Remixing Brazil

Bossa Mundo ◽

10.1093/oso/9780190923525.003.0006 ◽

2019 ◽

pp. 139-169

Author(s):

K. E. Goldschmitt

Keyword(s):

First Century ◽

Brazilian Music ◽

Global Marketplace ◽

Early Twenty ◽

Iconic Images ◽

Bossa Nova ◽

Twenty First Century ◽

The 1960S ◽

New Distribution

The success of Brazilian music in a climate of increasing inattention and overstimulation altered the image and brand of Brazil in the global marketplace in the early twenty-first century. This chapter focuses on the contrasting examples of Bebel Gilberto and Seu Jorge, and how they approached their careers in Brazil and abroad. Both artists found their most enduring success through new distribution and licensing channels that privileged cut-up and remixed Brazilian music with clear references to iconic images of a Brazilian past in the international imaginary, especially bossa nova of the 1960s. The strategy of licensing recordings to accompany other forms of consumption is shown to have exaggerated the challenges of musically representing Brazil to an increasingly connected and sensorily crowded world.

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Families, Intellectuals, and Enemies in the “Red Classic” Remake New Tunnel Warfare

The Making and Remaking of China’s “Red Classics" ◽

10.5790/hongkong/9789888390892.003.0010 ◽

2018 ◽

Author(s):

Lara Vanderstaay

Keyword(s):

Original Film ◽

First Century ◽

Chinese Society ◽

Political Ideologies ◽

Biological Family ◽

Early Twenty ◽

Animated Film ◽

Violent Acts ◽

Twenty First Century ◽

The 1960S

This chapter investigates how the animated film New Tunnel Warfare (Xin didao zhan, 2009), a remake of the red classic Tunnel Warfare (Didao zhan, 1965), reshapes the socio-political ideologies present in the original film for a twenty-first century child audience. The chapter particularly focuses, firstly, on how New Tunnel Warfare re-inserts the biological family into Communist discourse, in contrast to the original film where the biological family was less important than the Communist ‘family’ of people unrelated by blood. Secondly, the chapter analyses the overt representation of violence in New Tunnel Warfare and the responses of its characters to violent acts. Finally, the chapter examines the film’s revival of the intellectual as a positive figure in Communist mythology. The chapter argues that these changes have been made in New Tunnel Warfare to reflect the major socio-political changes in Chinese society between the 1960s and the early twenty-first century

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How television works: Discourses, determinants and dynamics arising from the re-enactment of Jazz 625

The Journal of Popular Television ◽

10.1386/jptv_00046_1 ◽

2021 ◽

Vol 9 (1) ◽

pp. 139-157 ◽

Cited By ~ 1

Author(s):

Nicolas Pillai ◽

Vanessa Jackson

Keyword(s):

Empirical Research ◽

First Century ◽

Television Show ◽

Professional Attitudes ◽

Television Production ◽

Production Team ◽

Early Twenty ◽

The Creation ◽

Twenty First Century ◽

The 1960S

Re-enactment can enable participatory researchers to ‘experience’ through qualitative ethnography the dynamics of how teams of practitioners employ tacit skills to make decisions and collaborate. This article explores the practice-as-research re-enactment of a historic 1960s television show, Jazz 625 (1964–66). With the emphasis on the process rather than the product through the production of a modern-day interpretation of the original – entitled Jazz 1080 – the researchers draw conclusions around the complex workings of a television production team through the creation of a new artefact. The empirical research captures how professional attitudes and institutionalized forms of collaborative creative labour shape programme-making. Comparisons are made between the original and re-enacted productions, with the conclusion being made that, despite advances in technology, the practices and processes of television production are remarkably similar between the 1960s and the early twenty-first century.

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A rua manda notícias: dispositivos móveis e manifestações sociais na atualização dos critérios de noticiabilidade │ The street sends news: mobile devices and social demonstrations in updating newsworthiness criteria

Liinc em Revista ◽

10.18617/liinc.v10i1.671 ◽

2014 ◽

Vol 10 (1) ◽

Author(s):

Ivan Satuf

Keyword(s):

Mobile Devices ◽

First Century ◽

Communication Model ◽

Mobile Media ◽

Theoretical Approaches ◽

Early Twenty ◽

The Social ◽

News Value ◽

Twenty First Century ◽

The 1960S

RESUMO Este artigo tem como objetivo atualizar os critérios de noticiabilidade usando como referencial as manifestações sociais que ocorreram em diversas cidades do Brasil em junho de 2013. Num primeiro momento é feita a revisão teórica de pesquisas focadas no modelo broadcasting de comunicação, dos primeiros estudos na década de 1960 ao newsmaking da década de 1970. Em seguida, debate-se a cultura da participação e do compartilhamento no início do século XXI. Finalmente, são propostos três novos valores-notícia consoantes ao atual cenário de mídia móvel e ubíqua: hashtag, redundância e participação.Palavras-chave: Critérios de noticiabilidade; Valor-notícia; Manifestações sociais; Dispositivos móveis; Jornalismo.ABSTRACT This paper aims to update newsworthiness criteria using as referential the social demonstrations that took place in several cities in Brazil in June 2013. It firstly reviews theoretical approaches focused on a broadcasting communication model, from the first studies in the 1960s to the newsmaking in the 1970s. Then, the participation and sharing culture of the early twenty-first century is discussed. Finally, it proposes three news-value definitions consonant with the contemporary scenario of ubiquity and mobile media: hashtag, redundancy and participation.Keywords: Newsworthiness criteria; News value; Social demonstrations; Mobile devices; Journalism.

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Continuing Visions

10.1093/oso/9780198813279.003.0011 ◽

2018 ◽

Author(s):

Linda Freedman

Keyword(s):

Social Activism ◽

William Blake ◽

First Century ◽

Ridley Scott ◽

American Novel ◽

Early Twenty ◽

Protest Group ◽

Late Twentieth ◽

Twenty First Century ◽

Dead Man

The questions that drove Blake’s American reception, from its earliest moments in the nineteenth century through to the explosion of Blakeanism in the mid-twentieth century, did not disappear. Visions of America continued to be part of Blake’s late twentieth- and early twenty-first century American legacy. This chapter begins with the 1982 film Blade Runner, which was directed by the British Ridley Scott but had an American-authored screenplay and was based on a 1968 American novel, Do Androids Dream of Electric Sheep? It moves to Jim Jarmusch’s 1995 film, Dead Man and Paul Chan’s twenty-first century social activism as part of a protest group called The Friends of William Blake, exploring common themes of democracy, freedom, limit, nationhood, and poetic shape.

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