Early hip hop film musicals have either been expunged from cinema history or excoriated in brief passages by critics and other writers. Hip Hop on Film reclaims and reexamines productions such as Breakin (1984); Beat Street (1984); and Krush Groove (1985) in order to illuminate Hollywoods fascinating efforts to incorporate this nascent urban culture into conventional narrative forms. Such films presented musical conventions against the backdrop of graffiti-splattered trains and abandoned tenements in urban communities of color; setting the stage for radical social and political transformations. Hip hop musicals are also part of the broader history of teen cinema; and films such as Charlie Ahearns Wild Style (1983) are here examined alongside other contemporary youth-oriented productions. As suburban teen films banished parents and children to the margins of narrative action; hip hop musicals; by contrast; presented inclusive and unconventional filial groupings that included all members of the neighborhood. These alternative social configurations directly referenced specific urban social problems; which affected the stability of inner city families following diminished governmental assistance in communities of color during the 1980s.Breakdancing; a central element of hip hop musicals; is also reconsidered. It gained widespread acclaim at the same time that these films entered the theaters; but the nations newly discovered dance form was embattled--caught between a multitude of institutional entities such as the ballet academy; advertising culture; and dance publications that vied to control its meaning; particularly in relation to delineations of gender. As street-trained breakers were enticed to join the world of professional ballet; this newly forged relationship was recast by dance promoters as a way to invigorate and "remasculinize" European dance; while young women simultaneously critiqued conventional masculinities through an appropriation of breakdance. These multiple and volatile histories influenced the first wave of hip hop films; and even structured the sleeper hit Flashdance (1983). This forgotten; ignored; and maligned cinema is not only an important aspect of hip hop history; but is also central to the histories of teen film; the postclassical musical; and even institutional dance. Kimberley Monteyne places these films within the wider context of their cultural antecedents and reconsiders the genres influence.
#2587319 in eBooks 2013-10-31 2013-10-31File Name: B00FFX8Q6W
Review
1 of 1 people found the following review helpful. So you want to record....By Michael GIm halfway through this book and DVD set and my enthusiasm continues to build. Its detailed and well documented classes on sound and recording are very well presented. Alan Parsons has substance; style and the subtle qualities of English humor shine through his presentations . Its an affordable and well developed place to begin to understand Recording as both Science and Art. The book is a great companion to the DVD set. I recommend having them both. I read the chapter from the book before watching the same material on the DVD. Each section of the DVD moves along briskly. The book and DVD series supplement each other and having both makes the learning process easier. This is technical material and not a "light" read. If you have a home studio and want to create; you will learn a lot here. I also recommend watching the PBS series called sound breaking for a great historical perspective about what has happened in the recording field over the last 50 years.4 of 4 people found the following review helpful. Explains the process behind great musicBy CustomerLot of gems in here; a bit pricy but very enjoyable almost from a "history" buff viewpoint and understanding the emotional process behind the film rather then technical details. I think the series was a bit off; in that at one level it was explaining some very esoteric concepts; and another was attempting to be a beginner guide. I would have dropped the beginner guide stuff; and assumed someone watching this has a basic understanding.3 of 3 people found the following review helpful. Great book! It includes some useful techniques and features ...By katiaGreat book! It includes some useful techniques and features of Parsons recording sessions. I used this book for my student recording project where I tried to recreate a drum sound of some famous recordings; including The Dark Side of the Moon; so this book helped me to recreate it pretty close to the original. Also the book looks fancy with beautiful pictures and good paper; it can be a nice present.