For two decades after the mid-1950s, biracial popular music played a fundamental role in progressive social movements on both sides of the Atlantic. Balancing rock's capacity for utopian popular cultural empowerment with its usefulness for the capitalist media industries, Rock 'N' Film explores how the music's contradictory potentials were reproduced in various kinds of cinema, including major studio productions, minor studios' exploitation projects, independent documentaries, and the avant-garde. These include Rock Around the Clock and other 1950s jukebox musicals; the films Elvis made before being drafted, especially King Creole, as well as the formulaic comedies in which Hollywood abused his genius in the 1960s; early documentaries such as The T.A.M.I. Show that presented James Brown and the Rolling Stones as the core of a black-white, US-UK cultural commonality; A Hard Day's Night that marked the British Invasion; Dont Look Back, Monterey Pop, Woodstock, and other Direct Cinema documentaries about the music of the counterculture; and avant-garde films about the Rolling Stones by Jean-Luc Godard, Kenneth Anger, and Robert Frank. After the turn of the decade, notably Gimme Shelter, in which the Stones appeared to be complicit in the Hells Angels' murder of a young black man, 1960s' music-and films about it-reverted to separate black and white traditions based respectively on soul and country. These produced blaxploitation and Lady Sings the Blues on the one hand, and bigoted representations of Southern culture in Nashville on the other. Ending with the deaths of their stars, both films implied that rock 'n' roll had died or even, as David Bowie proclaimed, that it had committed suicide. But in his documentary about Bowie, Ziggy Stardust and the Spiders from Mars, D.A. Pennebaker triumphantly re-affirmed the community of musicians and fans in glam rock. In analyzing this history, David E. James adapts the methodology of histories of the classic film musical to show how the rock 'n' roll film both displaced and recreated it.

Rock 'N' Film: Cinema's Dance With Popular Music

Arts & Photography

James, David E.

Photography & Video

Oxford University Press

The Most Typical Avant-Garde: History and Geography of Minor Cinemas in Los Angeles

Los Angeles has nourished a dazzling array of independent cinemas: avant-garde and art cinema, ethnic and industrial films, pornography, documentaries, and many other far-flung corners of film culture. This glorious panoramic history of film production outside the commercial studio system reconfigures Los Angeles, rather than New York, as the true center of avant-garde cinema in the United States. As he brilliantly delineates the cultural perimeter of the film business from the earliest days of cinema to the contemporary scene, David James argues that avant-garde and minority filmmaking in Los Angeles has in fact been the prototypical attempt to create emancipatory and progressive culture. Drawing from urban history and geography, local news reporting, and a wide range of film criticism, James gives astute analyzes of scores of filmsmany of which are to found only in archives. He also looks at some of the most innovative moments in Hollywood, revealing the full extent of the cross-fertilization the occurred between the studio system and films created outside it. Throughout, he demonstrates that Los Angeles has been in the aesthetic and social vanguard in all cinematic periodsfrom the Socialist cinemas of the early teens and 1930s; to the personal cinemas of psychic self-investigation in the 1940s; to attempts in the 1960s to revitalize the industry with the counterculture’s utopian visions; and to the 1970s, when African Americans, Asian Americans, Latinos, women, gays, and lesbians worked to create cinemas of their own. James takes us up to the 1990s and beyond to explore new forms of art cinema that are now transforming the representation of Southern California’s geography.

Humor & Entertainment

Movies

University of California Press

Los Angeles has nourished a dazzling array of independent cinemas: avant-garde and art cinema, ethnic and industrial films, pornography, documentaries, and many other far-flung corners of film culture. This glorious panoramic history of film production outside the commercial studio system reconfigures Los Angeles, rather than New York, as the true center of avant-garde cinema in the United States. As he brilliantly delineates the cultural perimeter of the film business from the earliest days of cinema to the contemporary scene, David James argues that avant-garde and minority filmmaking in Los Angeles has in fact been the prototypical attempt to create emancipatory and progressive culture. Drawing from urban history and geography, local news reporting, and a wide range of film criticism, James gives astute analyzes of scores of films―many of which are to found only in archives. He also looks at some of the most innovative moments in Hollywood, revealing the full extent of the cross-fertilization the occurred between the studio system and films created outside it. Throughout, he demonstrates that Los Angeles has been in the aesthetic and social vanguard in all cinematic periods―from the Socialist cinemas of the early teens and 1930s; to the personal cinemas of psychic self-investigation in the 1940s; to attempts in the 1960s to revitalize the industry with the counterculture’s utopian visions; and to the 1970s, when African Americans, Asian Americans, Latinos, women, gays, and lesbians worked to create cinemas of their own. James takes us up to the 1990s and beyond to explore new forms of art cinema that are now transforming the representation of Southern California’s geography.

From Stan Brakhage and Andy Warhol to the underground cinema and political films, David James gives a thorough account of the growth, development, and decay of nonstudio film practices in the United States between the late fifties and the mid-seventies. Unlike other scholars who discuss these practices as totally separate from Hollywood, James argues that they were developed in various kinds of dialogue or negotiation with the commercial film industry. He also demonstrates that the formal properties of the films were determined not simply by aesthetic considerations but by the functions the films served in the various subcultures and dissident groups that produced them. After an opening chapter on film hermeneutics, the book gives detailed accounts of the contrary projects of two exemplary filmmakers: Stan Brakhage, who pioneered an artisanal, domestic film practice, and Andy Warhol, who redirected such a practice toward the film industry. James then discusses the beats and other idealist countercultures, the social groups that formed around civil rights and the Vietnam War, artists who shunned social involvement for pure film ("structural" film), and finally the women's movement.

Allegories of Cinema: American Film in the Sixties

Princeton University Press

Like David James' earlier collection of essays, Power Misses: Essays Across (Un)Popular Culture (1996), the present volume, Power Misses II: Cinema, Asian and Modern is concerned with popular cultural activity that propose alternatives and opposition to capitalist media. Now with a wider frame of reference, it moves globally from west to east, beginning with films made during the Korean Democracy Movement, and then turning to socialist realism in China and Taiwan, and to Asian American film and poetry in Los Angeles. Several other avant-garde film movements in L.A. created communities resistant to the culture industries centered there, as did elements in the classic New York avant-garde, here instanced in the work of Ken Jacobs and Andy Warhol. The final chapter concerns little-known films about communal agriculture in the Nottinghamshire village of Laxton, the only one where the medieval open-field system never suffered enclosure. This survival of the commons anticipated resistance to the extreme and catastrophic forms of privatization, monetization, and theft of the public commonweal in the advanced form of capitalism we know as neoliberalism.

Power Misses II: Cinema, Asian and Modern

John Libbey Publishing

From COVID-19, to President Trump, to the murder of George Floyd, to the controversial Black Lives Matter movement, 2020 was the year from hell. The Fight of My Life is a tale of survival in America in 2020 against two invisible and deadly enemies: the Coronavirus and racism.\n“I CAN’T BREATHE!”\nThese were the last words of more than a half-million people in America who contracted the deadly Coronavirus.\nIronically, they were also among the last words of Mr. George Floyd, an African-American man murdered by Derek Chauvin, a white police officer who knelt on Mr. Floyd’s neck for eight minutes and forty-six seconds.\nWas it merely a coincidence that these same words were uttered in both instances? Was there a connection on some deeper, abstract level that should have served as a wake-up call for the United States of America?\nIn 2020, two deadly viruses swept the nation: a new virus known as “COVID-19” and one centuries-old virus called “Racism.”\nThe Fight of My Life: The Coronavirus: A Dance with the Devil is an inspirational tale of one man’s fight and path to victory over two invisible and deadly enemies.

The Fight of My Life: The Coronavirus: A Dance with the Devil

Self-Help

Spiritual

Post Hill Press

Economics of Dryland Management (Environmental and Resource Economics Set)

We have always had land in which the agricultural productivity is limited because there is not enough moisture. Systems of farming and burning often degrade dryland further until it is desert. Today, however, the problem is becoming much more serious. Over 20 per cent of the world's population lives in dryland areas, and unless action is taken drylands will increase dramatically. This book focuses on the people who live and .farm in the drylands, their use of land resources and the economic returns from their decisions. In a clear and thorough economic appraisal, the authors show how it is still possible to arrest the problem. Originally published in 1989

Business & Money

Dixon, John A.

Sherman, Paul B.

Economics

Routledge

Mass culture: pro or con? From the time of Adorno and Horkheimer’s seminal essay on “the culture industry,” cultural studies has stood in the shadow of the Frankfurt School’s critique of mass culture and its model of popular vs. elite culture, whatever the merits of either. Looking at culture as something people do rather than buy, Power Misses challenges the prevailing wisdom in cultural studies today. David James insists that popular resistance to domination by the culture industry must intervene at the point of production rather than consumption. In its most resolute instances, from the poetry of William Blake to the British Miners’ Campaign Tape Project, alternative culture has fused with radical politics. Authoritatively mapping the terrain of cultural resistance under capitalism, James examines the material contradictions and the utopian potentials articulated in John Berger’s fiction, Dada, rock music, the films of Andy Warhol and Jonas Mekas, and the poetry of punk. Following in the steps of Brecht and Benjamin, James explores the myriad ways in which culture is saturated by the commodity form, while at the same time giving rise to numerous forms of popular resistance to the culture industry’s dominance.

Power Misses: Essays Across (Un)Popular Culture (Haymarket Series)

Verso

See the best price to sell, buy, or rent books by James, David E.. BookScouter helps to compare book prices from 25+ online bookstores and 30+ buyback vendors with a single search.

Books by James, David E.

See the best price to sell, buy, or rent books by James, David E.. BookScouter helps to compare book prices from 25+ online bookstores and 30+ buyback vendors with a single search.

Rock 'N' Film: Cinema's Dance With Popular Music

Rock 'N' Film: Cinema's Dance With Popular Music

The Most Typical Avant-Garde: History and Geography of Minor Cinemas in Los Angeles

The Most Typical Avant-Garde: History and Geography of Minor Cinemas in Los Angeles

Allegories of Cinema: American Film in the Sixties

Allegories of Cinema: American Film in the Sixties

Power Misses II: Cinema, Asian and Modern

The Fight of My Life: The Coronavirus: A Dance with the Devil

Economics of Dryland Management (Environmental and Resource Economics Set)

Power Misses: Essays Across (Un)Popular Culture (Haymarket Series)