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Palgrave Macmillan

The Global Sixties in Sound and Vision

Media, Counterculture, Revolt

ISBN 9781137375223
Publication Date May 2014
Formats Hardcover Ebook (EPUB) Ebook (PDF) 
Publisher Palgrave Macmillan

Despite the explosion of scholarly interest in the "global 1968" phenomenon, the seminal influence of the arts - in both their popular and avant-garde iterations - has too often been neglected. Student activism in the space of the university and the street made up only a part of the broad anti-authoritarian eruption of 1968, and not even necessarily the most important one. Arguably more fundamental was a broad democratization of cultural production in which avant-garde artists and youthful appropriators alike played a leading role. Cultural forms such as art, "happenings," fashion, comics, movies, and music were critically important to the new youth sensibility and its dissemination within society more broadly. Popular music and visual culture were among the most important of these categories, opening up new vistas of emancipatory possibility and fueling the development of new stylistic codes. This wide-ranging, interdisciplinary collection brings together scholars in history, film and media studies, cultural studies, art history, music and other disciplines to consider the symbiosis of the sonic and the visual that so powerfully shaped sixties counterculture.

Timothy Scott Brown is Associate Professor of History at Northeastern University. His previous books include West Germany in the Global Sixties: The Anti-Authoritarian Revolt, 1962-1978 (2013), Between the Avant-Garde and the Everyday: Subversive Politics in Europe, 1957 to the Present (2011), and Weimar Radicals: Nazis and Communists between Authenticity and Performance (2009).

Andrew Lison is an Andrew W. Mellon Graduate Fellow in the Department of Modern Culture and Media at Brown University. His work has appeared in New Formations and Science Fiction Studies.

1. Red Noise: Pop and Politics in Post-1968 France; Jonathyne Briggs
2. Mapping Tropicália; Christopher Dunn
3. Magical Mystery Tours: Godard and Antonioni in America; David Fresko
4. Turning Inwards: The Politics of Privacy in the New American Cinema; Joshua Guilford
5. Utopia and Dystopia in Science Fiction Films around 1968; Kathrin Fahlenbrach
6. "Musical & Magical Counterpoint': Language, Sound, and Image in Wallace Berman's Aleph, 1956–1966; Chelsea Behle Fralick
7. Guitar Smashing: Gustav Metzger, the Idea of Auto-destructive Works of Art, and Its Influence on Rock Music; Wolfgang Kraushaar
8. "The Revolution is over - and we have won!': Alfred Hilsberg, West German Punk and the Sixties; Jeff Hayton
9. The Sun and Moon Have Come Together: The Fourth Way, the Counterculture, and Capitol Records; Kevin Fellezs
10. "A Weapon In Our Struggle For Liberation": Black Arts, Black Power, and the 1969 Pan-African Cultural Festival; Samir Meghelli
11. The Revolution Will Not Be Televised, but It Will Be Recorded: Soul, Funk, and the Black Urban Experience, 1968-1979; Francesca D'Amico
12. Jukebox Modernism: The Transatlantic Sight and Sound of Peter Blake's Got a Girl (1960–1961); Melissa L. Mednicov
13. Uninteresting Pictures: Art and Technocracy, 1968; Joshua Shannon
14. 1968 and the Future of Information; Andrew Lison

Jonathyne Briggs, Indiana University Northwest, USA

Josh Guilford, Brown University, USA

Wolfgang Kraushaar, Hamburger Institut für Sozialforschung, Germany

Kathrin Fahlenbrach, University of Hamburg, Germany

Samantha Christiansen, Babson College, USA

Samir Meghelli, University of Illinois at Urbana-Champaign, USA

Christopher Dunn, Tulane University, USA

Joshua Shannon, University of Maryland, USA

Chelsea R. Behle, Massachusetts Institute of Technology, USA

David Fresko, Stanford University, USA

Melissa L. Mednicov, Pennsylvania State University, USA

Jeff Hayton, University of Illinois at Urbana-Champaign, USA

Kevin Fellezs, Columbia University, USA

Francesca D'Amico, York University, Canada


'From Tropicália to the New American Cinema, French prog rock to conceptual photography, this anthology proves that any compelling account of the polyvalent conjunctures of culture and politics in the 1960s must be interdisciplinary. Readable and engaging, this book pries the decade out of the clichés that too often imprison it to offer fresh perspectives on music, art, and film.' – Erika Balsom, Lecturer in Film Studies and Liberal Arts, King's College London, UK
"Much has been said and written about the 'global 1968,' but the impact of the global language of the arts in this revolutionary time period is still under-researched. This book links wild hair and ecstatic screams, guitar smashing and spirituality to a new picture of the multifaceted interrelation of sound and vision in the counterculture of the Sixties." -Joachim Scharloth, Professor of Applied Linguistics, University of Dresden, Germany
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