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Author:   Glyn Davis (Professor of Film Studies, University of St Andrews) ,  Tom Day (Executive Director, the New American Cinema Group/The Film-Makers’ Cooperative in New York City.)
Publisher:   Edinburgh University Press
Imprint:   Edinburgh University Press
ISBN:  

9781474497916

ISBN 10:   1474497918
Pages:   280
Publication Date:   30 April 2026
Audience:   Professional and scholarly ,  Professional & Vocational
Format:   Paperback
Publisher's Status:   Active
Availability:   Not yet available  
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Table of Contents

List of Figures/illustrations Notes on the Contributors Introduction: Towards a Pop Cinema Glyn Davis and Tom Day Part 1: Framing Pop Cinema 1. Notes on Pop Cinema, Revisited William Kaizen 2. Pop and Cinema: Three Tendencies Ed Halter Part 2: Pop Cinema’s Parameters 3. Times Square as Pop Readymade: William Klein’s Broadway by Light (1958) Tom Day 4. Arocha’s Black and White Pop: History, Desire and Politics in 1960s Colombia in Las ventanas de Salcedo (1966) Juan Carlos Guerrero-Hernandez 5. Psychedelic Agit-Pop: The Animated Films of Tadanori Yokoo Clint Enns Chapter 6. Some Like It Pop: Replication and Repetition in Bruce Connor’s MARILYN TIMES FIVE (1968-73) Justin Remes 7. A Lost White Girl of Pop: Writing the Drive to Fantasize in Daddy (1973) Kimberly Lamm Part 3: Pop Cinema, Mass Production and the Politics of Consumption 8. Always Crashing in the Same Car Glyn Davis 9. Wynn Chamberlain’s Brand X (1970) and the Politics of the Generic Kara Carmack 10. The Other Children of Marx and Coca-Cola: Pop Cinema in Eastern Europe David Crowley 11. 'Mouthpiece of the Dictatorship': Television and the Domestic Sphere in Brazilian Women’s Pop Cinema, 1972-77 Gillian Sneed 12. 'Manhandle the Merchandise': Michael Snow’s Breakfast (Table-Top Dolly) (1976) Jon Davies Appendix: A Pop Cinema Filmography Index

Reviews

Lively, informed, and incisive, the essays in this collection make crucial contributions on the history, theory, and global range of what has been called “pop cinema,” a label that has been used all too often with little grounding or rigor. Glyn Davis and Tom Day’s edited volume offers the first book-length, in-depth treatment of the topic. As it decisively expands our understanding of pop art, of 1960s and 1970s experimental cinema, and of the symbiotic rapport between both, this volume is poised to become a key reference in all future discussions of these topics. * Juan A. Suárez, author of Experimental Film and Queer Materiality * This is a fascinating and valuable collection, filled with brilliant essays on individual films and filmmakers who, in their various and surprising combinations of mainstream and underground, expand our sense of what “Pop cinema” was and is. It is a vital contribution to ongoing work in film studies, in queer theory and on Pop itself. * Professor Jonathan Flatley, Department of English, University of Chicago *

Author Information

Glyn Davis is Professor of Film Studies at the University of St Andrews. He is the author of Queer as Folk (2007) and the co-editor of Queer TV (2008). Tom Day is Executive Director of the New American Cinema Group/The Film-Makers' Cooperative in New York City.

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