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.
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