Brian De Palmaはrecord contractをhorror objectになるほどliteralにする
most music-industry exploitation filmsではcontracts are plot machinery。
artist signs wrong deal。
manager steals publishing。
Winslow Leachはphysical destruction前にownerとしてdestroyされる
Winslow begins composer。
Paul WilliamsがSwanにperfectなのはaudienceがsongwriterをexploitation storyのopposite sideにexpectするから
Williamsはalready highly successful songwriter associated with polished pop。
Juicy Fruits、Beach Bums、Undeadsがsame musiciansをseveral market trendsへturnできるindustryをshowする
sharpest jokesの一つはfictional act changing identity repeatedly。
Phoenix matters because singer voiceとSwan wants-to-sell imageをmovieがdistinguishする
Jessica Harper plays Phoenix、singer Winslow believes can carry composition properly。
Beefがglam excessをauthenticity has one respectable bodyというideaへのweaponにする
Gerrit Graham Beef is one of most exaggerated performers。
Paradiseはconcert venue、television studio、label showcase、sacrificial altar all at once
fictional Paradise consolidates entertainment power in one place。
Phantom identity makes injury and branding one process
Winslow transformation draws obviously from Gaston Leroux/earlier films。
recording technology is both tool of theft and possibility of another voice
film filled with recording machines、control rooms、mediated sound。
Jack Fisk production design makes music industry look like beautiful machine designed to eat people
Paradise visual identity is one of film greatest assets。
Paul Hirsch editing lets De Palma treat rock performance as cinema rather than documentation
Performance sequences don't behave neutral concert coverage。
Faust contract perfect for record business becauseartists routinely sign away futures they can't yet value
Faust exchanges soul for knowledge/power。
Dorian Gray element moves contract from money into immortality
Swan private secret connects to The Picture of Dorian Gray。
Winnipeg devotion became cult cinema best geographic accidents
film wasn't major universal hit original release。
soundtrack album is Paul Williams object related to movie、not transparent audio copy of everything onscreen
A&M released soundtrack 1974。
runtime history messy enough that version should always be named
AFI catalogue includes 90-92 minutes and 96 minutes。
film survives because record-business satire became more accurate after glam references stopped current
some visual jokes unmistakably 1974。
視聴・コレクション上の注意
modern uncut restorationがavailableなら使用し、runtimeはexact editionへattachする。historical recordはroughly 90-92分、AFIには96分fieldもあり、BBFCは91m28s cut UK cinema versionとshorter later physical-media timingsを記録する。