The Aesthetic in Mass Culture

1982 ◽  
pp. 397 ◽  
Author(s):  
Janice A. Radway
Keyword(s):  
Mass Culture ◽  
The Aesthetic

scholarly journals The Influence Of Popular Culture On The Visual Music Album Cover

2020 ◽  
Vol 3 (1) ◽  
pp. 98-113
Author(s):  
Citra Kemala Putri
Keyword(s):  
Popular Culture ◽  
Mass Culture ◽  
Qualitative Method ◽  
Pop Art ◽  
Visual Images ◽  
Cultural Symbols ◽  
Popular Art ◽  
Visual Music ◽  
Time Periods ◽  
The Aesthetic

Mass culture and popular culture is one of the important phenomena that was born after the postmodern era. In a society that lives in the midst of mass culture and popular culture, will grow consumer communities that produce new cultural symbols and activities. This discourse then influenced various aspects, for example, the emergence of popular music and popular art movements which soon became a commodities that was consumed by many youth people. This study discusses the influence of popular culture on the visuals of music album covers which take several album covers of international musicians from different time periods as samples to compare the similarities or friction caused by various art developments as their response toward happening trends. This study uses qualitative method. This study of various visual images was considering the aesthetic idioms of postmodernism, including Pastiche, Parody, Kitsch, Camp and Schizophrenia, as well as the concepts of several art movements, such as Pop Art and Lowbrow Art. The final result of this study reveal that several music albums using the Pop Art and Lowbrow Art style contained postmodern aesthetic idioms. Each album cover can contain one or several aesthetic idioms simultaneously.

"TOUS LES MATINS DU MONDE": POETRY OF FADING SOUND

2021 ◽  
Vol 1 (4) ◽  
pp. 100-107
Author(s):  
Yu. A. Finkelshtein ◽  
Keyword(s):  
Mass Culture ◽  
Film Industry ◽  
Historical Background ◽  
Present Moment ◽  
Feature Film ◽  
Viola Da Gamba ◽  
Emotional Perception ◽  
Baroque Music ◽  
The Aesthetic ◽  
True Values

The object of the article is Alain Corneau's feature film "All the Mornings of the World" ("Tous les matins du monde", 1991). The movie is considered as a work of art with strong postmodern tendencies. The director uses music written in the XVIIth century to create an image of the era. The image of the gambist de Sainte-Colombe is formed on the basis of the aesthetic and emotional perception of his works by the creators of the movie. The timbre of viola da gamba, one of the key features of which is rapid fading, defines the main philosophical idea of the film. The "disadvantage" of the instrument, which contributed to its short life in art, is perceived by the filmmakers as its original value. The rapidly fading sound becomes a metaphorical symbol of dying and rebirth, death and immortality being one. In addition, Baroque music performs the function of temporary "immersion". Using the music of ancient styles, the film industry gains a foothold in true values and an element of authenticity. In turn, by participating in cinema, it appropriates the features of mass culture: lightness, illusiveness, and easy accessibility. Such ambivalence is also characteristic of the plot, in which events that evoke completely modern feelings take place against a historical background far removed from the present moment.

Dandy Socialism

Maska ◽  
2017 ◽  
Vol 32 (185) ◽  
pp. 134-140 ◽  
Author(s):  
Lev Kreft
Keyword(s):  
Nineteenth Century ◽  
Mass Culture ◽  
The Novel ◽  
Romantic Period ◽  
Daily Newspapers ◽  
Political Position ◽  
Class Society ◽  
Aesthetic Field ◽  
Young Hegelians ◽  
The Aesthetic

‘It was a dark and stormy night...’ with these words Edward Bulwer-Lytton began his 1830 novel Paul Clifford. ‘Le 13 décembre 1838, par une soirée pluvieuse et froid’ are the words with which Eugène Sue begins his novel The Mysteries of Paris, its narrative following a ‘conceptual’ introductory address to the reader. There are many more features connecting these two popular literary pieces of the Romantic period. In-between, a new genre emerged – the melodramatic social(ist) novel – together with new means of communication, i.e. the novel feuilleton that was printed in daily newspapers. This subtle form of censorship suggests that a genre believed to be melodramatically mediocre had an excessive aestheticopolitical attractiveness. Eugène Sue was a star writer of nineteenth century bestsellers novels–feuilletons during the period between the two revolutions of 1830 and 1848. Afterwards he practically fell into oblivion and was barely mentioned in the company of ‘serious’ writers like Balzac and Hugo or Dickens and Thackeray, all of whom, however, took his allegedly mediocre melodramatic and popular narratives as cases to be followed. His temporary fame was confirmed by the response of Bruno Bauer’s group of young Hegelians, who found in Sue’s literary attractiveness a philosophical solution for all the mysteries and conflicts of the period. Marx’s criticism of their philosophical and political position in The Sacred Family includes a lengthy and thorough criticism of their ‘philosophical’ readings of the novel, of the novel itself, and of their and Sue’s understanding of the new bourgeois reality. Among other points, Sue’s alleged socialism is described with the help of a comparison between the police and the moral police. Can we, along with a re-establishment of the context of The Mysteries of Paris, leave behind the critique of ideology and the literary critique of popular and mass culture in order to bring back into the aesthetic field this melodramatic narrative of class society and to re-establish the politics of its aesthetics?

scholarly journals Aesthetics of Tho­mas Newman’s Music to “Six Feet Under” TV Series

2019 ◽  
Vol 16 (3) ◽  
pp. 264-277
Author(s):  
Alexander V. Tavrizyan
Keyword(s):  
Mass Culture ◽  
Visual Images ◽  
Aesthetic Theory ◽  
The Us ◽  
Baroque Art ◽  
Postmodern Art ◽  
Artistic Images ◽  
The Aesthetic ◽  
Modern Mass

This article analyzes the aesthetics of modern Western audiovisual art by the example of the opening titles of “Six Feet Under” TV series (2001—2005). This titles sequence, as well as the series itself, were proclaimed as “cult art” and became widely influential in the US television culture. The visuals of the sequence had been created by a team of Digital Kitchen designers on the basis of music by Thomas Newman, who was a trend setter of the soundtrack genre in the 1990s—2010s. This work is of interest, being one of the most significant in modern mass culture, which allows to analyze the aesthetic trends within the postmodern audiovisual art in general. The research is based on R. Barthes’ method of analyzing objects of mass culture, in which the literal meaning of artistic ima­ges and the symbolic one (connotations, metaphors, allegories) are considered separately. T. Newman’s music is ana­lysed by using M. Chion’s view upon soundtrack as both musical work and acoustical image. The article analyzes the coherence between the music, the frame (literal) content of the video, and the connotative (symbolic) meaning of the visual images. The concept of “affect”, taken by the historians-poststructuralists G. Deleuze and F. Guattari from the aesthetic theory of Baroque art, is used to describe similar phenomena in postmodern art. Interviews, additional materials and other sour­ces that tell about the idea of the series’ creators and about its workflow expanded the source base of the study. The audiovisual composition’s analysis revealed the aesthetic techniques of artistic images’ affective (feelings-emotional) transmission, “counterpoint” of allegorical and realistic (naturalistic) images in the visuals and the music, central role of the pairs of images-antithesis (warmth/coldness, movement/static, life/death, and some others). The author concludes that the studied aesthetic model is similar, both in its content and in the form of expression, to the Baroque aesthetics in a modified postmodern form (Neo-Baroque).

Graphics and Global Dissent: Marjane Satrapi's Persepolis, Persian Miniatures, and the Multifaceted Power of Comic Protest

PMLA ◽  
2017 ◽  
Vol 132 (3) ◽  
pp. 558-579 ◽  
Author(s):  
Marie Ostby
Keyword(s):  
Mass Culture ◽  
Narrative Structure ◽  
Graphic Novel ◽  
First Person ◽  
Global History ◽  
Iranian Women ◽  
Culture Form ◽  
Miniature Painting ◽  
History Of ◽  
The Aesthetic

Marjane Satrapi's Persepolis has been embraced by critics and popular audiences alike as an accessible intercultural memoir-in-comics that challenges predominant Western stereotypes about Iran through the universality of its first-person narrator. But the text's global legibility goes beyond the familiarity of Satrapi's graphic avatar. In examining the surprising factors on which the text's globalism depends, I look closely at one of Persepolis's diverse inter-texts—the Persian miniature painting—and situate Satrapi in both Parisian bandes dessinées and Iranian diasporic artistic contexts to argue that the work's concurrent production of local, national, and global scales is inseparable from its connection to several genres and across several media, engaging its readers through multiple modes of perception. Persepolis draws on a global history of graphics as dissent by challenging preconceived notions about comics as a mass culture form, memoirs as limited confessionals, and Iranian women as silenced victims of an oppressive fundamentalist state. The global accessibility of this graphic novel exists not despite but because of porous categories of genre and culture, which are at once integral to its narrative structure and secondary to the aesthetic of protest that it ultimately embraces.

scholarly journals ПРОЕКТНО-ОБРАЗНІ ХАРАКТЕРИСТИКИ КОСТЮМА ЕПОХИ «ДИКОГО ЗАХОДУ» ТА ЙОГО ВПЛИВ НА СУЧАСНІ МОДНІ ТЕНДЕНЦІЇ

2021 ◽  
pp. 160-172
Author(s):  
Н. В. Чупріна ◽  
І. В. Давиденко ◽  
Н. І. Кудрявцева ◽  
О. В. Данилюк
Keyword(s):  
Twentieth Century ◽  
Mass Culture ◽  
Role Model ◽  
Compositional Analysis ◽  
Art And Design ◽  
Women's Clothing ◽  
Women's Fashion ◽  
Design Characteristics ◽  
The Aesthetic ◽  
The Individual

Purpose. Identification patterns of evolution of the design image of the cowboy in the crisis of masculinity in popular culture during the twentieth century and its impact on modern fashion trends. Methodology. Literary-analytical and comparative methods of research of the original source are used to determine the aesthetic, design and artistic characteristics of the image; stylistic and compositional analysis of modern fashion trends based on the adaptation of the design characteristics of the image of a cowboy in the design of the suit is committed. Results.It is established that the image and symbol of the cowboy in world culture has a significant impact on the trends of men's and women's fashion both during the twentieth century and today. This influence is due to a number of social, economic and environmental factors, the coherence of which creates an aesthetic and figurative need to return the image of the cowboy as a role model in society and as a symbol in culture, art and design. The principles of introduction of artistic and compositional components of the image of a cowboy in modern collections of a suit in a segment of mass fashion are characterized. The means of spreading the idea of smart consumerism and renovation of textiles in the design of fashionable clothes are determined. Based on the pre-project analysis, the figurative and artistic interest in the adaptation of the properties of clothing in the style of "western" to the formation of the individual wardrobe of the consumer is determined. The design concept is formed and the structure of the corresponding collection for wide layers of consumers of clothes as a product of fashion is developed. The scientific novelty. Identification of the main design and artistic characteristics of the historical costume of the Wild West and their transformation in the development of image-compositional structure of the costume in modern fashion. The elements of sign-information stylistics of this project image are revealed and their influence on modern fashion tendencies in both men's and women's fashion is determined. Approaches to the design and artistic modeling of women's clothing as a fashion product based on the renovation of textile products are identified. The practical value. The significance is due to the possibility of using the results of research in the design of clothing for men and women in retro and eco-style "western", taking into account current fashion trends, as well as the ability to predict the further development of the cowboy image in mass culture and its influence on fashion trends

Aesthetic uses of the past and limits in the reconstruction of historical spaces inside a videogame

2020 ◽  
Vol 9 (1) ◽  
pp. 004
Author(s):  
Alberto Venegas Ramos
Keyword(s):  
Video Game ◽  
Mass Culture ◽  
Culture Medium ◽  
Final Section ◽  
First Century ◽  
The Third ◽  
The Past ◽  
The Aesthetic ◽  
The City ◽  
Digital Spaces

Along the last years we have assisted to the release of a great number of videogames set in the past as, for example, Assassin’s Creed: Origins (Ubisoft, 2017). This game offered the player the possibility to tour the city of Alexandria during the first century before Christ. My intention in this text is to develop the use of the past in the reconstruction of urban digital spaces through three video-game sagas, BioShock (Irrational Games y 2K Marin, 2007 – 2013), Uncharted (Naughty Dog, 2006 – 2017) and Assassin’s Creed (Ubisoft, 2007 – 2017). Each one of them will serve us to develop and examine the aesthetic uses of the past in the reconstruction of urban digital spaces through the proposed concepts: design, consumption and production. Irrational Games’ saga will help us to understand the first concept, the Naughty Dog one the second and the Ubisoft one the third. After these three sections we will elaborate a final section where we will build the video-game as a mass culture medium with other media of same scope and shared features.

scholarly journals INTEGRATION OF TRADITIONS IN CROSSOVER MUSIC AS A WAY TO BRIDGE THE INTERGENERATIONAL GAP

2020 ◽  
Vol 7 (6) ◽  
pp. 1230-1234
Author(s):  
Natalya Evgenyevna Shafazhinskaya ◽  
Mariya Lvovna Kats ◽  
Alexander Vladimirovich Smirnov ◽  
Vera Aleksandrovna Ovsyannikova ◽  
Marina Gennadievna Kruglova
Keyword(s):  
Young People ◽  
Intercultural Communication ◽  
Mass Culture ◽  
Social Life ◽  
Social Problems ◽  
Modern Society ◽  
Pop Art ◽  
Spiritual Values ◽  
Developmental Potential ◽  
The Aesthetic

Purpose of the study: The purpose of the article is to study the crossover style as a result of one of the increasingly growing world tendencies to mix the characteristics of different types of arts and blur the boundaries between them, to dialogization and integration of traditions through inter-ethnic exchange, combination of different in time phenomena in the process of globalization of culture and activation of intercultural communication. The novelty of this phenomenon and lack of knowledge about it determine the relevance of the study. Methodology: The methodological basis of the study consists of sociological and cultural studies devoted to the phenomena of academic and pop art, its specificity and its role in the modern socio-cultural situation. The study relies on scientific provisions related to the phenomena of "classical crossover" and "mass culture". The main methods were sociological observation, survey and analysis of documents. Main Findings: Due to the high educational and developmental potential of crossover compositions, as well as the aesthetic appeal of this music for young people, it is advisable to use the material of these compositions in the process of vocational training of vocalists, teachers, musicians, social and cultural specialists. Against the background of the problem of familiarizing the new generation with the world music classics, an appeal to the crossover style repertoire seems promising. Working with singers, many modern teacher-vocalists adhere to the principle of "non-separation" of their vocal styles and prefer universal techniques that are effective for training all performers in rapidly changing socio-economic requirements. Applications of this study: This study may be useful in the organization and implementation of educational and cultural, as well as leisure and entertainment programs (radio and television), the development and adjustment of state policy in the field of social life and culture, programs aimed at socialization of youth, the development of tolerance and the solution of social problems related to the spiritual values of generations. Novelty/Originality of this study: The originality of the study consists in the fact that it proves the conclusion that crossover introduces young people classics, minimizing the intergenerational value gap. Intercultural communication is expressed in the dialogue of classics and modernity as the spiritual values of different generations, the convergence of which leads to the solution of social problems of modern society.

scholarly journals CHARACTER VALUE DISCOURSE IN BALI'S POP SONG AND DENPASAR CITY’S PUBLIC RECEPTION

2019 ◽  
pp. 36
Author(s):  
Komang Sri Marheni ◽  
A.A. Bagus Wirawan ◽  
A.A. Ngurah Anom Kumbara ◽  
I Nyoman Suarka
Keyword(s):  
Mass Media ◽  
Critical Discourse Analysis ◽  
Mass Culture ◽  
Culture Industry ◽  
Mutual Cooperation ◽  
Consumer Responses ◽  
Religious Ideology ◽  
The Public ◽  
The Aesthetic ◽  
Ideological Construction

Character discourse surfaced in response to globalization. Balinese pop songs also contribute to discourse of character values ??in the context of the mass culture industry. This study reveals the ideology, form, and reception of people in Denpasar on the discourse of character values ??in Balinese pop songs. Through a qualitative method with a critical discourse analysis approach based on the semiotic theory, deconstruction, and reception aesthetics, it was concluded that the ideology that constructs the discourse of character values ??in Balinese pop songs includes religious ideology, Ajeg Bali, capitalists, and mass media within the scope of industrialization of mass culture. Forms of character value discourse in Balinese pop songs include the value of religious, nationalist, independent, mutual cooperation, and integrity in various song themes. The public reception in Denpasar on the discourse of character values ??is relatively diverse and ambiguous, both to the meaning of song, capitalist power, producer power, and to the power of the mass media. This study found that the discourse of character values ??in Balinese pop songs reflects ideological construction in the mass culture industry. There is a tendency to shift from the meaning of the song to the aesthetic and artistic realm in accordance with consumer responses. The theory of moral criticism of mass culture is confirmed that the discourse of character values ??in Balinese pop songs can be developed by negotiating meaning, aesthetics, and artistic. Keywords: discourse, character values, Balinese pop song, reception of community

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