Media Making: Mass Media In Popular Culture

2000 ◽  
Vol 17 (1) ◽  
pp. 110-112
Author(s):  
Tim Blackmore
Keyword(s):  
Popular Culture ◽  
Mass Media

Invented Dances, Or, How Nigerian Musicians Sculpt the Body Politic

2021 ◽  
Vol 53 (1) ◽  
pp. 5-22
Author(s):  
Dotun Ayobade
Keyword(s):  
Popular Culture ◽  
Mass Media ◽  
Popular Music ◽  
Body Politic ◽  
The Body ◽  
African Music

AbstractPopular dances encapsulate the aliveness of Africa's young. Radiating an Africanist aesthetic of the cool, these moves enflesh popular music, saturating mass media platforms and everyday spaces with imageries of joyful transcendence. This essay understands scriptive dance fads as textual and choreographic calls for public embodiment. I explore how three Nigerian musicians, and their dances, have wielded scriptive prompts to elicit specific moved responses from dispersed, heterogenous, and transnational publics. Dance fads of this kind productively complicate musicological approaches that insist on divorcing contemporary African music cultures from the dancing bodies that they often conjure. Taken together, these movements enlist popular culture as a domain marked by telling contestations over musical ownership and embodied citizenship.

scholarly journals Fifty Shades of Bluebeard? Dukas'sAriane et Barbe-Bleuein the Twenty-First Century

2018 ◽  
Vol 15 (3) ◽  
pp. 399-438
Author(s):  
LAURA WATSON
Keyword(s):  
Popular Culture ◽  
Mass Media ◽  
Sexual Violence ◽  
First Century ◽  
Twenty First Century ◽  
Fifty Shades Of Grey

AbstractWith the appearance of opera videos in 2013 (DVD) and 2015 (YouTube), Paul Dukas'sAriane et Barbe-Bleue(1907) has been revived for twenty-first-century audiences. Not only has this formerly obscure work migrated to a mass-media landscape of personalized digital consumption, but its cultural recontextualization has also been extended to the interpretations staged in those opera videos. Both challenge historical, feminist readings ofAriane. Updating the action to modern scenes of abduction and captivity, these productions recast Ariane as victim and reframe the opera as part of the present discourse on sexual violence. As these recent productions ofArianeresonate with broader aesthetic tendencies in current popular culture, I trace parallels between the opera and three such examples from 2015. Selecting works that exemplify the trend of repackaging the Bluebeard tale as contemporary drama, I cite the filmsFifty Shades of GreyandRoom, and the Netflix seriesThe Unbreakable Kimmy Schmidt.

Od kultury popularnej do geopolityki popularnej

1970 ◽  
Vol 22 (297) ◽  
pp. 53-66
Author(s):  
Jarosław Macała
Keyword(s):  
Popular Culture ◽  
Mass Media ◽  
Research Methods ◽  
Research Area ◽  
Stages Of Development ◽  
Starting Point ◽  
The World ◽  
Cultural Order ◽  
Popular Geopolitics

A large portion of geopolitical research of the last decades, especially geopolitical criticism, undertakes the concept of the importance of culture, value and identity in explaining the relation between the space and politics, which was an aspect underappreciated by classical and neoclassical geopolitics. It might be assumed that the currently growing role of popculture and mass-media in our lives lead to the establishment of a kind of a “cultural order”, a particular filter that decides on the perception of the world and, consequently, geopolitics. This article relates to this issue as it deals with the meaning of popular culture in contemporary geopolitical research, mostly accentuated by popular geopolitics. This review briefly analyses what popular geopolitics is, how to sketch its research area, stages of development, applied definitions and research methods. The starting point is the assumption that the hegemonic structure of geographical/geopolitical thinking that the elites are trying to impose on the society by using popcultural artifacts may, in fact, be reconstructed thanks to popular geopolitics studies. It shows the scale and reach of resistance towards such imaginations as displayed by the non-elites, who also reach for symbols, texts and images from popular culture. Such circumstances allow to observe either legitimizing or debunking a particular view of the world and geopolitics.

The Flapper and the Joven Moderna

2020 ◽  
pp. 33-52
Author(s):  
Cecilia Tossounian
Keyword(s):  
Popular Culture ◽  
National Identity ◽  
Mass Media ◽  
Upper Class ◽  
Female Role ◽  
Consumer Capitalism ◽  
The Public ◽  
Media Construction ◽  
Traditional Female Role

Chapter 2 studies how the flapper, the archetypical modern girl, was construed by popular culture in the 1920s and 1930s. Mass media was engaged in a debate about the defining traits of the American flapper and her Argentine counterpart. While the flapper inhabited a distant land, the joven moderna combined popular fashions and mannerisms both foreign and domestic. Portrayed as an upper-class character, she went beyond the traditional female role of the devoted daughter. An oversimplified media construction, the Argentine flapper alerted the public of the dangerous effects of international consumer capitalism and Americanization on gender and national identity.

On Seduction

2017 ◽  
pp. 58-75
Author(s):  
Simber Atay
Keyword(s):  
Popular Culture ◽  
Mass Media ◽  
Performing Arts ◽  
The Other ◽  
Philosophical Issue ◽  
Creative Strategy ◽  
Objet Petit A ◽  
Other Hand

Seduction is a sexual act, a sex instinct expression, a love practice, a body performance, a psychoanalytical problematic, a philosophical issue, a creative strategy full of phantasies from art to politics, from advertising to entertainment, from personal intimacy to mass-media. Seduction is basis of strip-tease profession, of course! But it is also a cultural metaphor. Seduction is an indispensable part of acting in performing arts. In cinema, actors and actress seduce spectators. In photography, photographer and photographed one, they seduce reciprocally. Seduction has very strong mythological origins. On the other hand, superman of Nietzsche, gaze of Bataille, objet petit a of Lacan are some adequate contemporary parameters to discuss the seduction concept. In this context, Le Samura? (1967) of Jean-Pierre Melville, Magic Mike (2012) of Steven Soderbergh, Jupiter Ascending (2015) of Lana and Andy (Lilly) Wachowski are our cinematographic examples. Eikoh Hosoe's project ‘Barakei' (1961), Duane Michals' project ‘Questions without Answers' (2001), Mehmet Turgut's self-portrait series (2000's) are our photographic examples. Within the text, we evaluate all these popular culture examples by using the mentioned parameters to describe what the seduction is.

Consumer Culture and Appropriation

2018 ◽  
Author(s):  
Colleen T. Dunagan
Keyword(s):  
Popular Culture ◽  
Social Identity ◽  
Mass Media ◽  
Cultural History ◽  
Social Theory ◽  
Consumer Culture ◽  
Television Advertising ◽  
Cultural Knowledge ◽  
Gender And Sexuality ◽  
Race Ethnicity

Chapter Four examines how advertising engages dance in the promotion of hegemonic ideological notions of social identity (i.e., categories of race, ethnicity, class, gender, and sexuality), while simultaneously promoting difference and responding to contemporary developments. It looks closely at how advertising reveals cultural ambivalence and relies on nostalgia without memory to allow consumers to (re)construct a shared cultural history. In a similar way, dance in television advertising serves as a tool for reinforcing neoliberal economic and social theory. This chapter examines a range of ads that demonstrate dance-in-advertising’s relation to hegemony and its simultaneous promotion of developments in cultural knowledge and participatory aesthetics. Ultimately, I demonstrate how the ads function as spaces of intersection where affect meets ideologies, revealing how advertising reflects, informs, and responds to popular culture, mass media, and consumerism.

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