Punk & Post-Punk 7.2 is now available

Intellect is happy to announce that the journal of *Punk & Post-Punk
<https://www.intellectbooks.co.uk/journals/view-Journal,id=200/view,page=0/>*
 7.2 is now available. For more information about *PUNK* 7.2, including how
to subscribe or purchase the journal, please click here
<https://www.intellectbooks.co.uk/journals/view-issue,id=3564/> or email
[email protected]

Articles within this issue include (partial list):

*Process over product: The 1990s United States hardcore and emo subcultures
and DIY consumerism*

Authors:  Monica Sklar And Mary Kate Donahue
Page Start: 155

This research focuses on the hardcore punk scene in the mid-1990s’ United
States and its clothing consumption experiences. Within the fashion cycle,
various subcultures often consume and produce products in unique manners
and timeframes and with assorted motives. Although many subcultures use a
centralized retail space for scene development, hardcore did not; rather it
produced and consumed the style utilizing the concepts of do-it-yourself
(DIY) and bricolage. Qualitative mixed methods of data collection included
literature research, social media discussions, open-ended survey
participation, interviews and location visits. The results obtained
indicate that for this subcultural community, the process to produce and
consume was an integral part of meaning being imbued in the products.

*‘Put on your boots and Harrington!’: The ordinariness of 1970s UK punk
dress*

Authors: Nathaniel Weiner
Page Start: 181

 In 2013, the Metropolitan Museum hosted an exhibition of punk-inspired
fashion entitled Punk: Chaos to Couture. The exhibition emphasized the
‘spectacular’ elements of the subculture, reflecting a narrative that
dominates accounts of punk dress, whereby it is presented as a site of art
school creativity and disjuncture with the past. This is an important
aspect of punk dress, but photos of bands and audiences reveal that there
was much more to British punk style in the 1970s than what was being sold
on London’s King’s Road. Heeding calls to trouble the boundary between the
spectacular and the ordinary in subculture studies, this article looks at
the ordinariness of 1970s British punk dress, arguing that we should
understand punk dress in terms of mass-market commodities, not just
customization and designer fashion. Many of these commodities were worn by
the skinheads who preceded punk, and this article explores this subcultural
continuity by focusing on the role of the Dr. Marten boot and the
Harrington jacket in first- and second-wave British punk dress. It does so
through discussion of the Cockney Rejects, the 1979 BBC television
dramatization of the Sham 69 album That’s Life and the Undertones.

*From music to revolution: The semiotics of punk and cinematic symbolism in
Sôgo Ishii’s Burst City*

Authors: David Toohey
Page Start: 203

This article analyses how punk music and film influence each other as
separate media when juxtaposed together in the Japanese director Sogo
Ishii’s film Bakuretsu Toshi (Burst City) (1982). In particular, instead of
conforming to the expected use of music in films to specify the appropriate
mood or audience response, punk music goes against the expected meaning of
Burst City as a youth rebellion film. This dissonance is placed within the
context of surrealist collage symbolism in the punk subculture and similar
cinematic ‘time-images’ which transform their original parts into instances
where social and political systems cannot make sense. It is argued that
this dissonance pushes both punk music and cinema outside of their expected
roles as artistic media to influence people not to accept violent
hierarchies and harmful industries such as nuclear power. At the same time,
this cinematic evocation of the punk subculture is ambivalent because it
remains mired in some of the clichés of 1980s cinematic genres and the
prevailing homosocial gender relations in Asia. These limitations exist in
Burst City’s critique of violence against women that only offers an implied
possibility of positive roles for women in the Japanese punk scene.

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