| Author |
Title |
Year |
Publication |
Volume  |
Pages |
| Bayer, Gerd (ed) |
Heavy metal at the movies |
2019 |
|
|
|
| Gulgas, Sarah; Hassam, Nedim |
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” |
2019 |
Heavy metal at the movies |
|
|
| Schlotterbeck, Jesse |
A different kind of rock doc: performance, persona and stardom in ”Anvil! The Story of Anvil and Last Days Here” |
2019 |
Heavy metal at the movies |
|
|
| Savigny, Heather; Sleight, Sam |
”Bück Dich”: Rammstein in Amerika and the subversion of masculinized sexuality |
2019 |
Heavy metal at the movies |
|
|
| Weinstein, Deena |
”This is Spinal Tap” mocks metal and more, a lot more |
2019 |
Heavy metal at the movies |
|
|
| Klypchak, Brad |
”Dio can you hear me?”: kitsch, camp, nostalgia and Tenacious D |
2019 |
Heavy metal at the movies |
|
|
| Christol, Florent |
Heavy metal carnival: ”Trick or Treat” and the cultural figure of the foolkiller |
2019 |
Heavy metal at the movies |
|
|
| Scott, Niall W.R. |
Revelation of a documentary triptych: ”Some Kind of Monster”, ”Anvil! The Story of Anvil” and ”Beyond the Lighted Stage” |
2019 |
Heavy metal at the movies |
|
|
| Scott, Niall W.R. |
From ”Parking Lot to Baghdad”: documentary film and global metal discourse |
2019 |
Heavy metal at the movies |
|
|
| Brown, Andy R., Niall W. R. |
From class disgust to indie art-house accolades and fan celebrity: the strange cultural journey of ”Heavy Metal Parking Lot” |
2019 |
Heavy metal at the movies |
|
|
