scholarly journals Counterculture and Its Impact upon American Rock Music Documentaries in 1960-1970s

2017 ◽  
Vol 9 (4) ◽  
pp. 106-118
Author(s):  
Maxim F Kazyuchits
Keyword(s):  
Mass Culture ◽  
Cultural Context ◽  
Rock Music ◽  
Film Industry ◽  
General Decline ◽  
Direct Cinema ◽  
The 1960S ◽  
The Aesthetic ◽  
Long Term Observation

The author focuses on the most significant documentaries and TV-movies employing rock music of the 1960s-1970s, and highlights the aesthetic modes of their social correlation with mass culture. Special attention is drawn to the creative synthesis of the aesthetics of direct cinema, exemplified by the group R. Drew (B. Leacock, D. Pennebaker, A. Maizels, D. Maizels, etc.) as well as individual filmmakers and rock music in the intense socio-cultural context associated with it. Rock music greatly differs in its interaction of a performer and audience: there is often a systematic violation of the boundaries between audience space and scene. Direct cinema uses different strategies for presenting the character in the frame. Long-term observation, usage of atypical size and angles in the established television and cinematic tradition of documentary in many ways made the traditional essays and reports specifically spectacular. Within this strategy fans become being represented and perceived as a collective character, that is, public with all the features of its ethos becomes an integral part of the image of the artist, inseparable from it. The general decline of the artistic diversity of documentaries about rock music is largely the result of the active integration of this subgenre into the commercial sphere of TV and film industry, characteristic for the style emerged within the television. Creative pursuits of the group drew were directed not so much against the revolution in screen arts, but for modernization of the outdated artistic approaches to documentary filmmaking. Anyhow rock music as well as rock culture expressed through the means of direct cinema testify to the efficiency of the basic methodological goals.

"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.

‘More than just a music’: conservative Christian anti-rock discourse and the U.S. culture wars

Popular Music ◽  
2013 ◽  
Vol 32 (3) ◽  
pp. 407-426 ◽  
Author(s):  
Anna Nekola
Keyword(s):  
Cultural Context ◽  
Rock Music ◽  
The United States ◽  
Culture Wars ◽  
Moral Panics ◽  
National Values ◽  
Conservative Christian ◽  
The 1960S ◽  
Rock Discourse ◽  
The U.S

AbstractScholarship on the moral panics around rock music has long focused on racial fears and anxieties about a youth culture that might escape societal control, but little serious attention has been paid to the conservative Christian anti-rock discourse that surfaced publicly in the United States in the 1960s. This article addresses that gap by situating this construction of rock as an inherently evil corrupting force for 'traditional' religious, family, and national values within a larger cultural context, and arguing that it illuminates the rise of contemporary conservative morality politics in the U.S. Not merely the ravings of a few extremists, this discourse represents a worldview and rhetorical mode that was once widespread within a small religious subculture but has since developed—together with the social and cultural power of that subculture—into one of the central political frames of contemporary American life, helping lay the groundwork for today's culture wars.

Funerals as Paschal Remembrance and Incorporation into the Risen Christ

2020 ◽  
Vol 50 (1) ◽  
pp. 69-85
Author(s):  
Sr Bénédicte Mariolle
Keyword(s):  
Cultural Context ◽  
Long Term Memory ◽  
Individual Subject ◽  
Unique Character ◽  
The 1960S ◽  
Definition Of ◽  
The Individual ◽  
The Church ◽  
With Memory

In our contemporary cultural context, the Christian references and the ritual cues no longer work as rites provided by an ecclesiastical institution in the way that they were still able to in the 1960s. The long-term memory which guaranteed the symbolic effectiveness of this rituality has evaporated. The author identifies three ways in which people’s relationship with memory has changed: it is no longer inscribed in time and space; this goes hand in hand with a form of “virtualization” of memory; but especially of its de-institutionalization, meaning that the norms guiding the ritual are no longer founded on an institutional basis linked to a collective memory, but rather on the individual subject and his or her unique character. This is a situation which poses a challenge to the Christian tradition of funerals, precisely because this is founded on a long ritual memory, which is incarnated, and is institutional. One solution to this problem has been to adapt to the expectations and aspirations of our contemporaries by relativizing traditional ritual forms. The author suggests the real question is rather to discern the specifically Christian features of ritualizing death within the long tradition of the Church and identify the elements of this deep Christian “memory” on which certain aspects of the liturgy depend for meaning. Losing this memory would endanger the proclamation of faith and Christian hope. An important source for this rereading is Augustine’s treatise De cura gerenda pro mortuis. It provides the key to interpreting this tradition, thereby enabling a definition of the characteristics of this Christian “memory” which is operative in funerals, and saying how this serves toward building Christian identity. This enables the author to outline the features of a specifically Christian ritualization of funerals for today and the implications for proclaiming a truly paschal faith.

Recent change in non-present perfect constructions in British and American English

Corpora ◽  
2013 ◽  
Vol 8 (1) ◽  
pp. 115-135 ◽  
Author(s):  
Xinyue Yao ◽  
Peter Collins
Keyword(s):  
American English ◽  
Recent Change ◽  
Past Tense ◽  
Present Perfect ◽  
British English ◽  
Spoken English ◽  
Communicative Functions ◽  
General Decline ◽  
Modal Auxiliaries

A number of recent studies of grammatical categories in English have identified regional and diachronic variation in the use of the present perfect, suggesting that it has been losing ground to the simple past tense from the eighteenth century onwards ( Elsness, 1997 , 2009 ; Hundt and Smith, 2009 ; and Yao and Collins, 2012 ). Only a limited amount of research has been conducted on non-present perfects. More recently, Bowie and Aarts’ (2012) study using the Diachronic Corpus of Present-Day Spoken English has found that certain non-present perfects underwent a considerable decline in spoken British English (BrE) during the second half of the twentieth century. However, comparison with American English (AmE) and across various genres has not been made. This study focusses on the changes in the distribution of four types of non-present perfects (past, modal, to-infinitival and ing-participial) in standard written BrE and AmE during the thirty-year period from the early 1960s to the early 1990s. Using a tagged and post-edited version of the Brown family of corpora, it shows that contemporary BrE has a stronger preference for non-present perfects than AmE. Comparison of four written genres of the same period reveals that, for BrE, only the change in the overall frequency of past perfects was statistically significant. AmE showed, comparatively, a more dramatic decrease, particularly in the frequencies of past and modal perfects. It is suggested that the decline of past perfects is attributable to a growing disfavour for past-time reference in various genres, which is related to long-term historical shifts associated with the underlying communicative functions of the genres. The decline of modal perfects, on the other hand, is more likely to be occurring under the influence of the general decline of modal auxiliaries in English.

Psychedelic Illusions

2018 ◽  
Author(s):  
Jonathan Weinel
Keyword(s):  
Rock Music ◽  
Outer Space ◽  
Altered States ◽  
Sound Design ◽  
States Of Consciousness ◽  
Production Techniques ◽  
1960S And 1970S ◽  
Rock N Roll ◽  
The 1960S ◽  
Conceptual Meaning

This chapter explores how music technologies and electronic studio processes relate to altered states of consciousness in popular music. First, an overview of audio technologies such as multi-tracking, echo, and reverb is given, in order to explore their illusory capabilities. In the rock ’n’ roll music of the 1950s, studio production techniques such as distortion provided a means through which to enhance the energetic and emotive properties of the music. Later, in surf rock, effects such as echo and reverb allowed the music to evoke conceptual visions of teenage surf culture. In the 1960s and 1970s, these approaches were developed in psychedelic rock music, and space rock/space jazz. Here, warped sounds and effects allowed the music to elicit impressions of psychedelic experiences, outer space voyages, and Afrofuturist mythologies. By exploring these areas, this chapter shows how sound design can communicate various forms of conceptual meaning, including the psychedelic experience.

scholarly journals Studies on the Occurrence of Viruses in Planting Material of Grapevines in Southwestern Germany

Viruses ◽  
2021 ◽  
Vol 13 (2) ◽  
pp. 248
Author(s):  
Noemi Messmer ◽  
Patricia Bohnert ◽  
Stefan Schumacher ◽  
René Fuchs
Keyword(s):  
Preventive Measures ◽  
Control Measures ◽  
Grapevine Fanleaf Virus ◽  
Arabis Mosaic Virus ◽  
Planting Material ◽  
General Decline ◽  
Grapevine Pinot Gris Virus ◽  
Propagation Material

Viral diseases in viticulture lead to annual losses in the quantity and quality of grape production. Since no direct control measures are available in practice, preventive measures are taken to keep the vines healthy. These include, for example, the testing of propagation material for viruses such as Arabis mosaic virus (ArMV), Grapevine fanleaf virus (GFLV) or Grapevine leafroll-associated virus 1 (GLRaV-1) and 3 (GLRaV-3). As long-term investigations have shown, GLRaV-1 (2.1%) occurs most frequently in southwestern German wine-growing regions, whereas GLRaV-3 (<0.1%) is almost never found. However, tests conducted over 12 years indicate that there is no general decline in virus-infected planting material. Thus, it can be assumed that a spread of the viruses via corresponding vectors still takes place unhindered. Beyond the examinations regulated within the German Wine Growing Ordinance, one-time tests were carried out on Grapevine Pinot gris virus (GPGV). This analysis showed that GPGV was found in 17.2% of the samples.

scholarly journals SAT0137 Long-term observation of fibromyalgia patients

2001 ◽  
Author(s):  
L Szczepanski ◽  
C Stepniak ◽  
B Targonska-Stepniak
Keyword(s):  
Long Term Observation
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