Titlebook: David Bowie and Film; Hooked to the Silver Stephen Glynn Book 2022 The Editor(s) (if applicable) and The Author(s), under exclusive license

混沌

Frank Isgro,A.-H. Kiessling,W. Saggauscreen presence, the roles interpreted, coupled with the weight of his cultural capital, are here adjudged as intrinsically successful and an important narrative fulcrum to the film text in question. The parts examined are predicated as feeding into Bowie’s wider contemporary interests, reflecting w

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BALE

,Introduction—Sound and Vision,is pronouncements, song lyrics, costumes and stage design. It then explains the book’s main focus, an exploration of the films in which Bowie appeared as an actor, and sets out the methodology employed, plus the parameters for case study analysis. It finally traces Bowie’s first uncertain steps in f

富足女人

,Bowie as Star(man)—Loving the Alien,a genre and auteur piece, but this analysis places the film in the diachronic context of Bowie’s career preoccupations and stage/screen appearances. Thematically it examines his adoption of an alien persona and portrayal of gender fluidity: performatively it demonstrates how and why the music star a

curettage

,Bowie Goes to War—Cracked Actor,part in the German inter-war epic . and then co-lead in the Japanese prisoner-of-war drama .. It explores reasons for the many negative responses elicited by these more ambitious starring roles: these are shown to include Bowie’s placement first at the centre of an uncomfortable blending of Nazism a

繁榮地區(qū)

,Bowie Does Fantasy—Scary Monsters (and Super Creeps),y than in his historical portrayals, these feature film roles allow his transgressive status to be selectively exploited—and potentially contained. Though he appears only in the first third of the contemporary-set vampire film ., Bowie is posited as an overall shaping presence both for the film’s pr

時(shí)間等

,Bowie Does Musicals—Man of Words, Man of Music, drive for non-conformity, Bowie’s chosen ventures involve him in examples of the musical genre at opposite cultural and commercial extremes. In ., a high-brow television work infused with a European art theatre aesthetic, Bowie acts again ‘under erasure’, deconstructing his pop idol image in his po

過度

vibrant

,Bowie Does Biopics—Watch That Man,screen presence, the roles interpreted, coupled with the weight of his cultural capital, are here adjudged as intrinsically successful and an important narrative fulcrum to the film text in question. The parts examined are predicated as feeding into Bowie’s wider contemporary interests, reflecting w