Batman Returns

2015 ◽  
Vol 1 (1) ◽  
pp. 197-215
Author(s):  
Martijn Oosterbaan
Keyword(s):  
Popular Culture ◽  
Rio De Janeiro ◽  
Entertainment Industry ◽  
Political Debate ◽  
Politics Of Aesthetics ◽  
Contemporary Work ◽  
Academic Discussion ◽  
The Aesthetic ◽  
Anthropological Literature

This article explores the aesthetic elements of sovereignty. Building on the anthropological literature on sovereignty and on contemporary work on the politics of aesthetics, the article analyzes contemporary appearances of Batman symbols and figures in Rio de Janeiro. Despite political debate and academic discussion about the Batmen appearing in mafia-like militias and popular street protests in Rio, the question of what these appearances tell us about the relations between popular imagery and political contestation has remained untouched. This article supports the work of writers who argue that superhero comics and movies present fierce figures that operate in the zone of indistinction, at the crossroads of lawful order and its exception. However, it adds to this literature an analysis that shows in what kind of sociopolitical contexts these figures operate and how that plays itself out. To understand the contemporary appearances and force of figures of the entertainment industry better, this article proposes the concept “popular culture of sovereignty.”

Vertical video: rupturing the aesthetic paradigm

2017 ◽  
Vol 17 (2) ◽  
pp. 245-261 ◽  
Author(s):  
Kathleen M Ryan
Keyword(s):  
Popular Culture ◽  
Technological Innovations ◽  
Film And Television ◽  
Moving Images ◽  
Orientation Model ◽  
Video Shot ◽  
History Of ◽  
The Aesthetic

Popular culture has critiqued ‘vertical video syndrome’, or video shot on smartphones in the portrait rather than landscape orientation, as something aesthetically unpleasing which should be avoided. But the design of smartphones seems to encourage shooting vertical video. This article examines the aesthetic desirability of vertical videos through applied media aesthetics. It traces the history of horizontal film and television orientations, as well as the image-centric orientation model found in still photography. It argues that vertical video, rather than a syndrome to be avoided, instead takes advantage of the technological innovations and embodied pleasures offered by the smartphone to rupture the visual paradigms and create a new visual aesthetic for phone-based moving images.

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.

Entre a cultura popular e a resistência: a trajetória de Lina Bo Bardi e Hélio Oiticica | Between popular culture and resistance: the trajectory of Lina Bo Bardi and Hélio Oiticica

2021 ◽  
Vol 18 ◽  
pp. 1
Author(s):  
Paulo Arthur Silva Aleixo ◽  
Eline Maria Mora Pereira Caixeta
Keyword(s):  
Popular Culture ◽  
Rio De Janeiro ◽  
Sao Paulo ◽  
Status Quo ◽  
São Paulo ◽  
Cultura Popular

Durante os primeiros anos da década de 1960, no período que permeia o golpe militar no Brasil, houve um momento singular em que os profissionais das artes e da arquitetura estiveram interessados em sair de suas estritas esferas, posicionando-se politicamente ao repensar a produção cultural e visando estreitar a relação com as camadas populares e mudar a situação estabelecida. Nesse contexto, dentre diversos agentes, pode-se recortar os nomes da arquiteta ítalo-brasileira Lina Bo Bardi (Roma, 1914 – São Paulo, 1992) e do artista carioca Hélio Oiticica (Rio de Janeiro, 1937 – Rio de Janeiro, 1980) como protagonistas na construção de um pensamento que buscou, sobretudo, caminhos para questionar o status quo. Atuando em lugares distintos e pertencentes a diferentes gerações e campos de atuação, suas trajetórias em nenhuma ocasião se cruzaram, apesar de apresentarem uma forte afinidade de convicções. Sendo assim, este trabalho busca mobilizar uma reflexão acerca das interlocuções entre as produções de Bo Bardi e de Oiticica com a cultura popular, reconhecendo essa aproximação como uma forma de resistência à difícil realidade do Brasil durante a ditadura militar. Para tanto, determinadas atividades desenvolvidas são colocadas em uma mesma perspectiva e analisadas,objetivando contribuir para a imagem de um potente fenômeno cultural que lutou por um maiorengajamento social e político.

Modernism as Postnationalist Politics:

2017 ◽  
Vol 76 (4) ◽  
pp. 532-549
Author(s):  
Adnan Morshed
Keyword(s):  
National Identity ◽  
Fine Arts ◽  
The United States ◽  
Modern Architecture ◽  
Political Debate ◽  
Colonial Era ◽  
Identity Based ◽  
The Aesthetic ◽  
Secular Humanist ◽  
Dual Commitment

After completing architectural studies in the United States in 1952, Muzharul Islam returned home to Pakistan to find the country embroiled in acrimonious politics of national identity. The young architect began his design career in the midst of bitterly divided notions of national origin and destiny, and his architectural work reflected this political debate. In Modernism as Postnationalist Politics: Muzharul Islam's Faculty of Fine Arts (1953–56), Adnan Morshed argues that Islam's Faculty of Fine Arts at Shahbagh, Dhaka, embodied his need to articulate a national identity based on the secular humanist ethos of Bengal, rather than on an Islamic religious foundation. With this iconoclastic building, Islam sought to achieve two distinctive goals: to introduce the aesthetic tenets of modern architecture to East Pakistan and to reject all references to colonial-era Indo-Saracenic architecture. The Faculty's modernism hinges on Islam's dual commitment to a secular Bengali character and universal humanity.

The Royal Sign and Visual Literacy in Eighteenth-Century London

2016 ◽  
Vol 55 (1) ◽  
pp. 24-56 ◽  
Author(s):  
Stephanie Koscak
Keyword(s):  
Eighteenth Century ◽  
Visual Culture ◽  
Party Politics ◽  
Urban Spaces ◽  
Political Debate ◽  
Art And Politics ◽  
Everyday Objects ◽  
The Subject ◽  
Early Eighteenth Century ◽  
The Aesthetic

AbstractThis article argues that the commercialization of monarchical culture is more complex than existing scholarship suggests. It explores the aesthetic dimensions of regal culture produced outside of the traditionally defined sphere of art and politics by focusing on the variety of royal images and symbols depicted on hanging signs in eighteenth-century London. Despite the overwhelming presence of kings and queens on signboards, few study these as a form of regal visual culture or seriously question the ways in which these everyday objects affected representations of royalty beyond asserting an unproblematic process of declension. Indeed, even in the Restoration and early eighteenth century, monarchical signs were the subject of criticism and debate. This article explains why this became the case, arguing that signs were criticized not because they were trivial commercial objects that cheapened royal charisma, but because they were overloaded with political meaning. They emblematized the failures of representation in the age of print and party politics by depicting the monarchy—the traditional center of representative stability—in ways that troubled interpretation and defied attempts to control the royal image. Nevertheless, regal images and objects circulating in urban spaces comprised a meaningful political-visual language that challenges largely accepted arguments about the aesthetic inadequacy and cultural unimportance of early eighteenth-century monarchy. Signs were part of an urban, graphic public sphere, used as objects of political debate, historical commemoration, and civic instruction.

The Soldier and the Aesthete: Homosexuality and Popular Culture in Gilded Age America

1996 ◽  
Vol 30 (1) ◽  
pp. 25-46 ◽  
Author(s):  
Mary W. Blanchard
Keyword(s):  
Popular Culture ◽  
Civil Wars ◽  
Collective State ◽  
Napoleonic Wars ◽  
Renaissance Art ◽  
Cultural Attitudes ◽  
Aesthetic Movement ◽  
Change Perceptions ◽  
The Aesthetic ◽  
The Military

The aftermath of civil strife, note some historians, can change perceptions of gender. Particularly for males, the effect of exhaustive internal wars and the ensuing collapse of the warrior ideal relegates the soldier/hero to a marginal iconological status. Linda L. Carroll has persuasively argued, for instance, that, following the Italian wars, one finds the “damaged” images of males in Renaissance art: bowed heads, display of stomach, presentation of buttocks. In fact, male weakness and “effeminacy” can, notes Linda Dowling, follow on the military collapse of any collective state. Arthur N. Gilbert argues, in contrast, that historically in wartime, male weakness in the form of “sodomites” was rigorously persecuted. From 1749 until 1792, for instance, there was only one execution for sodomy in France, while, during the Napoleonic Wars, the period of 1803–14, seven men were executed. Such analysis suggests that, in the aftermath of civil wars, cultural attitudes toward effeminate or homosexual men shifted from suppression or persecution during martial crisis to one of latitude and perhaps tolerance in periods following the breakdown of the military collective.The aftermath of America's Civil War, the decades of the 1870s and 1880s, provides a testing ground to examine attitudes toward the soldier/hero and toward the effeminate male in a time of social and cultural disarray. At this time, an art “craze,” the Aesthetic Movement, captured popular culture. Aestheticism, seen in the eighteenth century as a “sensibility,” had, by the nineteenth century, an institutional base and a social reform ideology.

Toward a Cultural Sociology of the Consumption of “Fantasy Football Hooliganism”

2008 ◽  
Vol 25 (3) ◽  
pp. 331-349 ◽  
Author(s):  
Emma Poulton
Keyword(s):  
Popular Culture ◽  
Conceptual Framework ◽  
Digital Games ◽  
Cultural Sociology ◽  
Entertainment Industry ◽  
Sociological Analysis ◽  
Related Disorder ◽  
Fantasy Football

Football hooliganism has a wide appeal within popular culture. Numerous books, films, documentaries, digital games, and even stage plays have featured representations of the phenomenon. All are presentations of what could be termed “fantasy football hooliganism” in that they are attempts by the entertainment industry to represent, reproduce, or simulate football-related disorder for our leisure consumption. This article offers a conceptual framework (underpinned by the work of Blackshaw & Crabbe) for the sociological analysis of the consumption and production of these fantasy football hooliganism texts.

scholarly journals Retrolugares, definición, formación y repetición de lugares, escenarios y escenas imaginados del pasado en la cultura popular y el videojuego

2018 ◽  
Vol 28 ◽  
pp. 323
Author(s):  
Alberto Venegas Ramos
Keyword(s):  
Popular Culture ◽  
Past Tense ◽  
Cultural Industry ◽  
The Past ◽  
Cultura Popular ◽  
The Aesthetic

Resumen: La intención de este artículo es presentar el concepto “retrolugar” como la repetición de lugares imaginados del pasado dentro de la cultura popular debido a razones sociológicas, políticas y comerciales asociadas a la nueva cultura del capitalismo. Para lograr este objetivo insertaremos el concepto dentro de un marco historiográfico más general y situaremos ejemplos tanto de su concepción como de su desarrollo. Todo ello nos conducirá a la idea de empleo o utilización estética del pasado con razones políticas, sociales o comerciales. Usos del tiempo pretérito alejados del oficio del historiador, pero alojados extensamente entre la población debido a la integración de estos dentro de las manifestaciones culturales más populares.Palabras clave: Retrolugar, Usos públicos de la Historia, Cultura Popular, Mitohistoria, Industria cultural.Abstract: This article introduces the ‘retroplace’, the concept of recreating imagined places of the past within the popular culture on the basis of sociological, political and comercial reasons associated with the new culture of capitalism. To achieve this goal, the concept is examined within a more general historiographic framework, and examples of both its conception and its development are given. This analysis reveals the employment or the aesthetic use of the past for political, social or commercial motives. Although these uses of the past tense are far removed from the trade of the historian, they are widely accepted among the population due to their integration within the most popular cultural manifestations.Key words: Retroplaces, Public use of History, Popular Culture, Mythistory, Cultural industry.

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