ABSTRACT

The chapters collected in this volume shed light on the areas of interaction between film studies and heavy metal research, exploring how the audio-visual medium of film relates to, builds on and shapes metal culture. At one end of the spectrum, metal music serves as a form of ambient background in horror films that creates an intense and somewhat threatening atmosphere; at the other end, the high level of performativity attached to the metal spectacle is emphasized. Alongside these tendencies, the recent and ongoing wave of metal documentaries has taken off, relying on either satire or hagiography.

chapter |15 pages

Introduction

Metal studies, visual culture and popular consumption

part I|48 pages

The video star and other bodies

chapter 1|18 pages

Inviting vampires into the home

MTV aesthetics and the portrayal of youth and heavy metal culture in The Lost Boys and Queen of the Damned

chapter 2|14 pages

A different kind of rock doc

Performance, persona and stardom in Anvil! The Story of Anvil and Last Days Here

chapter 3|14 pages

“Bück Dich”

Rammstein in Amerika and the subversion of masculinized sexuality

part II|64 pages

Fact or fiction

chapter 5|13 pages

“Dio, can you hear me?”

Kitsch, camp, nostalgia and Tenacious D

chapter 6|14 pages

Heavy metal carnival

Trick or Treat and the cultural figure of the foolkiller

chapter 7|17 pages

Revelation of a documentary triptych

Defining metal through Some Kind of Monster, Anvil! The Story of Anvil and Beyond the Lighted Stage

part III|71 pages

Metal around the globe

chapter 8|17 pages

From Parking Lot to Baghdad

Documentary film and global metal discourse

chapter 9|21 pages

From class disgust to indie art-house accolades and fan celebrity

The strange cultural journey of Heavy Metal Parking Lot

chapter 10|17 pages

A band of Northmen