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The Resource Hip hop on film : performance culture, urban space, and genre transformation in the 1980s, Kimberley Monteyne

Hip hop on film : performance culture, urban space, and genre transformation in the 1980s, Kimberley Monteyne

Creator
Summary
  • "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 Hollywood's 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 Ahearn's 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 nation's 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. 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 genre's influence"--
  • "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', Beat Street, and Krush Groove in order to illuminate Hollywood's 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 tranformations. Hip hop musicals are also part of the broader history of teen cinema, and films such as Charlie Ahearn's Wild Style are here examined alongside other contemporary youth-oriented productions. Breakdancing, a central element of hip hop musicals, is also reconsidered. It gained widespread acclaim at the same time that these films entered theaters, but the nation's newly discovered dance from 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. 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 reinvigorate 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. Monteyne places these films within the wider context of their cultural antecedents and reconsiders the genre's influence"--
Language
eng
Work
Publication
Extent
x, 277 pages
Contents
  • Introduction
  • The Case for the Hip Hop Musical
  • The Sound of the South Bronx: Wild Style Reinvents the Urban Musical
  • Hip Hoppers and Valley Girls: The Economic and Racial Structuring of Youth Cinema in the 1980s
  • Flashdance: Breaking, Ballet, and the Representation of Race and Gender
  • Conclusion
Isbn
9781617039232
Instance
Label
Hip hop on film : performance culture, urban space, and genre transformation in the 1980s
Title
Hip hop on film
Title remainder
performance culture, urban space, and genre transformation in the 1980s
Statement of responsibility
Kimberley Monteyne
Creator
Subject
Language
eng
Summary
  • "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 Hollywood's 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 Ahearn's 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 nation's 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. 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 genre's influence"--
  • "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', Beat Street, and Krush Groove in order to illuminate Hollywood's 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 tranformations. Hip hop musicals are also part of the broader history of teen cinema, and films such as Charlie Ahearn's Wild Style are here examined alongside other contemporary youth-oriented productions. Breakdancing, a central element of hip hop musicals, is also reconsidered. It gained widespread acclaim at the same time that these films entered theaters, but the nation's newly discovered dance from 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. 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 reinvigorate 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. Monteyne places these films within the wider context of their cultural antecedents and reconsiders the genre's influence"--
Assigning source
  • Provided by publisher
  • Provided by publisher
Cataloging source
DLC
http://library.link/vocab/creatorName
Monteyne, Kimberley
Government publication
government publication of a state province territory dependency etc
Illustrations
illustrations
Index
index present
LC call number
PN1995.9.H46
LC item number
M66 2013
Literary form
non fiction
Nature of contents
bibliography
http://library.link/vocab/subjectName
  • Hip-hop in motion pictures
  • Motion pictures
  • PERFORMING ARTS / Film & Video / History & Criticism
  • MUSIC / Genres & Styles / Rap & Hip Hop
  • PERFORMING ARTS / Dance / Popular
  • Film
  • Hip-Hop
  • Musikfilm
  • Jugendfilm
  • USA
  • Hip-hop
  • Motion pictures
  • United States
Label
Hip hop on film : performance culture, urban space, and genre transformation in the 1980s, Kimberley Monteyne
Instantiates
Publication
Bibliography note
Includes bibliographical references (pages [259]-268) and index
Carrier category
volume
Carrier MARC source
rdacarrier
Content category
text
Content type MARC source
rdacontent
Contents
Introduction -- The Case for the Hip Hop Musical -- The Sound of the South Bronx: Wild Style Reinvents the Urban Musical -- Hip Hoppers and Valley Girls: The Economic and Racial Structuring of Youth Cinema in the 1980s -- Flashdance: Breaking, Ballet, and the Representation of Race and Gender -- Conclusion
Control code
837957720
Dimensions
24 cm
Extent
x, 277 pages
Isbn
9781617039232
Lccn
2013015244
Media category
unmediated
Media MARC source
rdamedia
Other control number
40022804142
Other physical details
illustrations
System control number
(OCoLC)837957720
Label
Hip hop on film : performance culture, urban space, and genre transformation in the 1980s, Kimberley Monteyne
Publication
Bibliography note
Includes bibliographical references (pages [259]-268) and index
Carrier category
volume
Carrier MARC source
rdacarrier
Content category
text
Content type MARC source
rdacontent
Contents
Introduction -- The Case for the Hip Hop Musical -- The Sound of the South Bronx: Wild Style Reinvents the Urban Musical -- Hip Hoppers and Valley Girls: The Economic and Racial Structuring of Youth Cinema in the 1980s -- Flashdance: Breaking, Ballet, and the Representation of Race and Gender -- Conclusion
Control code
837957720
Dimensions
24 cm
Extent
x, 277 pages
Isbn
9781617039232
Lccn
2013015244
Media category
unmediated
Media MARC source
rdamedia
Other control number
40022804142
Other physical details
illustrations
System control number
(OCoLC)837957720

Subject

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