Análisis de la realización de espectáculos televisivos en directo: Italia en Eurovisión 2021

2022 ◽  
Vol 12 (01) ◽  
pp. 235-259
Author(s):  
Francisco Javier Gómez-Pérez ◽  
◽  
José Patricio Pérez-Rufí ◽  
Keyword(s):  
Pop Culture ◽  
Avant Garde ◽  
Eurovision Song Contest ◽  
Temporal Continuity ◽  
Live Television

This paper aims to study the production of live television at the Eurovision Song Contest, a contest characterized by the use of avant-garde and experimental technologies and staging. The filming and production of the winning performance in 2021, «Zitti e buoni», by the Italian group Måneskin, is selected as a case study, as it breaks with previous trends. The main objectives of this research are to analyze the selected performance from a discursive and formal perspective and to identify the visual references on which the production is based. We apply a formal audiovisual analysis while considering intertextual practices and the intention to appropriate pop culture references. The formal audiovisual analysis highlights the respect for a functional and classic audiovisual grammar that tries to make itself invisible to highlight the members of the band with their charisma. Faced with previous practices trying to break spatial and temporal continuity, the performance claims a classical audiovisual grammar and an apparently simple staging based on nostalgia.

scholarly journals ‘Gaijin Mangaka’: The boundary-violating impulse of Japanized “art comics”

2019 ◽  
pp. 3-26
Author(s):  
Ana Matilde de Sousa
Keyword(s):  
Coming Of Age ◽  
Pop Culture ◽  
First Century ◽  
Cultural Appropriation ◽  
Visual Artists ◽  
Culture Industries ◽  
Avant Garde ◽  
Graphic Narratives ◽  
Negative Identity

This paper investigates the artistic strategies of Japanised visual artists by examining the emerging movement of manga-influenced international “art comics”—an umbrella term for avant-garde/experimental graphic narratives. As a case study, I take the special issue of the anthology š! #25 ‘Gaijin Mangaka’ (July 2016), published by Latvian comics publisher kuš! and co-edited by Berliac, an Argentinian neo-gekiga comics artist. I begin by analysing four contributions in ‘Gaijin Mangaka’ to exemplify the diversity of approaches in the book, influenced by a variety of manga genres like gekiga, shōjo, and josei manga. This analysis serves as a primer for a more general discussion regarding the Japanisation of twenty-first-century art, resulting from the coming of age of millennials who grew up consuming pop culture “made in Japan”. I address the issue of cultural appropriation regarding Japanised art, which comes up even on the margins of hegemonic culture industries, as well as Berliac’s view of ‘Gaijin Mangaka’ as a transcultural phenomenon. I also insert ‘Gaijin Mangaka’ within a broader contemporary tendency for using “mangaesque” elements in Western “high art”, starting with Pierre Huyghe and Philippe Parreno’s No Ghost Just a Shell. The fact that the link to Japanese pop culture in ‘Gaijin Mangaka’ and other Japanised “art comics” is often more residual, cryptic, and less programmatic than some other cases of global manga articulates a sense of internalised foreignness, embedding their stylistic struggles in an arena of clashing definitions of “high” and “low,” “modern,” “postmodern”, and “non-modern”, subcultures and negative identity.

scholarly journals The spatial-temporal fragmentation of live television video clips: analysis of the television production of the Eurovision Song Contest

2020 ◽  
Vol 33 (2) ◽  
pp. 17-31
Author(s):  
José-Patricio Pérez-Rufí ◽  
Águeda-María Valverde-Maestre
Keyword(s):  
Video Clip ◽  
Public Television ◽  
Spatial Continuity ◽  
Avant Garde ◽  
Video Clips ◽  
Live Music ◽  
Eurovision Song Contest ◽  
Live Television ◽  
And Performance ◽  
Characteristic Fragmentation

Multicamera television production’s similarity to the video clip has become evident in the production of the EBU’s Eurovision Song Contest, where various musical numbers representing public television stations from the organizing countries compete against each other in terms of spectacularity and originality. The main objective of this research is to analyze several acts to identify such appropriation. We will apply a textual analysis to the audiovisual discourse of a sample chosen through subjective sampling. We divide our analysis into four sections: preliminary phase, formal audiovisual analysis, staging and performance. The investigation leads to the conclusion that the characteristic fragmentation of space and time of video clips can also be identified in live music videos. This fragmentation is seen in the break in spatial continuity, resulting from recreating sets on stage and the abstraction of the stage thanks to screens and an avant-garde composition shot. We also consider that the production imitates the time fragmentation and fast shot speed of the video clip.

scholarly journals Effects of Pop Culture for Improving Student-Teachers’ Writing Skill (A Case Study at Galuh University)

2018 ◽  
Vol 4 (1) ◽  
pp. 47
Author(s):  
Ratnawati Ratnawati
Keyword(s):  
Language Learning ◽  
Student Teachers ◽  
English Language ◽  
Pop Culture ◽  
English Language Teaching ◽  
Teaching Writing ◽  
Authentic Materials ◽  
Descriptive Case Study ◽  
Writing Skill

Writing, one of the four skills which have to be taught by educators in language learning. Starting from classroom observation implied that students confronted the difficulties in writing involving generating ideas, organizing words, and making compositions. This study supposes to explore some effects of pop culture as authentic materials for English language teaching in improving students’ writing skill. Due to pop culture relates to students’ life and experience, it is considered to be a stimulus for gaining students’ ideas, information, motivation, and interest in teaching writing. The students of secondary school were involved in this study and descriptive case study was employed to observe the importance of pop culture in writing class. Also, questionnaires and students’ works are the instruments to measure its effects. Both students’ works and result of the questionnaires pointed out that significantly improvement obtained after applying pop culture. In line with findings, it can be said that pop cultures have significant effects toward students’ writing skill. So, educators need to apply pop culture as their choices in future planning lesson.

The Iconoclasts of Queer Aztlán

2019 ◽  
pp. 31-54
Author(s):  
Robb Hernández
Keyword(s):  
Los Angeles ◽  
Ethnic Enclaves ◽  
Institutional Discourse ◽  
Avant Garde ◽  
Queer Of Color ◽  
Classic Essay ◽  
Definition Of

This chapter draws on Cherríe Moraga’s classic essay “Queer Aztlán: The Re-Formation of Chicano Tribe” to distinguish how iconoclasm, the literal breaking of images, has been deployed as a unifying language for queer Chicanx avant-garde formed in the ethnic enclaves of Los Angeles. In institutional discourse, the East LA art collective known as Asco (Spanish for “nausea”) has tended to overshadow queer of color amorphous collectives, artistic circles,and collaborations. With attention to groups like Escandalosa Circle, Butch Gardens School of Art, Pursuits of the Penis, and Le Club for Boys, this chapter elucidates how a bold language faced indifference and sometimes violence in traditional museum settings. With a particular eye on the disciplining of Robert “Cyclona” Legorreta’s unruly archival body, another method and definition of Chicano queer avant-gardisms is demanded and found in the archival body/archival space methodology undergirding the case study chapters.

Raging Bull’s Stylistic Dissonance

2017 ◽  
Author(s):  
Todd Berliner
Keyword(s):  
Illustrative Case ◽  
Avant Garde ◽  
Extended Analysis ◽  
Illustrative Case Study ◽  
Classical Hollywood ◽  
Made In

Illustrating some of the points made in chapter 5, chapter 6 offers an extended analysis of some complex tendencies in Raging Bull’s cinematography, editing, and sound devices. The film tests the limits of the classical Hollywood style and sometimes crosses over into avant-garde practice. Raging Bull offers an illustrative case study of the boundaries of Hollywood’s stylistic systems.

scholarly journals Becoming-Black: Patterns and Politics of West-German ‘Afro-Americanophilia’ in the Late 1960s

2015 ◽  
Vol 12 (2) ◽  
Author(s):  
Moritz Ege
Keyword(s):  
African American ◽  
American Culture ◽  
Political Action ◽  
White Supremacy ◽  
Pop Culture ◽  
Cultural Appropriation ◽  
Race And Racism ◽  
African American Culture ◽  
Soul Music

In the late 1960s, African American culture and politics provided ‘lines of flight’ (Deleuze and Guattari) from outdated modes of subjectivity for many ‘white’ Germans; appropriating culture politics, and experimenting with forms of symbolically ‘becoming black’ represented a major cultural theme of the time. These tendencies resonated with: radical, anti-imperialist politics; countercultural sensibilities, where African American culture provided a radically contemporary critique of European modernity; the racialized, erotically charged logics of primitivism and romanticism in which ‘the repressed’ was to be brought back to the surface; and with a consumer-based economy and pop culture that supported the incorporation, domestication and aestheticisation of difference, desire and conflict.  This article sketches the patterns, forms and politics of the cultural theme of Afro-Americanophilia in Germany at the time, stressing the links between politics and corporeality.  In doing so, it illustrates that questions of race and racism were crucial for the 1968 conjuncture in Germany and it critically reviews the assumptions and implications of a specific form of hedonistic anti-racism in which ‘white’ European protagonists claimed ‘chains of equivalence’ (Laclau and Mouffe) between their position and that of people oppressed by racism and white supremacy.  Two case studies illustrate different forms and common patterns.  The first concerns a West Berlin network of radical-left groups that called itself ‘The Blues’ and combined militant political action (partly modelled on the activities of the Black Panther Party, according to some of its participants) with a countercultural sensibility. This included a felt connection to African American culture and stylistic practices. The second case study reviews the reception of soul music in the German music press and in countercultural circles, contrasting different readings of the supposedly ‘authentic.’  Overall, the article reconstructs practices of Afro-Americanophilia as ambiguous phenomena that foreshadow later forms of fetishistic cultural appropriation, but where, in some cases, the selective, erotically charged exoticism also led to tangible solidarity and strong connections. 

Between East and West

Experiment ◽  
2017 ◽  
Vol 23 (1) ◽  
pp. 66-79
Author(s):  
Maria Taroutina
Keyword(s):  
Visual Culture ◽  
Present Article ◽  
Turn Of The Century ◽  
Russian Art ◽  
Avant Garde ◽  
The Past ◽  
Close Analysis ◽  
East And West ◽  
The Way

Abstract Taking cue from Dmitry Sarabyanov’s seminal publications on the Stil Modern and turn-of-the-century Russian visual culture, the present article resituates Mikhail Vrubel’s œuvre “between East and West” by demonstrating that the artist moved beyond the narrowly circumscribed nationalist agenda typically attributed to the work he produced at the Abramtsevo and Talashkino artistic colonies. In addition to indigenous sources, Vrubel also assimilated a number of external artistic influences such as Jugendstil, medieval Gothic and Renaissance ceramics, Japanese and Chinese porcelain, and Egyptian and Assyrian art. Through a close analysis of Vrubel’s orientalist paintings, as well as his cycle of folkloric works such as Mikula Selyaninovich and the Volga (1896), I demonstrate that his aesthetic program crossed multiple boundaries: geographical, temporal, material, and institutional. Through a complex renegotiation of the global and the local, the past and the present, and the traditional and contemporary, Vrubel arrived at a strikingly modernist visual syntax, which paved the way for an entire generation of avant-garde artists such as Mikhail Larionov, Natalia Goncharova, Kazimir Malevich, Aleksandr Rodchenko, Liubov Popova, Vladimir Tatlin, and Naum Gabo, among others. Using Vrubel as a case study, this article thus proposes to rethink the opposing binary categories of avant-gardism and revivalism, historicism and innovation, Orientalism and Occidentalism, regionalism and cosmopolitanism, as they have been applied to the trajectory of modern Russian art—a set of ostensibly fixed dichotomies that Dmitry Sarabyanov had repeatedly and successfully challenged in his own work.

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