Pentecostalism and Popular Culture in Britain and America from the Early Twentieth Century to the 1970s

2017 ◽  
Author(s):  
Randall Stephens
Keyword(s):  
Twentieth Century ◽  
Popular Culture ◽  
Mass Media ◽  
Mass Culture ◽  
Pop Culture ◽  
Early Twentieth Century ◽  
Global Christianity ◽  
Mass Entertainment

Pentecostalism is now the second largest subgrouping of global Christianity. It’s charted tremendous growth, even in deeply post-Christian countries like Sweden. This chapter compares British and American pentecostalism and looks at how disciples related to or rejected pop culture. Believers had an interesting, hot and cold, relationship with mass entertainment, music, and mass media. They were eager to borrow much for evangelistic purposes, and quick to shun all that they thought to be sinful. British pentecostalism never grew at the pace and never achieved the astounding success of their co-religionists across the Atlantic. Some of this had directly to do with access to mass culture and a willingness or ability to adjust the faith to pop culture. This chapter ends by detailing and analysing the major differences and similarities of the faith as it developed in both regions.

scholarly journals Terbentuknya Identitas Fans Sepak Bola sebagai Budaya Massa dalam Industri Media

INFORMASI ◽  
2016 ◽  
Vol 46 (2) ◽  
pp. 205
Author(s):  
Iswandi Syahputra
Keyword(s):  
Popular Culture ◽  
Mass Media ◽  
Mass Culture ◽  
Pop Culture ◽  
Urban Society ◽  
Culture Industry ◽  
Agricultural Society ◽  
Visible Part ◽  
The World ◽  
Football Fans

Nowadays football is not merely sport. It has become industry, even popular culture. This happen because on the same time mass media grows into mass culture industry. The union of football and mass media as industry has melted few social and culture boundaries. Socially—through mass media—football had joined many social background into football fans identity, and it even connect all over the world. Football had transformed into popular culture that always moves in instability that drain its fans’s emotion. The football fans emotion in turn polarised into fans club which was created based on imaginary bound. Fans is the most visible part from text society and pop culture practice that could become fanatic. This fans fanatism phenomena could happen because the fans are pasif and patologic victim of mass media. This phenomena also mark the indication of transition from agricultural society into industrial and urban society.

The Informational Economy of Vaudeville and the Business of American Entertainment

2021 ◽  
Vol 95 (3) ◽  
pp. 423-446
Author(s):  
Samuel E. Backer
Keyword(s):  
United States ◽  
Twentieth Century ◽  
Mass Culture ◽  
The United States ◽  
Internal Market ◽  
Business Practices ◽  
Early Twentieth Century ◽  
Informational Economy ◽  
Analyze Data

In the early twentieth century, vaudeville was the most popular theatrical form in the United States. Operating before the rise of mechanically reproduced entertainment, its centralized booking offices moved tens of thousands of performers across hundreds of stages to an audience of millions. Designed to gather and analyze data about both audiences and performers, these offices created a complex informational economy that defined the genre—an internal market that sought to transform culture into a commodity. By reconstructing the concrete details of these business practices, it is possible to develop a new understanding of both the success of the vaudeville industry and its influence on the evolution of American mass culture.

Introduction: why sport?

2018 ◽  
Author(s):  
Bernard Vere
Keyword(s):  
Twentieth Century ◽  
Mass Media ◽  
Modern Art ◽  
Elite Sport ◽  
Urban Modernity ◽  
Cultural Form ◽  
Early Twentieth Century ◽  
Late Nineteenth

The Introduction looks at the rise of sport as an organised activity across Europe in the late nineteenth and early twentieth centuries. It sets this in the context of the development of urban modernity, with elite sport becoming a focus for the emergent mass media and a concomitant rise in spectatorship. Sport can claim to be the most pervasive cultural form of the early twentieth century. As such it is surprising that the influence it had on modern art and artists has been largely overlooked.

The Implied Masturbator Speaks

2021 ◽  
pp. 89-122
Author(s):  
Y. Yvon Wang
Keyword(s):  
Twentieth Century ◽  
Mass Media ◽  
Late Qing ◽  
Early Twentieth Century ◽  
Open Discussion ◽  
Cultural World ◽  
Ideological Change ◽  
Better Than ◽  
Print Market

This chapter builds on the material and technological transformations described in the previous chapter to discuss changing ideas about sexual representations. The chapter begins to directly talk about the desires of the implied masturbator. From the late Qing into the early twentieth century, mass media conquered the Chinese cultural world. Ambitious intellectuals at the turn of the twentieth century increasingly put their ideas onto a print market that was more open than ever before. The chapter analyses how literary professionalization remained a deviation from the orthodox path of officialdom. It also elaborates the five aspects of ideological change around sex and sexual representations at the turn of the twentieth century. Many of these ideological transformations were led by political and cultural reformers, including proponents of a “New Culture.” These self-declared iconoclasts argued for revising the boundaries of legitimacy around desire itself. Ultimately, the chapter introduces the downfall of Zhang Jingsheng, a leading member of the New Culture group. The chapter addresses how Zhang's open discussion of his personal desires made him vulnerable to becoming seen as no better than an implied masturbator.

scholarly journals Granville Barker's Ensemble as a Model of Fabian Theatre

2012 ◽  
Vol 28 (4) ◽  
pp. 307-324 ◽  
Author(s):  
Philippa Burt
Keyword(s):  
Nineteenth Century ◽  
Twentieth Century ◽  
Popular Culture ◽  
Early Twentieth Century ◽  
Dialogical Relationship ◽  
And Performance ◽  
The University ◽  
Fabian Society

While the dialogical relationship between the early twentieth-century British theatre and the rise of socialism is well documented, analysis has tended to focus on the role of the playwright in the dissemination of socialist ideas. As a contrast, in this article Philippa Burt examines the directorial work of Harley Granville Barker, arguing that his plans for a permanent ensemble company were rooted in his position as a member of the Fabian Society. With reference to Pierre Bourdieu's concept of habitus and Maria Shevtsova's development of it in reference to the theatre, this article identifies a correlation between Barker's political and artistic approaches through extrapolating the central tenets of his theory on ensemble theatre and analyzing them alongside the central tenets of Fabianism. Philippa Burt is currently completing her PhD in the Department of Theatre and Performance at Goldsmiths, University of London. This article is developed from a paper presented at the conference on ‘Politics, Performance, and Popular Culture in Nineteenth-Century Britain’ at the University of Lancaster in July 2011.

The Promise and The Lost City of Z: Diasporas, Cinematic Imperialism and Commercial Films

1969 ◽  
Vol 61 (1) ◽  
pp. 150-161
Author(s):  
Sophia Balakian ◽  
Virginia R. Dominguez
Keyword(s):  
Twentieth Century ◽  
Pop Culture ◽  
Armenian Genocide ◽  
Movie Industry ◽  
Lost City ◽  
Early Twentieth Century ◽  
The Us ◽  
Global North

Through a mutual interview exchange, the authors reflect on two recent commercial films – The Promise and The Lost City of Z. The films deal with the Armenian genocide and British exploration of the Amazon, respectively, both chronicling events that took place in the early twentieth century. The authors’ inquiries address questions of diasporic imperialism through film, Othering, violence, and the US movie industry. While differing in their readings and opinions of the films, the authors argue that both movies reflect contemporary US fantasies and preoccupations, and that commercial cinema – and pop culture in the Global North more broadly – ought to be taken more seriously by anthropologists.

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