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Schlotterbeck, J. (2019). A different kind of rock doc: performance, persona and stardom in ”Anvil! The Story of Anvil and Last Days Here”. In G. Bayer (Ed.), Heavy metal at the movies. London & New York: Routledge, Taylor & Francis Group.
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Savigny, H., & Sleight, S. (2019). ”Bück Dich”: Rammstein in Amerika and the subversion of masculinized sexuality. In G. Bayer (Ed.), Heavy metal at the movies. London & New York: Routledge, Taylor & Francis Group.
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Weinstein, D. (2019). ”This is Spinal Tap” mocks metal and more, a lot more. In G. Bayer (Ed.), Heavy metal at the movies. London & New York: Routledge, Taylor & Francis Group.
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Klypchak, B. (2019). ”Dio can you hear me?”: kitsch, camp, nostalgia and Tenacious D. In G. Bayer (Ed.), Heavy metal at the movies. London & New York: Routledge, Taylor & Francis Group.
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Christol, F. (2019). Heavy metal carnival: ”Trick or Treat” and the cultural figure of the foolkiller. In G. Bayer (Ed.), Heavy metal at the movies. London & New York: Routledge, Taylor & Francis Group.
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Scott, N. W. R. (2019). Revelation of a documentary triptych: ”Some Kind of Monster”, ”Anvil! The Story of Anvil” and ”Beyond the Lighted Stage”. In G. Bayer (Ed.), Heavy metal at the movies. London & New York: Routledge, Taylor & Francis Group.
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Scott, N. W. R. (2019). From ”Parking Lot to Baghdad”: documentary film and global metal discourse. In G. Bayer (Ed.), Heavy metal at the movies. London & New York: Routledge, Taylor & Francis Group.
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Brown, A. R., Niall W. R. (2019). From class disgust to indie art-house accolades and fan celebrity: the strange cultural journey of ”Heavy Metal Parking Lot”. In G. Bayer (Ed.), Heavy metal at the movies. London & New York: Routledge, Taylor & Francis Group.
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