Limiares entre a mitologia e a imagem sobrevivente:

O presente trabalho centra-se na relação entre o mito de Afrodite e iconografias contemporâneas de Madonna, Lady Gaga e Beyoncé, sobretudo na convergência que estas estabelecem com a obra “O nascimento de Vénus”, de Botticelli. A análise das imagens dar-se-á a partir da “iconologia dos intervalos" de Aby Warburg, que corresponde à investigação sobre a linguagem do inconsciente da memória cultural, enquanto fenómeno antropológico. O nosso objetivo consiste em identificar as possíveis reutilizações de elementos expressivos provenientes da Antiguidade e do Renascimento, e de que maneira estes contribuem para a construção da representação da mulher na pós-modernidade através de jogos de identificação. A relevância deste artigo está na articulação das tensões geradas pelo processo de cristalização do movimento da vida na imagem, sobretudo no deslocamento e ressignificação de materiais históricos e culturais, que desafiam o tempo e o espaço, e se fazem presentes na contemporaneidade

From Holy Fool to The Holy Christ: Menguak Makna Teologis Spiritualitas di Balik Lagu “Judas” oleh Lady Gaga

The emergence and development of Popular Culture tend to be misunderstood and disregard as a shallow culture. Due to its sensational and eccentric display, the product of Popular Culture is always considered wrong morality of what people believe as a high morality. The song, “Judas”, sung by Lady Gaga, is one of products of Popular Culture which now becomes controversy. The controversy, then, becomes wider because Gaga brings forward to show to the public Judas who in the Bible both Protestant and Catholic was the traitor and symbol of sins. The video clip of this song is also regarded as a harassment of Jesus in which full of expression of sex, violence, hedonism, and even vulgar. Now, the question is that is it true that the meaning of Judas shown by the lyrics is to blaspheme Christianity and to mislead people by using Judas as a shield? Then, what is truly the conception of sins in this song so that it becomes controversy? To find out the answer, in this paper, I will use semiotic analysis method. The method is to analyze to read the text from social perspective by using code or message (containing symbols and meaning) as the starting point, without ignoring the context and reader. Afterwards, the text of this song will be dialogued in Christi an theology, so it can be found like what the theological response to this song is. I also hope the result can show us that popular culture shown by popular music is not always shallow and vicious. However, there is ethical message and moral value which should be consideration or reflection of how the people undergo either their private live or their religion. AbstrakKemunculan dan perkembangan budaya populer di dunia cenderung disalahpahami, diabaikan bahkan dicemooh sebagai budaya yang dangkal dan murahan. Produk hiburan budaya populer sering kali disertai dengan penampilan yang sensasional dan eksentrik sehingga dianggap melenceng dari norma-norma atau moralitas hidup yang selama ini dijunjung tinggi nilainya. Lagu “Judas” yang dibawakan oleh Lady Gaga menjadi salah satu contoh produk budaya populer yang dianggap sensasional, eksentrik dan akhirnya menimbulkan kontroversi. Kontroversi tersebut semakin merebak karena Gaga menampilkan seorang tokoh Judas yang dalam Alkitab dan dalam ajaran agama baik Protestan maupun Katolik merupakan tokoh pengkhianat dan simbol dosa. Video klip dalam lagu Judas juga dinilai telah melecehkan Yesus bahkan saratdengan ungkapan seks, kekerasan dan hedonisme yang juga bebas dan vulgar. Pertanyaan yang kemudian muncul adalah apakah benar makna yang terkandung dalam lirik lagu Judas bertujuan untuk menghina agama Kristen dan bertujuan untuk menyesatkan manusia dengan menggunakan Judas sebagai tamengnya? Lalu apa sesungguhnya konsep dosa dalam lagu Judas yang sampai menimbul kontroversi di mata dunia? Untuk menemukan jawaban atas hal tersebut maka dalam tulisan ini penulis akan menggunakan metode analisis semiotika, yakni analisis yang berperan untuk membaca teks dari perspektif sosial dengan menggunakan kode dan pesan (yang mengadung simbol dan makna) sebagai titik berangkatnya, tanpa mengabaikan pengaruh konteks dan pembaca. Kemudian teks lagu Judas akan didialogkan dalam teologi Kristen sehingga dapat ditemukan seperti apa respon etis teologis atas kehadiran lagu Judas. Penulis berharap hasil yang ditemukan dapat menunjukkan bahwa budaya populer melalui musik pop ini tidak selalu menunjukkan kesesatan dan kedangkalan seperti yang dipahami kebanyakan orang, melainkan juga memuat pesan dan nilai-nilai moral etis yang seharusnya menjadi bahan perti mbangan atau refleksi manusia atas kehidupan pribadi dan agamanya.

Making fans go "GAGA": intimacy, identity and brand building through Twitter

While the use of digital platforms has harmed some aspects of the music industry, it has also created new opportunities for artists to prosper in terms of marketing, branding, communication and to ultimately become cultural entrepreneurs. Twitter in particular is a social networking service (SNS) that is ideal for studying fan celebrity interactions, as it is a safe space for celebrities to market, brand and communicate with fans through strategic discourse in an informal environment. With SNS such as Twitter, fans now have the opportunity to build seemingly intimate relationships with celebrities, becoming cocreators of content. Widely acknowledged for her unparalleled relationships and interactions with fans on Twitter, singer Lady Gaga, has achieved success and long term viability amidst digitalization through her strategic use of online platforms to not only promote and strengthen her brand, but to build intimate relationships with her fans. Lady Gaga exemplifies how the digitalization of the music industry and growth of online platforms drive artists to take on new roles as entrepreneurs marketers and as conversationalists with fans. As such, this paper presents a review of the extant literature of studies that have explored the connection between celebrity brand building and representation on social media and how fan identification, interaction and intimacy are forged via social media discourse. This is followed by a qualitative discourse analysis of 904 tweets and retweets collected from Lady Gaga’s Twitter account from May 31st, 2015 until April 31st, 2016. This analysis serves to develop an understanding of how language is being used actively, persuasively and to isolate patterns in Lady Gaga’s Twitter discourse. This includes key terms, phrases and overall frequency of these. In analyzing how Lady Gaga uses strategic discourse on Twitter, we can build a greater understanding of how this social medium is used to build intimacy with fans. From this knowledge, both artists and marketers can emulate this model for effective brand management on social media, particularly on Twitter.

Making fans go "GAGA": intimacy, identity and brand building through Twitter

While the use of digital platforms has harmed some aspects of the music industry, it has also created new opportunities for artists to prosper in terms of marketing, branding, communication and to ultimately become cultural entrepreneurs. Twitter in particular is a social networking service (SNS) that is ideal for studying fan celebrity interactions, as it is a safe space for celebrities to market, brand and communicate with fans through strategic discourse in an informal environment. With SNS such as Twitter, fans now have the opportunity to build seemingly intimate relationships with celebrities, becoming cocreators of content. Widely acknowledged for her unparalleled relationships and interactions with fans on Twitter, singer Lady Gaga, has achieved success and long term viability amidst digitalization through her strategic use of online platforms to not only promote and strengthen her brand, but to build intimate relationships with her fans. Lady Gaga exemplifies how the digitalization of the music industry and growth of online platforms drive artists to take on new roles as entrepreneurs marketers and as conversationalists with fans. As such, this paper presents a review of the extant literature of studies that have explored the connection between celebrity brand building and representation on social media and how fan identification, interaction and intimacy are forged via social media discourse. This is followed by a qualitative discourse analysis of 904 tweets and retweets collected from Lady Gaga’s Twitter account from May 31st, 2015 until April 31st, 2016. This analysis serves to develop an understanding of how language is being used actively, persuasively and to isolate patterns in Lady Gaga’s Twitter discourse. This includes key terms, phrases and overall frequency of these. In analyzing how Lady Gaga uses strategic discourse on Twitter, we can build a greater understanding of how this social medium is used to build intimacy with fans. From this knowledge, both artists and marketers can emulate this model for effective brand management on social media, particularly on Twitter.

Jazz Resurgent

At the dawn of the twenty-first century, many pundits announced the “death of jazz,” yet recent years have shown the exact opposite trend. Jazz has returned to popular culture, whether one looks to rising stars such as Kamasi Washington and Shabaka Hutchings, or to popular artists (Lady Gaga, Kendrick Lamar) who draw heavily on jazz influences. At the same time, jazz started showing up in hit movies such as La La Land, Green Book, and Whiplash, where it was mythologized as a touchstone of musical excellence and artistry. All these trends served to reinvigorate a jazz tradition that many had written off as moribund, creating a powerful convergence of historic styles and new commercial styles. This chapter also explores the jazz vocal scene of recent decades, and its contribution to this broadening of the genre’s appeal. Other artists discussed include Robert Glasper, Esperanza Spalding, and Bobby McFerrin. The chapter concludes with an assessment of jazz’s relationship with the emerging technologies of the digital age.

Música, telas e nostalgia: uma experiência estética-afetiva

O estudo presume a possibilidade de uma experiência estética-afetiva a partir de uma relação triádica sustentada por meio da música, telas e nostalgia. Tem-se como objetivo examinar uma possível articulação operacionalizada pelo videoclipe de modo a desencadear um estímulo nostálgico sob o viés da memória teleafetiva. Como percurso metodológico, a investigação se ancora em uma abordagem empírica, a partir de uma análise observacionista do videoclipe da música Nathional Anthem, da cantora Lana Del Rey, e do videoclipe da música Stupid Love, da cantora Lady Gaga.