scholarly journals Popular Culture. A Reply to Shusterman and Małecki

2009 ◽  
Vol 20 (38) ◽  
Author(s):  
Stefán Snævarr
Keyword(s):  
Popular Culture ◽  
Popular Art ◽  
The Usa ◽  
As If

The article is a response to criticism of my two recent articles on Richard Shusterman’s view of popular culture by Shusterman and Małecki. The former maintains that I have misrepresented his view on Europe, the USA and popular culture. But I point out that he talks as if there is no popular culture in Europe due to Europe’s aristocratic traditions, and that the USA is a hotbed of popular culture thanks to its egalitarian traditions, and that Europe can be treated as a country comparable to the USA. He also says that I falsely think he is talking about popular culture while he is really talking about popular art. But I show that it is meaningless to talk about popular art without talking about popular culture and that as a pragmatist Shusterman should have understood that. I show that Małecki grossly misrepresents my article, maintaining that I am against all forms of popular art and against everything Shusterman says about popular art. I show that this is blatantly wrong.

The Influence of the Infomercial in New Zealand

2019 ◽  
pp. 67-80
Author(s):  
Rosser Johnson
Keyword(s):  
New Zealand ◽  
Primary Sources ◽  
Cultural Impact ◽  
Cultural Importance ◽  
The Usa ◽  
The 1950S ◽  
As If

New Zealand television networks introduced infomercials (30 minute advertisements designed to appear as if they are programmes) in late 1993. Although infomercials date from the 1950s in the USA, they were unknown in this country and quickly came to be seen as a peculiarly “intense” form of hyper-commercial broadcasting. This article aims to sketch out the cultural importance of the infomercial by analysing historical published primary sources (from the specialist and general press) as they reflect the views and opinions that resulted from the introduction of the infomercial. Specifically, it outlines the three main areas where that cultural importance was located. It concludes by analysing the significance of the cultural impact of the infomercial, both within broadcasting and within wider society.

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.

scholarly journals Life-Styles and Nature Conservation

Oryx ◽  
1976 ◽  
Vol 13 (3) ◽  
pp. 281-286 ◽  
Author(s):  
Raymond F. Dasmann
Keyword(s):  
Developing Countries ◽  
Nature Conservation ◽  
National Parks ◽  
General Assembly ◽  
Life Styles ◽  
The People ◽  
The Usa ◽  
Local Ecosystem ◽  
Developed Nations ◽  
As If

One of the key papers at the Technical Meetings that accompanied the IUCN General Assembly in Zaïre was Dr Dasmann's showing how the emphasis in nature conservation has shifted. No longer can the ‘biosphere people’ – the people of the developed nations who draw on the resources of the whole world to maintain their life-style – simply urge developing countries to ‘protect’ wildlife and establish national parks while at the same time pressing them to cut back their population growth. One extra person in the USA will consume more in energy and materials than 20 extra people in Tanzania. What Dr Dasmann calls the ‘ecosystem people’—those who depend for all their resources on supplies within their local ecosystem – lived in balance with nature and, moreover, did not live impoverished lives, Today we can only solve our world problems by getting back to some better balance, ‘the old partnership with nature that existed without people being aware of it’. What we need, he suggests, is ‘conservation as if people mattered’ and ‘development as if nature mattered’. Nature conservation today demands new life-styles.

The (Un)Remarkable Fatness of Valiant’s Faith

2020 ◽  
pp. 69-83
Author(s):  
Stefanie Snider
Keyword(s):  
Popular Culture ◽  
Positive Shift ◽  
As If

This chapter examines the potential, as well as the limits, of making the superhero Faith Herbert/Zephyr fat. Typically framed as monstrous in western superhero comics, Faith’s fatness is treated textually and visually as if it is not in any way aberrant. The author of this chapter questions whether this representation marks a positive shift in western popular culture in relation to fatness, or whether, in this case, Faith as a monstrous woman has been “defanged” and denied the potential to be subversive of marginalizing norms.

Art and Archaeology

2016 ◽  
Vol 63 (1) ◽  
pp. 140-143
Author(s):  
Nigel Spivey
Keyword(s):  
The Body ◽  
First Century ◽  
The Usa ◽  
Freed Slaves ◽  
Mr Safe ◽  
As If

In 1830 a hoard of Roman silver weighing some 25 kilograms was recovered from farmland near Berthouville, between Rouen and Caen. The silver was mostly worked into drinking vessels and associated items such as jugs, ladles, and bowls. Two statuettes of the god Mercury confirmed this as a votive deposit, as indicated by various dedications from Romano-Gallic pilgrims, notably on nine pieces left by Quintus Domitius Tutus (‘Mr Safe’) in the mid-first century ad. Restored by conservation experts at the Getty Museum, the cache – along with several other treasures from Gaul – has served as witness to ‘Roman luxury’ in an exhibition on tour in the USA. The exhibition's catalogue is a volume that earns its place in any classical library. The Berthouville Silver Treasure and Roman Luxury may not add very much to our understanding of luxuria in Roman discourse: it is left unclear what happens when a ‘luxury object’ is put out of circulation, or at least transferred into the enclosed economy of a sanctuary; and if Mercury was a deity of fortune favoured particularly by freed slaves, perhaps a set of silver spoons was not such an ‘elite’ attribute as supposed? Beyond such factors of value, however, the figurative elaboration on display is striking. At the centre of a libation bowl we find the Lydian queen Omphale in a drunken slumber, exposing her derrière – as if to say ‘Beware how you imbibe’. One wine pitcher shows Achilles leaping aboard his chariot, with the body of Hector trussed in tow; turn the jug round, and there is Achilles again, now himself stricken in battle. On another pitcher, Achilles is among Greeks mourning the death of Patroclus; and there is Hector's corpse in a pair of scales, as the price of his ransom is assessed. We would be impressed to find such ‘sophisticated’ iconography upon objects in use at some stately villa at Rome or around the Bay of Naples. What does its appearance in the moist pastures of Normandy signify – at least for our preconceptions of ‘provincial taste’?

scholarly journals The haunted culture—Shamanic heroes in the cultural content industry of South Korea

2011 ◽  
Vol 12 (1) ◽  
pp. 79-104
Author(s):  
Jinseok Seo
Keyword(s):  
Popular Culture ◽  
South Korea ◽  
Natural Resources ◽  
21St Century ◽  
Consumer Market ◽  
Long Time ◽  
The Usa ◽  
Asian Market ◽  
Cultural Content ◽  
Short Time

Vytautas Magnus UniversityKorea, with insufficient natural resources and a limited consumer market, began to take notice of the cultural content industry in the 21st century. This means that the cultivation of this industry has not taken place for a long time compared to Japan, the USA or Hong Kong. Yet Korea has obtained an astonishing outcome in a short time. The popular culture of South Korea, with the appellation of hallyu, boasted of an enormous strength initially in the Asian market and subsequently stretched to markets in other countries, too. Seeing that Korean cultural archetypes do not play a successful role in the cultural content business of Korea in general, the position of shamanism is truly trivial among the others. I would like to analyse and discuss the meaning, function and potential of Korean shamanism in the field of the Korean cultural content industry.

scholarly journals Fugitive Sources, Ben-Hur, and the Popular Art “Property”

2008 ◽  
Vol 9 (1) ◽  
pp. 67-78
Author(s):  
Jon Solomon
Keyword(s):  
Popular Culture ◽  
Critical Edition ◽  
Popular Art ◽  
Professional Research ◽  
Education Training

When I started my work on Ben-Hur several years ago, I had little idea that it was, in fact, “work.” It began as a curiosity, developed into a passionate interest, and resulted in what I would like to think is an important identification—that Ben-Hur is the avatar of the popular culture “property” that enters as a best-selling item, spreads to other artistic genres, and develops into a variety of business synergies.My education, training, and professional research have been mostly in traditional sources and resources. For my dissertation, a critical edition of Cleonides’ Harmonic Introduction (Eisagogê harmonikê), I collated ...

Fetisisme Ras Kaukasoid dan Ras Mongoloid Sebagai Strategi Pemasaran dalam Sinetron Indonesia

Panggung ◽  
2014 ◽  
Vol 24 (4) ◽  
Author(s):  
Dimas Yudhistira ◽  
Aquarini Priyatna ◽  
Dade Mahzumi
Keyword(s):  
Popular Culture ◽  
Marketing Strategy ◽  
Qualitative Method ◽  
Soap Opera ◽  
Popular Art ◽  
Two Sides

ABSTRACT Popular culture that rises with industrialization influences the production of film in Indonesia. One of genres of Indonesia’s film is soap opera. Soap opera has two sides, the first side as market com- modity and the second side as popular art, whichcategorized itself as kitsch. As producing their pro- duct, soap opera has to see trough the background of its society. This research used qualitative method. The research resultsmost of Indonesian are Malaya that have colonized by Caucasian and Mongolian before 1945 and after that. It causes effect of fantasies that create the stereotype about Caucasian and Mongolian appearances. Stereotype makes Malaya have fetishism about Caucasian and Mongolian’s appearance. Director of soap opera uses this kind of fetishism as appeal to audiences in Indonesia. Displaying the racial half-bred of body of actress and actor in soap opera is become one of marketing strategy to promote soap opera. This is why half-breed actress and actor always get the important role in Indonesian soap opera. Keywords: soap opera, kitsch, race, fetishism    ABSTRAK Budaya populer yang tumbuh seiring dengan industrialisasi memengaruhi produksi per- filman di Indonesia. Salah satu genre perfilman di Indonesia adalah sinetron. Sinetron yang di- kategorikan sebagai produk seni kitsch memiliki dua kriteria yaitu sebagai komoditi seni yang populer dan sebagai komoditi dagang yang menghasilkan keuntungan ekonomis. Sebagai se- buah produk seni kitsch yang merupakan dasar pembuatan karyanya adalah selera masyarakat kebanyakan maka sinetron harus jeli dalam melihat keadaan dan latar belakang masyarakat. Penelitian ini menggunakan metode kualitatif. Hasil penelitian ini menggambarkan masyara- kat Indonesia yang merupakan ras Melayu telah dijajah oleh ras Kaukasoid dan Mongoloid sebelum tahun 1945 dan setelahnya. Efek dari penjajahan ini adalah ras Melayu telah ditanami fantasi yang menjadi stereotip mengenai ras Kaukasoid dan Mongoloid yang berakhir dengan fetisisme. Fetisisme ini dijadikan sebagai strategi pemasaran oleh produser dan sutradara un- tuk menarik antusiasme calon penonton sinetron. Caranya dengan menampilkan aktor dan aktris Melayu keturunan Kaukasoid dan Mongoloid sebagai pemeran utama. Kata kunci: sinetron, seni kitsch, ras, fetisisme

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