Punk Cinema

Stacy Thompson

in New Punk Cinema

Published by Edinburgh University Press

Published in print May 2005 | ISBN: 9780748620340
Published online September 2012 | e-ISBN: 9780748671052 | DOI:
Punk Cinema

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This chapter proposes a definition of ‘punk cinema’ in the form of a materialist critique. Two vectors run through punk as a whole: aesthetics and economics. The history of punk is the history of the interplay between these two lines of force which find expression through one another. Within punk productions, aesthetics always gives voice to the underlying economics and vice versa. Consequently, there is no purely punk aesthetics or economics; neither can stand alone. In keeping with the logic of punk economics, punk cinema must be produced without backing from major studios. But the punk cinema aesthetics is the antithesis of what we might expect. Instead of fast-moving narratives, numerous cuts both within and between shots, innumerable scenes, and frequent jump cuts, punk filmmakers do just the opposite. To resist easy commodification of their films, they slow their narrative pace to a crawl, scarcely move the camera, make infrequent cuts, and in general, forego most of the techniques that would lend their films commercial viability.

Keywords: new punk cinema; materialist critique; aesthetics; economics

Chapter.  8676 words. 

Subjects: Film

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