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Kieler Beiträge zur Filmmusikforschung 05.3// Oktober 201o Topic: Rockumentaries Kieler Beiträge zur Filmmusikforschung, 5.3, 2010 // 326 Kieler Beiträge zur Filmmusikforschung, 5.3, 2010 // 327 Kieler Beiträge zur Filmmusikforschung, 5.3, 2010 // 328 Impressum Copyright by Kieler Gesellschaft für Filmmusikforschung, Kiel 2010 Copyright (für die einzelnen Artikel) by den Autoren, 2010 ISSN 1866-4768 Verantwortliche Redakteure: 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, 5.3, 2010 // 329 Inhaltsverzeichnis Impressum..........................................................................................................................328 Vorwort...............................................................................................................................331 Artikel Inszenierungen des Protestsängers. Direct Cinema, Musikfilm und Popular Music...........333 Reichert, Ramón Dokumentarische Manifestierung eines Mythos. Martin Scorseses THE LAST WALTZ.........344 Lehmann, Ingo / Krüger, Annika Überblicksartikel MTV UNPLUGGED (1989 ff.)..................................................................................................363 Dubil, Janwillem Murray Lerner......................................................................................................................379 Bruns, Katja Kieler Beiträge zur Filmmusikforschung, 5.3, 2010 // 330 Artikel WATTSTAX (1973)..................................................................................................................386 CRACKED ACTOR (1975).........................................................................................................390 THE GREAT ROCK‘N‘ROLL SWINDLE (1980)..............................................................................394 THE ROAD TO GOD KNOWS WHERE (1990)...............................................................................399 DEVOTIONAL (1993)...............................................................................................................403 COME HELL OR HIGH WATER (1994)........................................................................................407 TOTAL BALALAIKA SHOW (1994).............................................................................................413 YEAR OF THE HORSE (1997)....................................................................................................416 VIEL PASSIERT - DER BAP-FILM (2002)...................................................................................422 CROSSING THE BRIDGE: THE SOUND OF ISTANBUL (2005)............................................................427 NO DIRECTION HOME - BOB DYLAN (2005)..............................................................................431 FULL METAL VILLAGE (2006)..................................................................................................437 GLASTONBURY – THE MUD. THE MUSIC. THE MADNESS (2006)..................................................441 U2 3D (2007).......................................................................................................................446 Rezensionen Mulholland, Garry: Popcorn. 50 Years of Rock’n’Roll Movies. London: Orion Books 2010............................450 Amann, Caroline Filmographien Rock zwischen Calypso und Twist: Musiker im Rock‘n‘Roll Film, 1956-1963. Eine kommentierte Filmographie........................................................................................455 Amann, Caroline / Bruns, Katja Kieler Beiträge zur Filmmusikforschung, 5.3, 2010 // 331 Vorwort Das Rockumentary-Projekt entwickelt sich weiterhin prächtig und so können wir nun nach den Veröffentlichungen im Juni und August diesen Jahres nun schon den dritten Teil unseres Lesesbuchs zur Geschichte des Rockumentaries präsentieren. Auch dieses Mal steht wieder eine Reihe von kurzen Analysen einzelner Filmen unsres Untersuchungsgebiets im Mittelpunkt. Hinzu kommen wie gewohnt aber auch kleinere Schwerpunkte und Specials. So befasst sich Ramón Reichert mit den verschiedenen Formen der Inszenierung des Protestsängers in Rockumentaries vornehmlich der ersten beiden Jahrzehnte – DON´T LOOK BACK (1967), WOODSTOCK (1970), MONTEREY POP (1968) und GIMME SHELTER (1970) –, die zu den absoluten Klassikern des Genres gehören. Einen solchen haben sich auch Ingo Lehmann und Annika Krüger für ihren Artikel über THE LAST WALTZ (1978) von Martin Scorsese vorgenommen, den sie unter dem Aspekt untersucht haben, wie in ihm der Mythos der vor allem auch durch diesen Film berühmten amerikanischen Rockgruppe The Band auf dokumentarische Weise manifestiert wird. Janwillem Dubil hat sich mit einem Bereich beschäftigt, zu dem es bisher noch so gut wie keine fundierten Analysen oder Untersuchungen gab: die Unplugged-Konzerte auf MTV. Er zeigt die Entwicklung von den Anfängen dieser Reihe bis hin zu den modernsten Erscheinungen der Unplugged-Konzerte im Web 2.0 auf. Das Rockumentaries-Projekt entwickelt sich stetig weiter. So sind in der dritten Ausgabe zwei neue Bereiche zum ersten Mal vertreten. Das sind zum einen die Rezensionen, zum anderen kommentierte Spezialfilmographien. Bei diesen wird der Auftakt mit einer Übersicht zu Musikern im klassischen Rock´n´Roll-Film von 1956–1963 gemacht, die Hans Jürgen Wulff gemeinsam mit Katja Bruns erstellt hat. Als kleines Nebengenres des Musikfilms werden diese Filme heute längst nicht mehr nur als filmische Verarbeitung der Hochphase des jugendlichen Modetanzes Rock‘n‘Roll gewertet, sondern als allgemeinerer Ausdruck der Ablösung einer eigenständigen Jugendkultur aus einer umfassenden, alters- und generationenneutralen Gesamtkultur. Wir werden in den folgenden Ausgaben die filmographische Durchmusterung der fiktionalen Filmproduktion fortsetzen und so einen weiteren rock- und jugendkulturellen Rahmen abschreiten, auf den sich auch die dokumentarischen Filme bezogen haben. Mit der vorliegenden dritten Ausgabe firmiert „Die Rockumentaries“ auch als Projekt der AG Populärkultur und Medien der Gesellschaft für Medienwissenschaft. Das Rockumentary-Projekt stand von Anfang an im Austausch mit der AG und von Beginn an bestand auch der Wunsch, die Thematik des Kieler Projekts stärker in die Arbeit der AG einzubinden. Dass dieses nun gelungen Kieler Beiträge zur Filmmusikforschung, 5.3, 2010 // 332 ist, empfinden wir als sehr erfreulich, weil die AG sich zu einem der wichtigsten Foren von Medienwissenschaftlern entwickelt hat, die sich explizit auf die besonderen methodischen und theoretischen Probleme berufen, die die Analyse von Produkten und Prozessen der populären Kultur aufwirft – die sich auch bei der Untersuchung der Dokumentarfilme der Rockmusik stellen. Auf längere Sicht ist geplant, die Rockumentaries zu einem Thema einer der Tagungen der AG zu machen. Vor allem möchten wir die Mitglieder der AG an dieser Stelle dazu einladen, an der Arbeit der Kieler Gruppe auch als Autoren teilzunehmen (sofern nicht die Kontakte längst hergestellt sind). 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. Bei den Letztkorrekturen der vorliegenden Version war Denise Carstensen sehr engagiert, wofür wir uns an dieser Stelle nochmal ausdrücklich bedanken wollen. Patrick Niemeier, Willem Strank, Hans J. Wulff im Oktober 2010 Kieler Beiträge zur Filmmusikforschung, 5.3, 2010 // 333 1968: Inszenierungen des Protestsängers Direct Cinema, Konzertfilm und Popular Music [*] Ramón Reichert „Truth is just a plain picture“. Bob Dylan, DON’T LOOK BACK, 1967 DON’T LOOK BACK (USA 1967) Als Bob Dylan 1965 seine erste Konzert-Tournee in England gab, galt er nicht nur als ein musikalischer Grenzgänger zwischen Folk und Rock’n’Roll, sondern wurde von der Musikpresse und dem Fanpublikum auch als Protestsänger gegen das Establishment, gegen Krieg und Unterdrückung gewertet. Als Bob Dylan im Frühjahr 1965 in London aus dem Flugzeug stieg, tat er dies nicht nur als Musiker, sondern – unfreiwillig – auch als eine Ikone der Protestbewegung. Da in der Arena der Massenmedien ökonomisch verwertbare Nachrichten von der Personalisierung von Ereignissen abhängig waren, wurde Dylan bereits lange vor seiner Ankunft in Europa zur umstrittenen Leitfigur einer jugendkulturellen Gegenkultur stilisiert. Doch bereits vor seiner Ankunft in Europa distanzierte sich Dylan in zahlreichen Interviews und Statements von der Erwartungshaltung der Medienöffentlichkeit, die ihn als populär-intellektuellen Fürsprecher der Protestbewegung zu etikettieren versuchte: „Ich sagte ihnen,
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  • Blackmore´S Night: Die Weiße Nacht Eines Gereiften Wild Boys

    Blackmore´S Night: Die Weiße Nacht Eines Gereiften Wild Boys

    Blackmore´s Night: Die weiße Nacht eines gereiften Wild Boys Ritchie Blackmore begeistert mit Gattin Candice Night und Band im Admiralspalast von Marc Hairapetian Preisfrage: Wer macht das scheinbar Unmögliche möglich und versammelt beinharte Hard-Rocker, intellektuelle Beatniks, radikale Tierschützer, fröhliche Schlagerfans und Freunde der Renaissance-Musik in einem Konzert, bei dem am Ende sogar alle zusammen singen? Antwort: Ritchie Blackmore, "the one and only". Dieser Zuruf der Ehrenbezeichnung eines völlig enthusiastischen Besuchers platzt in eine stillere Passage des Auftritts im fast ausverkauften Berliner Admiralspalast - und er trifft den berüchtigten Nagel auf den Kopf. Ritchie Blackmore, geboren am 14. September 1945 in Weston-super-Mare (North Somerset), ist wirklich ein Phänomen. Seit Anfang der 1960er gilt der walisisch-englische Lockenkopf als einer der weltbesten Gitarristen. Bereits mit 18 arbeitete er als Studio-Musiker für den legendären Produzenten Joe Meek (1929 - 1967). Für dessen Zögling, den deutschstämmigen Sänger und Ex-The Tornados-Bassisten Heinz Burt (eigentlich Heinz Georg Schwartz, 1942 - 2000), spielte er auf allen Platten (darunter die Filmsongs "Dreams Do Come True" und "Don´t You Understand" sowie Charterfolge wie "You Were There" und die Rockabilly-Nummer "Just like Eddie"). Blackmore tourte mit Heinz and the Wild Boys, setzte bei der Coverversion des Crickets-Songs "I am not a Bad Guy" als einer der ersten eine psychedelisch verzerrte Gibson-ES-335-Gitarre ein und trat mit der Instrumentalband The Outlaws in Beat-Kinofilmen wie "Live It Up" (1963) auf. 1968 wechselte er das Equipment (von nun an benutzte er eine Fender Stratocaster) und gründete die Hard-Rock-Formation Deep Purple, die mit zündenden Gitarrenriffs wie bei "Smoke on the Water" das Headbanging weltweit in Mode brachte.