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David Bowie: Serious Moonlight (1984)

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David Bowie: Serious Moonlight (1984) Kieler Beiträge zur Filmmusikforschung 05.1// Juni 201o Topic: Rockumentaries Kieler Beiträge zur Filmmusikforschung, 5.1, 2010 // 2 Kieler Beiträge zur Filmmusikforschung, 5.1, 2010 // 3 Kieler Beiträge zur Filmmusikforschung, 5.1, 2010 // 4 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 Kieler Beiträge zur Filmmusikforschung ISSN 1866-4768 Herausgeber: Levermann, Susan (Kiel) Niemeier, Patrick (Kiel) Wulff, Prof. Dr. Hans Jürgen (Westerkappeln/Kiel) Redaktion: Kerstin Bittner (Kiel) Janwillem Dubil (Kiel) Julia Fendler (Kiel) Frederike Kiesel (Kiel) Patrick Kraft (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) Hans Christian Schmidt-Banse (Osnabrück) Bernd Sponheuer (Kiel) 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, 5.1, 2010 // 5 Inhaltsverzeichnis Impressum..........................................................................................................................4 Vorwort...............................................................................................................................7 Artikel (E)motion pictures. Zwischen Authentizität und Künstlichkeit. Konzertfilme von Bob Dylan bis Neil Young...........................................................................................................................10 Kiefer, Bernd / Schössler, Daniel (In: Pop & Kino. Von Elvis zu Eminem. Hrsg. v. Bernd Kiefer u. Marcus Stiglegger. Mainz: Bender 2004, S. 50-65). Überblicksartikel Metal-Filme.........................................................................................................................25 Julia Fendler Fiktive Musikerfiguren und Rock-Bands............................................................................33 James zu Hüningen / Frederike Kiesel Filmanalysen ONE PLUS ONE (1968)............................................................................................................47 CREAM’S FAREWELL CONCERT (1969).......................................................................................54 ELVIS: THAT‘S THE WAY IT IS (1970 / 2001).............................................................................58 WOODSTOCK (1970)...............................................................................................................64 THE KIDS ARE ALRIGHT (1979)...............................................................................................69 SOUL POWER (1974 / 2008)....................................................................................................75 ZIGGY STARDUST AND THE SPIDERS FROM MARS – THE MOTION PICTURE (1983)..........................79 DAVID BOWIE: SERIOUS MOONLIGHT (1984)..............................................................................84 Kieler Beiträge zur Filmmusikforschung, 5.1, 2010 // 6 STOP MAKING SENSE (1984)....................................................................................................89 THIS IS SPINAL TAP (1984)......................................................................................................95 BRING ON THE NIGHT (1985)...................................................................................................100 ZOO TV: LIVE FROM SYDNEY (1994)........................................................................................105 PINK FLOYD - P.U.L.S.E (1995).............................................................................................110 THE ROLLING STONES ROCK AND ROLL CIRCUS (1996 / 1968)....................................................115 LISTENING TO YOU: THE WHO LIVE AT THE ISLE OF WIGHT FESTIVAL 1970 (1996)........................120 MEETING PEOPLE IS EASY (1998).............................................................................................124 THE FILTH AND THE FURY (2000)..............................................................................................130 ONLY THE STRONG SURVIVE (2002)..........................................................................................136 FEEL LIKE GOING HOME (2003)...............................................................................................140 EELS WITH STRINGS: LIVE AT TOWN HALL (2006)......................................................................144 LOUDQUIETLOUD (2006).......................................................................................................148 CROSBY, STILLS, NASH & YOUNG – DÉJÀ VU (2008)................................................................153 Bibliographie Rockumentaries. Eine Arbeitsbibliographie (Komp.v. Hans J. Wulff)..................................158 Kieler Beiträge zur Filmmusikforschung, 5.1, 2010 // 7 Vorwort Nahezu unbeachtet von Film- und Musikwissenschaft hat sich mit dem Rockmusik-Dokumentarfilm und seinen verschiedenen Untergattungen in den letzten vierzig Jahren eine neue Gattung des Musikfilms entwickelt. Nur wenige Jahre, nachdem die Rockmusik populär und zugleich ein wichtiger und ökonomisch einträglicher Zweig der Musikindustrie geworden war, als klar war, dass Rockmusiker nicht nur riesige Plattenumsätze erzielen, sondern auch große Hallen füllen konnten, und als es zudem gelang, mit den Open- Air-Konzerten nicht nur große Publika zu aktivieren, sondern damit eine ungemein hohe öffentliche Aufmerksamkeit zu gewinnen, wurden die Akteure der Rockmusik ebenso zu einem Gegenstand dokumentarischen Interesses wie die Tourneen, Konzerte und Festivals, die Fankulturen, manchmal sogar die Organisatoren der Veranstaltungen. Die Bezeichnung Rockumentary, die heute oft als Gattungsname verwendet wird, ist ein Kunstwort aus rock und documentary. Es wurde wohl zum ersten Mal in Rob Reiners Mockumentary THIS IS SPINAL TAP (1984) erwähnt, lange nachdem die Filme in regelmäßiger Folge im Kino gelaufen waren und nicht nur das Interesse von Musikfans, sondern auch von Cineasten gefunden hatten. Die Bezeichnung weist zurück auf die Blütezeit des Direct Cinema, in der nicht nur einige Porträts von Dirigenten und Pianisten sowie Aufzeichnungen klassischer Konzerte entstanden, sondern in der vor allem in den USA Rock-Musiker und ihre Konzerte ein beliebtes dokumentarisches Sujet waren. Die Filme fanden ein hochstrukturiertes vorfilmisches Ereignis vor, in das sie sich nach Art der Programmatik des Direct Cinema einschmiegen konnten. Sie verbanden meist Bilder der Bühnenshows, Aufnahmen des Publikums, manchmal Interviews mit Beteiligten und atmosphärische Bilder der Geschehnisse am Rande des Konzerts. LONELY BOY (USA 1961, Roman Kroiter, Wolf Koenig) über Paul Anka ist der wohl erste Film in dieser Art. D.A. Pennebakers Bob-Dylan-Film DON‘T LOOK BACK (USA 1966), sein Konzert-Film MONTEREY POP (USA 1967) und vor allem Michael Wadleighs mit großem Aufwand gedrehte Dokumentation WOODSTOCK (USA 1970) brachten einen enormen wirtschaftlichen Erfolg und stießen eine ganze Reihe weiterer Filme an. Dazu rechnet die Dokumentation des desaströsen Auftritts der Rolling Stones 1969 in Altamont, bei dem ein Ordner der Hell‘s Angels einen Besucher erstach (GIMME SHELTER, USA 1971, David Maysles, Albert Maysles, Charlotte Zwering). Äußerst erfolgreich war auch Martin Scorseses Film THE LAST WALTZ (USA 1978) über das Abschiedkonzert von The Band. Obwohl Filme im Stil der Rockumentaries immer noch weiter produziert werden (man denke an Jonathan Demmes Talking-Heads-Film STOP MAKING SENSE, USA 1984), feierte Rob Reiner in der Pseudo-Dokumentation THIS IS SPINAL TAP (USA 1984) einen parodistischen Abgesang auf die erste Hochphase des Genres. In den 1980er Jahren wurde die Rockkonzert-Dokumentation nicht nur zu einem Standardformat des Fernsehens (in Deutschland z.B. zu solchen seriellen Sendeplatz-Formaten wie dem seit 1974 produzierten Kieler Beiträge zur Filmmusikforschung, 5.1, 2010 // 8 ROCKPALAST zusammengefasst). Eine große Anzahl von Konzertaufzeichnungen - vor allem in Form der (film-)ästhetisch meist anspruchslosen Livemitschnitte - haben einen eher protokollarischen Anspruch und sind oft nur minimal bearbeitet (darin manchen Theater- und Opernaufzeichnungen verwandt). Die Konzertaufzeichnung dieser Couleur ist eine Fernsehgattung, spielt im Kino keine Rolle; sie setzt das Radio- Konzert mit audiovisuellen Mitteln fort. Mediengeschichtlich ist der Übergang vom Rockumentary zur Konzert-Dokumentation interessant, weil er erst zu Zeiten des Übergangs zur Verbreitung des Home-Videos einsetzt: Erst nun entsteht der Video- und später DVD-Markt als Markt eines neuen Verbreitungsmediums der Musik. Nun wachsen Musik- und Film-/Fernsehindustrie endgültig zusammen. Ursprünglich vor allem zur Verbreiterung des Publikums gedacht und live ausgestrahlt, ist die Konzertdokumentation inzwischen eine der Archivierungs- und Nutzungsformen des Musikmarktes. Es entstanden der Tournee-Film und der Porträtfilm als Varianten des Rockkonzertfilms. Es wurden eine ganze Reihe von Rock-Musikern in Aufnahmen porträtiert oder dokumentiert, die während einer oder mehrerer Tourneen gemacht wurden. Angefangen von ABBA: THE MOVIE (Schweden 1977, Lasse Hallström) über die Australien-Tournee der schwedischen Gruppe,
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