Multiculturalism in Cinema in the Context of Popular Culture

2019 ◽  
pp. 230-245
Author(s):  
Eda Arisoy
Keyword(s):  
Popular Culture ◽  
Cultural Heritage ◽  
Cultural Wealth ◽  
Thin Line ◽  
Universal Space ◽  
Auteur Cinema ◽  
The Masses

The presentation of what the viewer wants and expects has turned cinema into a mass consumer industry, spreading into a universal space. Cinema is not merely to please the masses, but has been transformed into a multicultural business that carries a different intellectual meaning which is named as narrative or auteur cinema. As an auteur director, Ferzan Özpetek stands in highly unique place in the name of cultural wealth as a director. His cinema draws up in the thin line between being a popular cultural product and being a narrative, spiritual cinema product, and is considered as the most important feature that differentiates the concept of auteur from other cinema genres by focusing on the cultures of both countries. If the cinema industry returns to a differentiation between commercial and narrative types, film should create its audience by presenting its own cultural heritage, rather than exposing the same culture to the masses. It is the factor that nourishes the cultural variety.

scholarly journals Rah Utami Nugrahani STRATEGI PENGGUNAAN MEDIA SOSIAL SAUNG ANGKLUNG UDJO DALAM MENGKOMUNIKASIKAN ESTETIKA BAMBU

2020 ◽  
Vol 2 ◽  
pp. 113-116
Author(s):  
Rah Utami Nugrahani ◽  
Sylvie Nurfebiaraning
Keyword(s):  
Social Media ◽  
Cultural Heritage ◽  
Qualitative Methods ◽  
Western Music ◽  
Intangible Cultural Heritage ◽  
West Java ◽  
Cultural Wealth ◽  
The Public ◽  
Social Media Strategy ◽  
A Performance

Saung Angklung Udjo (SAU) is a performance venue that was founded in 1966 by UdjoNgalagena and hasstood until now for one of them aimed at communicating bamboo music, in this case focusing a lot onangklung, as Indonesia’s cultural wealth, especially West Java. To further develop themselves, SAU alsobegan to move in the online field, which in this case was specifically done through social media, especiallyYoutube and Instagram. To find out more about SAU’s social media strategy in communicating SAU’s aesthetics,observations, interviews and literature studies were conducted. After taking the data which is then processedby qualitative methods, the following results and discussion are obtained: SAU conducts all publicationsand documentation related to on-site performances to be uploaded via Instagram and Youtube, SAUcollaborates to increase the popularity of bamboo music, with one of them picking up composer Eka Gustiwanais able to produce fresh works that are accessible to the public, SAU re-arranged to make bamboo musicfamiliar, especially among Western music listeners, and this strategy is also generally a form of angklungpreservation in its position as Intangible Cultural Heritage of Humanity by UNESCO version which was passedin 2010.

Nostalgia and the Remains of Everyday Life

2020 ◽  
pp. 78-111
Author(s):  
Maya Nadkarni
Keyword(s):  
Popular Culture ◽  
Cultural Heritage ◽  
Everyday Life ◽  
Political System ◽  
Historical Narratives ◽  
The Political ◽  
The Past ◽  
International Discourse ◽  
State Socialist

This chapter argues that the various attempts to distance the past became the condition of Hungary for its return in the form of nostalgia for socialist mass and popular culture. It discusses the remains of socialism from anachronistic monuments and devalued historical narratives to the detritus of an everyday life now on the brink of vanishing, such as candy bars and soda pop. Despite appearances, this nostalgia did not represent a wistful desire to return to the previous era nor simply to the gleeful impulse to laugh at state socialist kitsch found years earlier. The chapter explains the detachment of fond communal memories of certain objects from the political system that produced them. It points out the ironic invocation of the international discourse of cultural heritage that legitimate the trash of the previous era and enabled Hungarians to redefine themselves as both savvy capitalist consumers and cultured democratic citizens.

scholarly journals The Discourse of Islamophobia in Indonesian Popular Movie “Mencari Hilal” (2015)

FIKRAH ◽  
2021 ◽  
Vol 9 (1) ◽  
pp. 1
Author(s):  
Mundi Rahayu
Keyword(s):  
Popular Culture ◽  
Cultural Heritage ◽  
Present Article ◽  
Minority Group ◽  
Potential Conflict ◽  
Western Countries ◽  
Muslim Communities

<span lang="IN">Most of the study of Islamophobia, the hatred </span><span lang="EN-US">and</span><span lang="IN"> fear of Muslims, take the locus in Western countries in which Muslims are a minority group. The present study aims at answering the gap of study. This study specifically discusses the Islamophobia represented in popular culture, in a movie entitled “Mencari Hilal.” Discussion in this paper covers two questions. First, how is the discourse of Islamophobia represented in the film? Second, what is the ideology represented in the film? The present article is based on two arguments. First, Islamophobia does not only happen in Western countries. Instead, the phobia also happens within Muslim communities.  Second, the film is a popular cultural text that reflects people's anxiety and desire, as well as expresses important problems that people encounter in history. This study applies Fairclough’s CDA with three levels of analyses, micro, meso, and macro. The discourse of Islamophobia in this movie is presented in more subtle ways, but the potential conflict is obviously represented. The ideology of pluralism is implied in this film to give the space for the audience to think and rethink their religious assumptionKeywords: Ancient tombs; preservation; cultural heritage.</span>

scholarly journals Kulttuuriperintö ja Dracula-turismi

Elore ◽  
2009 ◽  
Vol 16 (1) ◽  
Author(s):  
Tuomas Hovi
Keyword(s):  
Popular Culture ◽  
Cultural Heritage ◽  
Heritage Tourism ◽  
Cultural Stereotypes ◽  
15Th Century

The article examines how Dracula tourism in Romania can be approached within the concept of heritage. Although Dracula tourism as such cannot be considered as heritage tourism, it has many characteristics that are common with the latter. The author shows how the tradition about a 15th-century Romanian ruler Vlad the Impaler is being used in modern Dracula tourism, and how this tradition connects with the fictional vampire Count Dracula known from popular culture. Here, the use of tradition and heritage in Dracula tourism is approached with theoretical tools and concepts such as authenticity and cultural stereotypes. Besides, this article argues that tourism is not just a threat to cultural heritage, it can also help in the preservation of the latter. Interestingly, heritage is most visible in Dracula tourism through the different arguments opposing this tourism. The data for the article comes mostly from literature, Internet, and the author’s personal observations.

scholarly journals Popular Culture in the Muslim World

1996 ◽  
Vol 13 (1) ◽  
pp. 100-108
Author(s):  
Dilnawaz A. Siddiqui
Keyword(s):  
Popular Culture ◽  
Edmund Burke ◽  
American People ◽  
Cultural Divide ◽  
University Of Cambridge ◽  
Economic Elites ◽  
The Many ◽  
The Individual ◽  
The Masses ◽  
The University

Popular Culture in Medieval Cairo. By Boaz Shoshan. Cambridge, UK andNew York Press Syndicate of the University of Cambridge, 1993.148 pp.Struggle and Survival in the Modern Middle East. By Edmund Burke, III(ed.). Berkeley, CA: University of California Press, 1993,400 pp.Living Islam: From Samarkand to Stornoway. By Akbar Ahmed. NewYork: Facts on File, Inc., 1994.224 pp.One of the many expressions of the postmodernist revolt against themodernist western establishment is said to be its popular culture. The theoreticalliterature produced across this cultural divide often characterizes itin terms of two extremes: as a supreme expression of the true aspirations ofthe heretofore underprivileged masses or as a weapon in the hands of thetraditionally powerful political, social, and economic elites. The latter useit as a tool with which to manipulate the masses for their own respectiveagendas. A constant refrain of Hitler invoking Nazi supremacy over allhumanity, as well as our own self-serving politicians doing their own thingin the name of the “intelligent and well-informed will of the American people,”are only two of many examples of this instrument’s ubiquitous use.The Multiple Uses of Popular CultureThe vast grey area between these two margins includes umpteen otherdescriptions of popular culture, such as real “texture of our environment”and “adjustive syndrome,” and Matthew Arnold’s “heedless democratization.”In addition, there are such definitions as “banality” (Elliot), “reductionof the individual to basic instincts,” “titillation of the superficial senses”(Whitman), and “an expression denied by persistent puritanism and bourgeoispower” (Marx). Leavis also joined Arnold and Elliot in resisting thepopular resistance to “authority” found in traditional culture ...

scholarly journals Existence of Sobokartti Building as A Physical Culture in Semarang City in Law Anthropology Approach

2021 ◽  
Vol 2 (11) ◽  
pp. 1243-1249
Author(s):  
Emy Handayani ◽  
Satrio Adi Wicaksono
Keyword(s):  
Cultural Heritage ◽  
Cultural Values ◽  
Sustainable Use ◽  
Empirical Approach ◽  
Comparative Approach ◽  
Physical Culture ◽  
Human Beings ◽  
Cultural Wealth ◽  
Heritage Buildings ◽  
The Government

Physical culture can be understood as objects created by human beings which are an embodiment of the growth and development of cultural values ​​in a particular society, in the form of buildings that have been designated as cultural heritage buildings in the city of Semarang. The building is the Semarang Sobokartti building on Jalan Dr. Cipto Semarang, which is a reflection of the development of humans to always preserve culture both Javanese culture and western or European culture The approach used in this research is an empirical approach and a comparative approach to law anthropology. In an empirical approach, the sobokartti building is a physical culture which is a historic building that accommodates traditional arts which are closely related to Javanese culture, namely karawitan training, puppetry routine, puppetry courses, host courses, dancing courses and batik training. It should be appreciated because the community can maintain its preservation until now by showing the existence of Javanese culture with a love for culture that deserves to be preserved and for the nation's successor generation. Likewise with a comparative approach, it is said that the existence of physical culture in the sobokartti building is expected by the government to have regulations on cultural heritage objects, namely historic buildings or ancient buildings of the Sobokartti Semarang building as outlined in the Cultural Heritage Law No. 11 of 2010 to protect cultural heritage buildings with the aim of preserving, utilizing, and maintaining the beauty of a cultural heritage building Sobokartti Semarang. Suggestions that will be used in this research that is the role of the Government and Society to maintain physical cultural wealth should be developed by the nation's next generation, with the utilization of the Sobokartti building can provide sustainable use. So that, the Government and the community have the desire to protect and preserve the function of the Sobokartti Semarang building.

scholarly journals The Influences and Changes of the Crimean Tatars Music in the Process

2013 ◽  
Vol 1 (1) ◽  
pp. 1-7
Author(s):  
Abdullah Akat
Keyword(s):  
Popular Culture ◽  
Soviet Union ◽  
Mass Media ◽  
Daily Practice ◽  
The Other ◽  
World War ◽  
Process Of Change ◽  
Cultural Wealth ◽  
The Soviet Union ◽  
The People

Crimea is now an autonomous parliamentary republic which is governed by the Constitution of Crimea in accordance with the laws of Ukraine. But, Crimea has been home to different nations during the history, as a result of the cultural wealth and thisfactor has been moved to today patterns. Crimean Tatars is one of the important parts of this wealth. The Crimean Tatars were forcibly expelled to Central Asia by Joseph Stalin's government after II. World War. After the fall of the Soviet Union, some Crimean Ta began to return to the region. Now, Crimean Tatars, an ethnic minority in Crimea and make up about 13% of the population. So, Crimean Tatars’ music must be evaluated in two periods. Before exile and after exile. There are many networks in the music of Crimea, and these networks can continue their existence even in small villages. On the other hand, the effects of popular culture increasing on Crimean Tatars music. The aim of this paper is to explain the musical differences in the process of change Crimean Tatars from generation to generation; define the effects of the people, places and mass media that cause them, observe them in daily practice and analyze these type of issues.

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