bücher nell, Estaella (eds.): Film’s Musical Moments. Edin- gestellt, die wir haben identifizieren können und die burgh: Edinburgh University Press 2006, S. 84–98. von allgemeinerem Interesse sind. Einige der Filme With the decline of the classical song and dance haben analytische Aufmerksamkeit auf sich gezo- musical in the 1960s the genre’s most persistant gen; diese Artikel und Bücher finden sich unter den mode of survival has been the biopic. This sur- Einträgen der Filmographie. vival is, however, embodied less in accounts of Durchgängig haben wir versucht, die Filme hin- the lives of the performers or composers of the traditional mainstream popular music of the U.S. Biopics der Unterhaltungsmusiker // Medienwissenschaft, 161, 2015 /// 2 musical than of stars of alternative forms, such as Brackett, David: Banjos, Biopics, and Compilation rock, jazz and country music. Focusing on a Scores: The Movies Go Country. In: American Mu- range of country music films, from theatrically sic 19,3, Autumn 2001, S. 247–290. released productions such as Coal Minerʼs Daughter (1980), to the wave of made-for-televi- Brost, Molly: Mining the Past: Performing Authen- sion biopics that appeared in the 1980s and ticity in the Country Music Biopic. Ph.D. Thesis, 1990s, this chapter explores the ways in which Bowling Green State University 2008, 135 S. they all emphasise the discursive tropes of au- Both country music and the biographical film are thenticity and sincerity in their narratives of starsʼ genres that are evaluated by strict (yet constantly lives. It shows that the country music film works changing) standards of authenticity. However, to negotiate the relationship between these con- “authenticity” means different things when ap- cerns and the celebration of countryʼs increasing- plied to both genres; in country music, it refers to ly mainstream appeal by insisting on the ‘lived’ the artist’s respect for tradition and ability to re- nature of country lyrics about heartbreak, divorce late to their audience, while in the biographical and loss. film, the term typically denotes factual accuracy and the filmmaker’s ability to emphasize the Bannister, Matthew: ‘Isnʼt he a bit like you and “correct” aspects of the subject’s life. This disser- me?’: Nowhere boy and the feminised rock biopic. tation argues that when a biographical film about In: Screen Education, 68, Summer 2012, S. 123– a country musician is made, it must negotiate 127. standards of authenticity applicable to both coun- Rock biopics have historically been marginal to try music and the biographical film. Further, it mainstream cinema, appealing primarily to a spe- posits that when the subject of the film is female, cialist audience: male rock fans. They also tend the standard for living an “authentic” life and to get a critical drubbing because of their predict- having an “authentic” career changes drastically able, morally simplistic narrative: naive boys and, for the artist, is a constant negotiation. Via gain the world but lose their soul to sex, drugs analyses of four films chronicling the lives of fe- and commerce (with the possible exception of male country musicians, this dissertation exam- Todd Haynesʼ Velvet Goldmine and Iʼm Not ines the ways in which the films (and their hero- There). Generally, biopics about female musi- ines) negotiate genre- and medium-specific stan- cians (such as those about Billie Holiday, Loretta dards of authenticity. Using the 1980 film Coal Lynn, Patsy Cline and Tina Turner) have been Miner’s Daughter as a case study, Chapter I ar- more successful, both commercially and critical- gues that country biopics must successfully nego- ly. Perhaps they appeal to a broader audience by tiate authenticity relative to four models: the focusing more closely on the emotional journey country model; the narrative model; the emphasis of the heroine – you donʼt have to like the music model; and the “time and space” model. Chapter to enjoy the movie. Or perhaps because women II, in turn, argues that Sweet Dreams failed to are often seen as outsiders in popular music, it achieve the acclaim of Coal Miner’s Daughter makes their stories more compelling or forces the largely because the subject’s death made it im- writers to be more creative. But films about fe- possible to authenticate the film’s emphasis. male rock musicians (as opposed to jazz, country Chapter III contends that Walk the Line actress or soul, as in the above examples) are rare. Reese Witherspoon was considered authentic due to her ability to negotiate, first, June Carter’s Binas-Preisendörfer, Susanne: Popmusikgeschichte struggle between “home” and “the road,” and, (n) als Gegenstand filmischer Repräsentationen. In: second, her own star persona with that of the Henzel, Christoph (Hrsg.): Geschichte – Musik – character’s. Finally, Chapter IV uses the docu- Film. [= Colloquium Musikgeschichte im Film, mentary Shut Up and Sing to examine how stand- Würzburg.] Würzburg: Königshausen & Neumann ards of authenticity change over time, as well as 2010, S. 211–224. how authenticity is negotiated in a different film genre. Bingham, Dennis: Woody Guthrie, Warts-and-All: The Biopic in the New American Cinema of the Brost, Molly: Negotiating Authenticity: Coal Mi- 1970s. In: a/b: Auto/Biography Studies 26,1, Sum- nerʼs Daughter, the Biopic, and Country Music. In: mer 2011, S. 68–90. Americana: The Journal of American Popular Cul- ture 7,2, Fall 2008; URL: <http://www.americanpopularculture.com/journal/ar Biopics der Unterhaltungsmusiker // Medienwissenschaft, 161, 2015 /// 3 ticles/fall_2008/brost.htm>. Inglis, Ian: Popular music history on screen. The pop/rock biopic. In: Popular Music History 2,1, Fairchild, Charles: Revealing What We Can Never 2007, S. 77–93. Know: The Problem of Real Life in Gus Van Santʼs The current popularity of popular music biopics Last Days. In: Popular Music and Society 36,4, in British and American cinema (and TV) has re- 2013, S. 523–539. awakened discussions over the accuracy and re- Biographical films about musicians and compo- liability of the stories they tell. Using illustrations sers are often caught between the recognition of and examples from past and present productions, their subjects as myths and the perceived experi- the paper explores the relationship between mu- ence of them as human beings. Many such films sic, film and history; the inevitability of interpre- resolve the tension between these two cultural tation, imagination and invention in the films’ formations by creating characters that are both portrayals of history; the inevitable tensions be- larger than life and simultaneously all too human, tween historical accuracy and commercial consi- carefully resolving any tension between the two. derations; the options open to film-makers in Last Days, incorrectly alleged to be a film biogra- their reconstruction of musical performances; and phy of Kurt Cobain, highlights the perpetual ten- the attractions
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