Punk on Film as a Generational Portrait: Julien Temple’s Cinema.

Abstract

The breakthrough of punk in cinema with Julien Temple surpasses a mere aesthetical reflection. Movies like The Great Rock ‘n’ Roll Swindle (1980) surpass the chronicle to become a reference in the music band biopic as a film sub-genre. Sounding out Temple’s anarchic style allows us to observe the abundant reproduction, in the fashion of audiovisual collage, of different socio-cultural realities of punk from its beginnings. His style shows a will to produce essays that go beyonh the reconstruction of events to show us inside the reflection of images in the audiovisual culture of the punk movement. In this article we will analyse Temple’s movies, that include the following features: the diversity of media for the construction of the film object (found footage, animated film, interviews, footage of concerts…); intertextuality due to the dialogue established between different cinematographic forms (documentary and fiction film, report and mockumentary…); confluence of cultural elements from diverse media (film, music, literature, television, comic…).