ISSN: 20456298
First published in 2012
2 issues per volume
Volume 5 Issue 1-2
Cover Date: December 2016
Their satanic majesties’ movies: The Rolling Stones in cinema
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Authors:  David E. James 
DOI: 10.1386/miraj.5.1-2.10_1

Keywords
rock ‘n’ roll film,musical delinquency,jukebox musicals,Direct Cinema,late-1960s,countercultures,biracial folk community,the Rolling Stones: Gimme Shelter

Abstract
From the mid-1950s to the early-1970s, the several phases of the rock ‘n’ roll film differently negotiated the various kinds of delinquency attributed to the new music. At its inception, critics associated what was thought to be its musical delinquency with social delinquencies: working-class and African American’s insubordination, and sexual promiscuity. The 1950s’ jukebox musicals, the first rock ‘n’ roll film genre, disputed these associations and narrated the music as innocuous teenage entertainment, fully compatible with and assimilable to the culture industries. Documentary films about late-1960s’ ‘rock’, most notably Monterey Pop (D. A. Pennebaker, 1968) and Woodstock (Michael Wadleigh, 1970), transvalued the terms of the earlier critiques and celebrated their role in a biracial folk community based on peace and love. Films about the Rolling Stones, however, re-asserted the delinquencies, affirming instead the band’s associations with violence, misogyny and insurrection. The most crucial of them, Gimme Shelter (Albert and David Maysles and Charlotte Zwerin, 1970), portrayed the collapse of the utopian countercultural community earlier films had proposed.
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