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dc.contributor.authorStewart, Jon
dc.contributor.authorMaloy, Liam
dc.contributor.authorHalligan, Benjamin
dc.date.accessioned2017-11-28T15:50:35Z
dc.date.available2017-11-28T15:50:35Z
dc.date.issued2017-10-31
dc.identifier.citationStewart, J., Maloy, L., and Halligan, B. (2017) 'Practices of Verisimilitude in Pop Music Biopics: A Conversation with Todd Eckert and James Anthony Pearson on Control, and Nick Moran on Telstar', IASPM@Journal, 7 (1) doi: 10.5429/2079-3871(2017)v7i1.3en
dc.identifier.issn2079-3871
dc.identifier.doi10.5429/2079-3871(2017)v7i1.3en
dc.identifier.urihttp://hdl.handle.net/2436/620912
dc.descriptionAuthors retain copyright, while licensing their work under a Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported License.en
dc.description.abstractThe arresting look and feel of two recent British music biopics, Control (directed by Anton Corbijn, 2007) and Telstar: The Joe Meek Story (directed by Nick Moran, 2008), prompts a reconsideration of questions of realism and authenticity – rationales, strategies, practices and constructions – in the historical popular music biopic. The first-hand accounts collated here highlight the ways in which verisimilitude can be compromised by the production process, particularly in relation to budget restrictions and expectations, performance limitations, equipment and props use, contemporary or period dialogue, music copyright, and a myriad other issues and challenges relating to the production of “period” cinema.
dc.language.isoEnglish
dc.publisherInternational Association for the Study of Popular Music
dc.relation.urlhttp://www.iaspmjournal.net/index.php/IASPM_Journal/article/view/841
dc.subjectmusic
dc.subjectbiopic
dc.subjectJoy Division
dc.subjectJoe Meek
dc.subjectTelstar
dc.subjectControl
dc.subjectBritpop
dc.subjectinterview
dc.titlePractices of verisimilitude in pop music biopics: A conversation with Todd Eckert and James Anthony Pearson on Control, and Nick Moran on Telstar
dc.typeJournal article
dc.identifier.journalIASPM@Journal
dc.date.accepted2017-05-31
rioxxterms.funderJisc
rioxxterms.identifier.projectUoW281117BH
rioxxterms.versionVoR
rioxxterms.licenseref.urihttps://creativecommons.org/CC BY-NC-ND 4.0
rioxxterms.licenseref.startdate2017-11-28
dc.source.volume7
dc.source.issue1
dc.source.beginpage11
dc.source.endpage28
refterms.dateFCD2018-10-19T08:32:40Z
refterms.versionFCDVoR
refterms.dateFOA2017-11-28T00:00:00Z
html.description.abstractThe arresting look and feel of two recent British music biopics, Control (directed by Anton Corbijn, 2007) and Telstar: The Joe Meek Story (directed by Nick Moran, 2008), prompts a reconsideration of questions of realism and authenticity – rationales, strategies, practices and constructions – in the historical popular music biopic. The first-hand accounts collated here highlight the ways in which verisimilitude can be compromised by the production process, particularly in relation to budget restrictions and expectations, performance limitations, equipment and props use, contemporary or period dialogue, music copyright, and a myriad other issues and challenges relating to the production of “period” cinema.


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