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Rock 'N' FilmCinema's Dance With Popular Music$
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David E. James

Print publication date: 2016

Print ISBN-13: 9780199387595

Published to Oxford Scholarship Online: December 2015

DOI: 10.1093/acprof:oso/9780199387595.001.0001

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Toward Documentary

Toward Documentary

Bringing it All Back Home

Chapter:
(p.183) 10 Toward Documentary
Source:
Rock 'N' Film
Author(s):

David E. James

Publisher:
Oxford University Press
DOI:10.1093/acprof:oso/9780199387595.003.0010

After the first wave of rock ’n’ roll, for a few years popular music was dominated by folk. Prizing its resistance to corporate capital and US imperialism, the music was broadly cognate with developments in documentary filmmaking, whose technological developments made possible an unprecedented informality in the relation between filmmaker and subject: cinema vérité or Direct Cinema. Around the same time and continuing with the popularity of British music in the United States, independently produced concert documentary films replaced the Hollywood jukebox musicals as the dominant form of rock ’n’ roll cinema: Jazz on a Summer’s Day (1960), The T.A.M.I. Show (1964), and The Big T.N.T. Show (Larry Peerce, 1966). Of these, Steve Binder’s T.A.M.I. Show recorded spellbinding performances by James Brown and the Rolling Stones, creating beautiful images of a black/white, US/UK musical commonality.

Keywords:   folk music, cinema vérité, Direct Cinema, Jazz on a Summer’s Day, The T.A.M.I. Show, The Big T.N.T. Show, Steve Binder, James Brown, Rolling Stones

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