Entre el monstruo y el mártir: los vídeos musicales de Marilyn Manson (1995-2001)

Marilyn Manson destaca en el universo mediático actual gracias a una imagen impactante y al uso eficaz del escándalo como método promocional. Como es lógico, los videos musicales son esenciales en el desarrollo de la personalidad mediática del grupo y de su líder.

A Theology of Religious and Cultural Tolerance in a Pluralistic Context from Amos 2:1–3

The thesis of this article is that Amos 2:1–3 teaches religious and cultural tolerance in a pluralistic context. Amos 2:1–3 is a bizarre text which deals with an act of desecration: the king of Moab burning the king of Edom’s bones. The shocking question this text raises is: why would YHWH the one true God and savior of Israel care about how one pagan king treated another dead pagan king? The juxtaposition of exclusivism and pluralism is the precise mechanism that generates a theology of religious and cultural tolerance from Amos 2:1–3. The second installment of this study makes a practical application of this theology entitled ‘From Marilyn Manson to Amos: Navigating Pluralism in the Twenty-first Century West’.

From Marilyn Manson to Amos: Navigating Pluralism in the Twenty-First-Century West

This is the second installment of a two part study which attempts to apply the theology of religious and cultural tolerance from Amos 2:1–3 to the pluralistic twenty-first-century West. Pluralism is not a new idea. In fact, Amos and both the Old and New Testaments are given in a pluralistic context. This study makes correlations with Patten’s article ‘Multicultural Dimensions of the Bible’ and the Pluralism Project at Harvard University. It attempts to demonstrate how both Jesus and the church navigated pluralism with religious and cultural tolerance. This article is a call to Christians to stand together and be strong in our faith, values and practices, while proclaiming the gospel and evangelizing in the context of the twenty-first-century pluralistic West in an uncompromising yet balanced and truly tolerant way.

Cine, videoclip americano y videoclip japonés: la dirección de arte como hilo conductor. El caso de Not another teen movie

La relación entre cine y videoclip es una cuestión estudiada por los adeptos tanto de una como de otra parte de la ecuación. Estas relaciones suelen abarcar el sentido técnico de ambas materias en tanto que una se nutre de la otra (o la otra de la una); el sentido narrativo donde en ocasiones entra en juego también el propio teatro; el cultural de por qué estas interferencias que con frecuencia ocurren en el ámbito técnico se producen; y, cómo no, el estético.Sin embargo, se va a dar por sentada de antemano la relación entre el cine y el videoclip en todos estos sentidos al coger como caso un clip que, con motivos promocionales, se ha extraído a conciencia de una película. Este es, el caso del videoclip Tainted Love (2002), protagonizado por Marilyn Manson y dirigido por Phillip G. Atwell, y de la película No es otra estúpida película americana (Not another teen movie, Joel Gallen, 2001). De esta forma, el análisis se focalizará en cómo todos estos “puentes” (técnico, cultural, visual, narrativo) entre uno y otro terminan condensándose al servicio de la imagen y el simbolismo, para volverse a repetir con un motivo meramente artístico1 por un tercer actor promocional: el grupo de visual kei japonés The Gazette, con la canción que da nombre a su videoclip Inside Beast (Toshihiko Imai, 2013).Abstract:The relationship between film and video is a matter studied by adherents of both one and the other part of the equation. These relationships tend to cover the technical sense of both subjects while a thrives on the other (or another one); the narrative sense that sometimes enters the game also the theater itself; cultural sense of why these interferences that often occur in the technical field are produced; and, of course, aesthetic sense, also closely linked to the latter, among others.However, it is taken for granted in advance the relationship between film and video in all these respects to take as a clip case, for promotional purposes, has been extracted from a film confirmed conscience. This is the case of the video Tainted Love (2002), starring Marilyn Manson and directed by Phillip G. Atwell, and film Not Another Teen Movie (Not Another Teen Movie, Joel Gallen, 2001) which is extracts the first. Thus, the analysis will focus on how all these "bridges" (technical, cultural, visual, narrative) between the two end up condensing the service image and symbolism, to go to repeat with a purely artistic motif for Promotional third foreign actor visual kei group The Gazette, with the title track to his video Inside Beast (Toshihiko Imai, 2013).Palabras clave:cine; videoclip; dirección de arte; visual kei; publicidadKeywords:Cinema; Videoclip; Art Direction; Visual Kei; Advertising