it\'s only rock \'n\' roll.
Hogg\'s movie let go1970)
The Rolling Stones claim to be the greatest rock band in the world, but no one cares now.
In the next few years, they will dominate rock and roll, which in itself is the dominant cultural phenomenon of this era.
Like other star musicians. -
In the early days, bin Crosby and Frank Sinatra, Elvis Presley and The Beatles were closer to their own ---
They became more and more famous, so they came to the cinema.
But these stones are unique in attracting the attention of some of the most important pioneers.
Pioneer filmmaker of their time: Peter Whitehead was the band\'s first major film, Charlie was My Darling (1965)--
A recovery and expansion release this month--
Let\'s have sex in London (1967)
Then Jean-Luc Godard (One Plus One [
Sympathy for the Devil[19681)
Kenneth angry (
Call of My Demon Brother )
Albert and David Myers (Gimme Shelter )
Donald cammelan and Nicholas Rogge (Performance )
Robert Frank (
Hybrid Bruce 【1972]). (
Of course, Rolling Stones will be involved in film production on and off in the coming decades, including Hal Ashby and Martin Scorsese. )[
Most of these films are concert documentaries, and rock is the equivalent of a classic backstage musical, but their various forms of experimentialism challenge the direct
Film tradition of music documentary developed from D. A.
Pennebeck\'s \"Don\'t Look Back\" (1967)
Pop music through his Monterey1968)
And Michael waldstoke (1970).
Tradition collapsed. -
With our mythical identification of stone and evil criminals and black classes ---
During the production of \"Gimme Shelter\", a famous film recorded the last week of the band\'s 1969 tour in the United States, as well as the free concert held after December 6 of that year, at altamontspeedway near San Francisco.
There, in the last month of his 60 s, local Hell Angels were recruited at will to protect the audience and stage terrorists among some musicians, and then stabbed a young African --
American men pointed their guns at the band while they were performing.
A few days later, the Berkeley Tribe, the most popular underground newspaper in the Bay Area, announced: \"The Stone concert is over: the United States is now in contention.
Charlotte Zizi, who won the Maysleses Joint Director Award for editing the film, gave up the principle of observing, not interfering with film production, convinced the brothers to invite theStones a few months later when they first witnessed the killing in slow motion.
Filmmakers capture Mick Jagger and Charlie Watt\'s unprepared response to a tragedy in which they are unwilling to participate (
Maybe they are uninformed authors).
Then, Zwerin interspersed this indelible material with Meils\'s \"journey to Stone\" clip, making the ammidri, the fragmentation, and the extraordinary time montage --Structured film-
One who thinks that Altamont is a model of tourism, in turn, killing is also the ultimate meaning of Altamont.
Especially when it contrasts with Woodstock, which was released eight months ago, and celebrates what is said to be a utopian climax of this era, Gimme shelter offers countless accounts of the 60-year-old dystopian ending
The next American tour of Stone (and Canada)
Support their double album Exile on Main Street
There\'s also sementedon--
This time in two films, there is a big difference from \"shelter for me\" and \"each other\": Robert Frank\'s cocksuker Blues and the ladies and gentlemen of Luo linbinze1974). [
In the spring of 1972, most of the stones were in Los Angeles, ending the exile.
Jagger recently discovered Frank\'s photographic work American (1958)
The born artist shoots the album cover.
But by the time he was in his 50 s, Frank had moved from static photography to film, for example, working with Alfred Leslie in the Semina underground film \"Pull My Daisy\"1959)
This is a film that is ostensibly spontaneous with Alan Ginsberg, Larry Rivers, Alice Ned and other Beat Generation idols.
The album\'s graphic designer, John Van Hamersveld, used a detail on the cover of 1958, Eighth Avenue, New York City, for both front and Interior communications, as well as two record labels, he made a collage of single frames and film enlarged from eight photos
The band from the minute movie Frank, S-
8 stone shots in Exile on Main Street(1972)
And a few pictures of Americans.
Frank filmed stones walking along the main streets of Los Angeles.
Close to Skid Row\'s first-class business district, they pose for him in the lush garden of Bel Airmansion rented by Jagger.
Dry, handheld, low
The resolution, which is said to be an unedited lens, is actually intertwined with an African lens
American men play a toy guitar at a bowling alley in New York, along with fleeting photos of Jagger\'s baby.
Back on the street, the band strolled unhampered on the sidewalk in the city center, passing signs for cinemas, shoe shops, coffee shops and pawnshops.
Then, after the group shot, the individual shot at close range
In the garden, the scene returned to Bowery, another African.
In the car on the street, the American man is seen dancing with the great animation and bravura as he tries to earn tipsfor the windshield.
The original shot ended suddenly at the beginning. [
The informal nature of the work reflects Frank\'s underlying aesthetics, and although the film is short and mysterious, it shows that Frank links the stone with the estranged, sometimes minority, outsider of the American.
Location and incamella montage link the band with poor and poor black street artists.
But the stones were exiled on the main streets, in part because of poor management of their income and were forced to flee from Britain.
They visit SkidRow with long hair and exotic costumes, and they are tourists from another world and another social class.
Similar tensions between rights and scandals also exist in Frank\'s other film about Stone.
By 1972, the band\'s connection to the progressive social movement has been fragile and has penetrated into Keith Richards\'s sheroin addiction and Jagger\'s ascension to upper class.
But, despite altamont, the Stones did not give up their position in the face of the ridiculed crossfire culture hurricane, and always closed their set with the burning \"street fighters\"
\"From the first concert in Vancouver, two peoplemonth, thirty-
The city tour is characterized by riots, injuries and arrests in six cities.
Similar incidents of violence often occur in the background.
In response to this question
The angry angel threatened Jagger\'s life, and Richards placed a revolver throughout the process, while sex and drugs in the game included a three-shot
One-day stay at PlayboyMansion Chicago has reached an epic level.
Oral blues) has become the standard structure of rock \'n\' roll back-
Music films alternate between scenes performed on stage and narratives linked to their off-stage.
But it\'s barely 15 minutes in 90 minutes.
Sound performance footage, all taken with a powerful hand-held camera.
The longer, the darkerand-
To a large extent, the white off-stage scene is a clearly ambiguous and irrelevant piece: for example, the band warmed up in the background, or spent time listlessly in the hotel room.
No one, place or date has been determined except to introduce the title of the band members.
Since these remaining anonymity and the punctuation provided by concert performances are the only internal clues to the structure, the film appears to be recurring in events that cannot be distinguished, developing randomly and invisibly ---
It accurately reflects Frank\'s experience of monotonous, insulated and isolated travel life.
With his 16-
Frank and his companion, eckeler, and Danny Seymour.
Except for people who play)
The narrative does contain several distinct sequences, some of which are very sensational.
The most important thing is anin-
Flying \"carnival\" in which two of the groups were stripped off and perhaps forced to have sex (
Only one of them was caught)
When a third person mated with an unidentified person in the background, the tour group led by Jagger and Richards urged him to tap the temporary percussion instrument;
Backstage visits by celebrities such as Andy Warhol, Lee radzwell, Ahmed urtgan and Truman Capote;
An extended scene in Jagger\'s hotel room with his wife;
Driving through the southern countryside, Jagger, Richards and others fled the entourage, met a white country singer and visited an African --
The United States juke United to dramatize their contact with two forms of native American root music, which provide information for mainstream exile. ;
A naked woman lying for a long time, stroking the semen that looked great on her breast, while her legs remained wide
Open to the camera;
It was a funny episode in which we heard a clearly stoned Richards trying to order fruit from room service;
Seymour helped a beautiful young woman to inject long shots of heroin into her arms; a now-
The legendary off-track event of Richards and saxophonist Bobby case throwing the TV from the hotel window;
On Dick Cavett\'s TV show, he interviewed Bill Wyman and Jagger and covered the New York concert.
When these sequences pass directly, most of them seem to be observed from life.
Cinemafashion, but internal evidence confirms the claim that others have been abandoned: the conversation shows that the above \"semen\" is actually applied to the skin cleaner pHisoHex in the women\'s store for the benefit of the camera
Before throwing away the TV, someone heard Richards ask Frank, \"tell us when ? \"? \";
And orgyappears seems to be self.
Consciously staged for the camera.
Coupled with the insistence that many people assert by taking photos taken with a movie camera, and the disconnect between sound and images in the clip, in this case, profilzwerin apparently gave up the non-interference transaction of direct films at the Gimme shelter without control. [
Same color and attention
Robbery in exile families on Main Street
The disorganized, hierarchical scene of the film interrupted the overall dullness of the film, making it a \"dirty blues\" such as the \"Ventilator Blues\" in exile \".
Such intentions were implied in the film, in an interview with director and film producer Marshall Chess.
Sitting in his underpants, he cheerfully tells how the stone planned to play the record of the pupils Blues (
Also known as \"cock Blues \")
During a meeting with Sir Edward Lewis, the head of Deka records, he was a \"very boring Englishman \".
\"In fact, Jagger wrote the song to fulfill his contractual obligations to the company, and Stone left the company to start their own label;
He made the lyrics so obscene.
\"Oh, where can I get my dick?
/Where is my ass? \")
It is impossible for Decca to profit from a single product.
The song gave chess the idea of a porn album, \"modern edition of party records,\" and that led to the idea of a \"dirty\" movie.
With the realization of the project, the cocksuker Blues are \"dirty\" in both morality and form, and its pornographic content matches the behavior of violating film etiquette.
In addition to music, the film\'s climax is a graphic scene of sex and drug abuse.
These \"dirty\" scenes are reproduced in a continuous dirty way: shot with a handheld camera, the lens is blurry and often poorly exposed, some of which apparently exploded from 8mm, some of these works come with disturbing Blue, which makes the work literally a blue movie.
Only these debunked content or the original production value of persistence are enough to undermine the commercial viability of the film, but it is these contents that ensure that the film will never be released in theaters.
It is said that Jagger said, \"Robert, this is a fucking good movie, but if it is released in the United States, we will never be allowed to release in this country . \" Successfully limiting the screening of the cocksuker Blues to once a year, and stipulating that Frank himself was present.
The quality of Frank\'s print today is too bad. He no longer likes to watch it.
If rock movie types are centered on the relationship between musicians and their fans, Utopia in Woodstock and catastrophic in Gimme Shelter, then cocksuker almost completely excludes the audience, back to the first direct structure-
Rock movies, don\'t look back.
Even the ecstatic violence of not allowing avid concert audiences to perform music by rushing to perform ritual attacks on the stage, which recreate almost every previous Stone documentary, all the way back to my dear Charlie captured the Irish fan frenzy on the band\'s 1965 tour.
In addition to a short scene of a sour girl and excited child on the street, the wider rock community has been replaced by courts: STP or stone tour parties.
The world is closed for its privilege;
Stationed by a security Square, it is not affected by all other members except the other members of the media nobility and the STP minister-
Group and drug dealers in particular.
Jagger, then Richards, and then the Royal excellence of other band members is definitely hierarchical, amateur folklore celebrated in Monterey pop music and Woodstock has been abandoned for the apparent specialization of the commodity Entertainment production team and its attendant social relationships.
On the stage, the life of stone is rock music which is shocking;
It is rational, tedious and repetitive in the audience, and only sex and drugs will be active.
But even these, the contemporary equivalents of wine and women, seem to lack the promise of liberation: a one-time collective management of free love and thought --
The morphine used by the sisters expanded the vision of psychedelic drugs. [
Formally adhere to the principle of direct Camp-
Film documentary, no full voiceof-
The narrative of God, the audience can make their own evaluation of its morality and the morality of the transactions it depicts.
But whether it\'s preaching the degradation of Rolling Stones or the wreath of their beautiful and evil flowers ---
Another case is Frank, \"sucking a sad far right out of the US into the movie,\" where Jack Kerouac re-marketed Americans ---
The film is an offense to the film.
Since the legal action of the stone has been granted a ban on commercial distribution, the cocksuker Blues is more of a myth than a reality, and occasionally appears, and is shown by semi-landstin or dubbed in the video, will only aggravate the original poor visual quality.
Like the UN. 1929)
And other early Dada movies, or \"burning creatures\" like Jack Smith (1963)
In the later punk films, it negates the possibility that the mainstream film institutions themselves exist.
In the production of \"cocksuker Blues\" records that could not be distributed, Jagger both fulfilled and denied Stone\'s contractual obligations to Decca;
Making CocksuckerBlues, Frank. -
Reformulated Jagger\'s strategy, leaving behind evidence of a deliberate contradiction that proved the contradiction of stone music, but a guilty evidence that they had to suppress it.
This will be the last pioneer of the stone. garde film. [
The excesses and misconduct recorded in the cocksuker Blues have also shaped another movie on the tour, if only strictly ruled out.
Ladies and gentlemen, shot in four shows in Fort Worth and Houston: TheRolling Stones combines the footage of all of them;
Only changes in clothing show that it is not a continuous event.
Of the 17 songs in this set of standards, 15 are complete.
Although the scene was rough, fake concerts captured the stones of their peak career, their best performances and their best-
The former lineup highlighted Mick Taylor\'s impromptu performance through Richards\'s corner, winding his sweet melody line.
Like any previous rock film, no carnival or other narrative background can interrupt the spectacular scene of the concert itself.
Or backstage activities, although the audience is very nervous, but the audience did not catch a glimpse until the last episode.
The film begins with silence and darkness, and after the Tour signs and titles, the sound of the stage technicians, the sound of someone playing a fleeting scale on the piano, gradually interrupts the film, The Strange flash.
\"Ladies and gentlemen, the Rolling Stones band,\" announced a voice . \"
The spotlight found watts and Richards on stage, and Jagger was behind him, and he could barely hear \"Keith, let\'s go\", stirring his hips, and when they fired into \"Brown Sugar, jump in the air.
\"Shooting on a relatively small stage with two cameras, bringing musicians together, these images are flattened by the mainly used telephoto lens, in addition, the pool consisting of monochrome red or blue stage lights is made of particles and textures in which music lovers are surrounded by darkness.
Compared to the main lens, binzerconstruction builds music numbers in countless short films, marking conversions at camera angles and focal lengths, cutting into punctuation marks or phrases in a given song.
These contrasts are played in the simplified stage lamp light or in the simplified stage lamp light, but also have a high contrast: for example, in a single shot, jagger\'s entire body is illuminated as a confrontation in the next time, he is backlit so that his head and hair have only one red Halo profile.
Almost all the visuals are close.
The medium lens rarely depicts more than two people, although sometimes it is wider.
Angle occurs: for example, in a slow episode of a particularly good interpretation of midnight Rover, the camera goes in and out to follow Jagger\'s extended histrionics.
Otherwise, Montage\'s response to Stone Music --
Buntiousness is almost as complicated as the ending of \"hard day night (1964).
The audience stood in the middle of the band and looked like this, immersed in excitement both visually and audibly.
The first two and a half minutes of the \"Brown Sugar\" show at the CocksuckerBlues is a single shot, shot from the front of the stage, the photographer is limited to translating from Jagger to other musicians, occasionally with very slight zoom, only interrupted by a group of nearly unobtrusive short shots, some almost subconsciously
In contrast, in the old man, there are nearly 60 photos in the first two and a half minutes of the same song (
No more than a few seconds)
Looking at the ups of Jagger and other musicians from several angles, the medium shots of two or three performers, and even the intermittent wider shots of half a dozen, at least in part.
But ladies and gentlemen, like the cocksuker blues,
Sound documentary, far away realism is replaced here by an ecstatic montage.
But the film author did not comment, there was no evidence of the social impact of rock and roll, and there was no narrative other than the audience\'s implied attendance at the concert.
Ladies and gentlemen, trying to provide an ideal concert experience for filmmakers, an experience that can\'t be achieved in real life, more spectacular than any rock movie ever, the best way to fully show yourself is the psychological agent of a concert.
In the comments, Variety makes this important general distinction: \"As its credits have been made clear, the premise behind the rock film TheRolling ston is to show\" film concerts-
Film with narrative and even documentary form. \" (3)
Its distribution model tries to make the movie experience as similar as the concert experience as possible.
Shoot at 16mm and record at 30-
Two tracks, the movie is enlarged to 35mm and the sound is mixed to 4-
It was sold to an investment group and got a limited 4-
In 1974, only in major cities in the United States, in theaters equipped with special speakers and professional tuning stations, can the auditory and visual experience of the actual concert be reproduced ---
And reiterated and looked forward to the commercial function of the concert. (4)
Therefore, ladies and gentlemen have become a dialectical supplement to the cocksuker Blues.
Frank\'s movies are bad, as dirty as possible in form and content;
It boasts its minimum production value as an aesthetic of firm authenticity.
But the voices and ages of ladies and gentlemen are as good as possible.
In the case of the relative lack of concert material for the CocksuckerBlues, the importance of the back-office narrative and the social activities of the touring party has changed, and ladies and gentlemen are entirely the spectacle of the stage.
The Stones of those touring performances revealed by the CocksuckerBlues themselves have little economic potential and do not add anything to the band\'s capital value, ladies and gentlemen, the repetition of Stone\'s music performance reproduces the cultural and economic functions of Stone\'s music.
As the culmination of a process, the process begins with a short film made by the band to promote their single, and replaces the stone itself on TV shows, and ladies and gentlemen also begin their future direction
The development of these three American concert films has pointed out the direction for a more comprehensive development.
Although the Gimme Shelter is more fewintimate, behindthe-
Scene moments, whether it\'s it or cockblubluesjuxtap, tie together music and non-music events to show stones in a social context.
The relationship between spectacle and narrative maps the social significance of the band, especially the refraction of stone music and social crime in the public domain.
GimmeShelter believes that they are unruly, perhaps demons, and that the call to music Energy can trigger real, not symbolic social chaos ---
Things they can\'t control.
Three years later, cocksuc will highlight the degradation of their privileges.
Their star status has earned them prestige for these stones, enabling them to engage with cultural elites and people who commit minor crimes, they picked a group of subordinates from their ranks and sycophants, with the combined effect of disruptive drugs and exploitation, a demimonde that largely repels the wider social world.
It turns out that Frank\'s film ended the film\'s investigation into the social significance of stone.
Hybrid Bruce can be made of anavant than the stone of the last important film-garde film-maker--
This is the last of any form of independence party.
Ladies and gentlemen, the band took control of their own performances and used the film as an extension of their stage performances.
Throughout the history of rock movies,
Diegetic audiences have become agents of film audiences, modeling the relationship between the public and music artists, and creating an imaginary anti-cultural community.
Ladies and gentlemen, the rejection of the audience breaks the projection mechanism that the film audience can imagine the social relationship between the audience and music and between the audience and the film.
As far as the film is concerned, these stones are no longer a social story and will basically appear as ordinary musicians thereafter.
Attempts to understand what they mean have been abandoned and the only narrative left to them will be the spectacular itself.
Instead, excluded audiences are now only paying users of movies.
Stone\'s film is no longer the image and practice of the community, but to see rock as a pure commodity. [
From this point on, there will be no more concert movies for the stone, only for the concert.
Start with huge inflatable glass and Lotusflower-
Created by a Broadway set designer, the \"75-year American Tour\" styling stage, stone\'s subsequent concerts were designed to be spectacular, and they competed with extravagant stadium productions, the works became de rigueurin in early 1970.
Record, video, dvd, T-as the movie becomes an alternative concert-
Whether it\'s shirts, or other goods brought by music, these are increasingly cinematic.
The group\'s \"Bridge toBabylon\" tour was held in 1997-
98, for example, includes a huge screen that is above the stage and is live up close
Ups of the band members while playing video effects.
Finally, with the shining of Martin Scorsese (2008)
A concert dedicated to film production.
D. As \"the greatest rock band in the world\", the Museum of Modern Art of New York celebrates the Golden Jubilee this year and pays tribute to the exciting film Survey: Rolling Stones: 50 Years of Film (NOVEMBER 15--DECEMBER 2).
But Mark 2012 is also the anniversary.
Forty years ago, Stone started their second tour of their new album Exile on Main Street.
They invited two very different filmmakers. -
Robert Frank and Lorraine binze-
Recording this on the celluloid produced very diverse results: the cocksuker blues and ladies and gentlemen: the Rolling Stones. respectively.
David E, film historian
James traced the events that eventually changed the band\'s extraordinary contact with the media ---
Not only their stars, but their cultural significance depends on the public.
\"Rolling Stones: 50-year films\" organized by deputy curator Joshua Siegel opened on November 15 at the Museum of Modern Art in New York, running through December 2.
Charlic is my Darling and is re-playing in extended form on DVD and Blu-ray
Ray and some theaters around the world this month. NOTES (1. )
As Alan Ginsberg said, \"Robert Frank until 1985 ---
Annie Wilks Tucker\'s \"Oman\"
Robert Frank: New York to Nova Scotia (
Boston: small, brown, 1986), 76. (2. )
The settlement between Frank and Rolling Stones is not a matter of public record, and different descriptions of the terms of the agreement abound. (3. )
Reno, \"Ladies and gentlemen, Rolling Stones\", April 17, 1974.
While emphasizing Jagger\'s selfishness, some viewers pointed out that his \"spinning ascetic abandonment has been updated\"-
The kind of evil.
\"The film is usually accepted by bad reviews. (4. )
After the film was originally released, in addition to video piracy, it is usually not available until the stone regain its rights.
On 2010, a digitally remodeled version was released in theaters and later on DVD. DAVID E.
James of The Rolling Stones in the movie David E.
James is a professor at the School of Film Arts at the University of Southern California. LOS ANGELES.
Currently working in the history of rock movies. (
View contributors. )