“This Is a Sampling Sport”: Digital Sampling, Rap Music, and the Law in Cultural Production

2004 ◽  
pp. 526-544
Keyword(s):  
Cultural Production ◽  
Rap Music ◽  
Digital Sampling ◽  
The Law

Micronarratives of Music and (Self-)censorship in Socialist Yugoslavia

2017 ◽  
Author(s):  
Ana Hofmann
Keyword(s):  
Popular Music ◽  
Cultural Politics ◽  
Cultural Production ◽  
Cultural Policy ◽  
Music Production ◽  
Subjective Approach ◽  
Break Up ◽  
The Law ◽  
Media Discourses

This chapter explores the music censorship in “totalitarian,” “closed” socialist Yugoslavia, with particular emphasis on “editorial censorship” that involved constant conscious (self-)censorship on the part of authors. Using official (state and scholarly) narratives and media discourses as a framework, the chapter proposes more nuanced and dynamic interpretations of censorial practices in socialist societies that highlight the complexity of socialist music censorship. It considers changes in state cultural policy during the 1970s and their implications for censorship in Yugoslavia in the field of popular music production. Focusing on the “Law Against Šund [art trash],” the chapter examines how Yugoslav officials attempted to end “unregulated cultural politics” and growing nationalism in all fields by promoting an individualized, subjective approach to censorship without strict rules and institutional supervision. It also describes censorship after the break up of Yugoslavia, and especially the emergence of other ways of controlling cultural production in the post-socialist era.

Authors and Rappers: Italian Hip Hop and the Shifting Boundaries of Canzone d’Autore

Popular Music ◽  
2007 ◽  
Vol 26 (3) ◽  
pp. 463-488 ◽  
Author(s):  
MARCO SANTORO ◽  
MARCO SOLAROLI
Keyword(s):  
Cultural Production ◽  
Hip Hop ◽  
Rap Music ◽  
Qualitative Interviews ◽  
Point Of View ◽  
Current Status ◽  
Theoretical Point ◽  
Hip Hop Culture ◽  
Boundary Making ◽  
The Impact

AbstractBy offering a historical reconstruction of the process of contextualisation of hip hop culture in Italy over the last fifteen years, the article assesses the current status of canzone d’autore and its changing configuration under the impact of rap music. From a theoretical point of view, the conceptual framework combines the sociological definition of ‘field of cultural production’ elaborated by Pierre Bourdieu with the related literature on social and symbolic boundaries. From a methodological point of view, the analysis is based on the data collected by Club Tenco (a cultural organisation which plays an institutional role within the field of canzone d’autore) as well as on a series of qualitative interviews carried out with a number of Italian rappers and cantautori. Special attention is paid to a very few crucial figures that can be considered paradigmatic examples in the dynamic process of boundary-making of the two cultural (sub-)fields of Italian rap and canzone d’autore.

Introduction

2019 ◽  
pp. 1-20
Author(s):  
Fei-Hsien Wang
Keyword(s):  
Conceptual Framework ◽  
Cultural Production ◽  
Copyright Law ◽  
Modern China ◽  
Production And Consumption ◽  
History Of ◽  
The Law

This chapter provides a background on the new conceptual framework on unveiling the intertwined history of copyright and piracy in modern China that most scholars and commentators have so far neglected to see. The law that defines what constitutes copyright and piracy are never merely legal matters, but practices and concepts formed and evolved in the specific local nexus of cultural production and consumption. The chapter also talks about the potential users of copyright legislations. Authors, translators, publishers, and booksellers may not have the authority to make copyright law, but they hold dear the ownership of books and are more deeply concerned than the rest of society with the issues of piracy. This book explores how authors, translators, publishers, and booksellers received, appropriated, practiced, and contested the very concept of copyright or banquan in Chinese, literally “right to printing blocks.”

scholarly journals Disclaimer – this is a work of fiction: the relationship between law and literature in the novels “The children act”, by Ian McEwan, and “The pale king”, by David Foster Wallace

2019 ◽  
Vol 5 (1) ◽  
pp. 215-234
Author(s):  
Marcelo de Araujo ◽  
Clara Savelli
Keyword(s):  
Cultural Production ◽  
Subject Matter ◽  
Law And Literature ◽  
David Foster Wallace ◽  
Demarcation Line ◽  
Contemporary Debate ◽  
The Subject ◽  
The Law ◽  
Ian Mcewan ◽  
The Relationship

The aim of this article is to explore a relationship that has not yet been examined in the contemporary debate on law and literature. The law can, indeed, constitute the subject matter of a novel. But as we argue in this article, the law can also determine what counts, and what does not count as a novel. We defend this thesis by analyzing Ian McEwan’s “The Children Act” (2014) and David Foster Wallace’s “The Pale King” (2011). In the context of contemporary cultural production, the law has the power and the legitimacy to create what we call the space of fiction. As we intend to show, the law can create the demarcation line between fictional and non-fictional narratives.

Greek Hip Hop: Local and Translocal Authentication in the Restricted Field of Production

2016 ◽  
Author(s):  
Athena Elafros
Keyword(s):  
Cultural Production ◽  
Hip Hop ◽  
Rap Music ◽  
Musical Form ◽  
New Wave ◽  
Field Of Cultural Production

This paper illustrates how hip hop practitioners in Athens, Greece legitimate hip hop asan authentic musical form within the restricted field of cultural production. First, this paperoutlines how fields of cultural production operate. Second, this paper illustrates how the data forthis project was collected. Third, this paper highlights how past and current struggles within thefield shape how authenticity is defined. Fourth, this paper highlights the discursive techniquesused by hip hop practitioners to position rap music as aesthetically superior to the commerciallysuccessful genres of new wave laika, 'hip pop,' corporate American hip hop and Greek pop. Fifth,I illustrate how hip hop practitioners use two competing processes of aesthetic legitimation: localauthentication and translocal authentication, within the restricted field of cultural production.Finally, I conclude with some suggested avenues for future research.Sent from Mail for Windows 10

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