Relevant bibliographies by topics / Popular culture industry

Academic literature on the topic 'Popular culture industry'

Author: Grafiati
Published: 10 December 2022
Last updated: 19 February 2023

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Journal articles on the topic "Popular culture industry"

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Alexander, Peter J. "Entropy and Popular Culture: Product Diversity in the Popular Music Recording Industry." American Sociological Review 61, no. 1 (February 1996): 171. http://dx.doi.org/10.2307/2096412.

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GIESTA, GABRIEL VALLADARES. "Os primeiros passos do samba com a indústria fonográfica: da Casa Edison à diversificação das gravadoras * The first steps of samba with the phonographic industry: from Casa Edison to the diversification of record." História e Cultura 2, no. 2 (December 30, 2013): 35. http://dx.doi.org/10.18223/hiscult.v2i2.1073.

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<p><strong>Resumo:</strong> O presente artigo parte de um estudo de caso sobre o samba e as gravadoras nas primeiras décadas do século XX no Rio de Janeiro, tendo como objetivo refletir sobre o conceito de indústria cultural. Neste caso, tem como foco a relação entre indústria cultural e cultura popular, principalmente no que tange à indústria fonográfica. Sendo assim, busca-se trabalhar uma construção teórica e conceitual no fazer historiográfico a partir do diálogo com o objeto de pesquisa em questão, neste caso, os sambas gravados no Rio de Janeiro das décadas de 1910, 1920 e 1930. </p><p><strong>Palavras-chave:</strong> Indústria fonográfica – Indústria cultural – Samba – Cultura popular.</p><p> </p><p><strong>Abstract:</strong> This article presents a case study on Samba and record labels in the first decades of the Twentieth Century at Rio de Janeiro, aiming to discuss the concept of culture industry. In this case, this article focuses on the relation between the culture industry and popular culture, mainly concerning the phonographic industry. Thus, it seeks out to work on a theoretical and conceptual construction in the historiographical craft dialoguing with the research object in question, in this case, the samba songs recorded at Rio de Janeiro in the 1910s, 1920s and 1930s.<br /><strong></strong></p><p><strong>Keywords:</strong> Phonographic industry – Culture industry – Samba – Popular culture.</p>
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Singh, Ankita. "CAPITALISM, CONSUMERISM AND POPULAR CULTURE." International Journal of Research -GRANTHAALAYAH 6, no. 4 (April 30, 2018): 205–10. http://dx.doi.org/10.29121/granthaalayah.v6.i4.2018.1645.

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A product’s utility has evolved over time. In today’s world, the commodities possess the power to define us. Every product that we own today, through its branding, reflects our social status, values and vice versa. It is difficult to refute the negative influence of capitalism that we witness in form of obsession with possession. The aim of the paper is to study the extent to which the products of the modern society like the protagonists in the following two movies suffer; whether it is possible to imagine an end of consumerism and not the world or has it become an inherent part of the late capitalist world in which there is no completeness but the perennial emergence of substitutes (objects). This paper studies the aforementioned issues through the movies “Fight Club” and “Confessions of a Shopaholic”. The first section of the paper uses the case of soap industry as the foundation and analyses “Fight Club”. The second section examines the role of credit card companies in compulsive buying disorder through “Confessions of a Shopaholic”. Despite the similarity between the two movies on the grounds of the modern world “suffering”, the paper highlights the difference in their treatment of the main theme of consumerism and links it to the gender politics. The final section draws a comparison between the endings of the two movies and investigates the premise of disorder in “Fight Club” and its existential threat to capitalism.
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Babich, Babette. "Musical “Covers” and the Culture Industry." Research in Phenomenology 48, no. 3 (September 27, 2018): 385–407. http://dx.doi.org/10.1163/15691640-12341403.

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Abstract This essay foregrounds “covers” of popular recorded songs as well as male and female desire, in addition to Nietzsche’s interest in composition, together with his rhythmic analysis of Ancient Greek as the basis of what he called the “spirit of music” with respect to tragedy. The language of “sonic branding” allows a discussion of what Günther Anders described as the self-creation of mass consumer but also the ghostly time-space of music in the broadcast world. A brief allusion to Rilke complements a similarly brief reference to Jankelevitch’s “ineffable.”
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Cloonan, Martin, and John Street. "Rock the Vote: Popular Culture and Politics." Politics 18, no. 1 (February 1998): 33–38. http://dx.doi.org/10.1111/1467-9256.00058.

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Rock the Vote was founded in 1996 as an attempt to exploit popular culture to boost political participation. Using pop musicians and comedians, it attempted to encourage young people to take part in politics. This article examines the formation of Rock the Vote, and explores its implications for the character of contemporary politics. It argues that Rock the Vote has to be understood not only as part of a larger shift in the nature of political campaigning and communication, but also as a response to the mutual needs of political parties and the popular culture industry. Rock the vote is both a symptom of new forms of campaigning and also a pragmatic solution to particular political problems.
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Pilkevych, Andrii. "US popular culture in the mirror of video game industry conventions." Ethnic History of European Nations, no. 64 (2021): 97–101. http://dx.doi.org/10.17721/2518-1270.2021.64.13.

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Video game culture is one of the most dynamically developed forms of modern popular culture. Over the past 10 years, the number of communities that represent certain areas has grown rapidly. Being in direct connection with film industry, literature and music the video game culture has occupied a new segment that requires detailed research. New opportunities of online communication have transformed the traditional understanding of gaming culture. Social segment identifies as gamers. This kind of culture can be used to spread a social message using human interactions. It should be noted that in a comprehensive sense, this problem covers the interaction with computer and algorithm art, artmedia, demoscene, cybernetic and digital art, evolutionary and generative art, new media, systems art and other areas which are represented in PC, VR, Console, Handheld, Tabletop. Communities of gamers, as well as game developers have created and promoting quite recognizable festivals and conventions which are described in this article. Games and game-related merchandise by Sony Interactive Entertainment – PlayStation Experience; BlizzCon by Blizzard Entertainment with their major franchises: Overwatch, Warcraft, StarCraft, Heroes of the Storm et al; general video gaming and video game streaming – TwitchCon convention; RTX conventions by Rooster Teeth; Penny Arcade Expo as gaming culture festivals with their PAX Arena, LAN Party, eSports tournament and Omegathon. This article does not describe the US comic con conventions that carry much more content than the focus on video games, such as San Diego Comic-Con International, New York Comic Con et al. Gamers have developed specific communication languages and rituals, they spread their culture on gaming conventions and discussion websites that create a distinct virtual space. An important part of video game culture is the activity of gamers on YouTube, gaming channels are very popular, this is confirmed by millions of subscribers. Post-dynamic structure of changes was formed in all streams of public life during the growth of the pandemic. COVID-19 is accelerating existing trends and indicate future transformations in the video game industry.
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Pilkevych, Andrii. "«Multigenre Convention» Through a Prism of US Popular Culture." Ethnic History of European Nations, no. 67 (2022): 136–41. http://dx.doi.org/10.17721/2518-1270.2022.67.18.

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The article gives a brief description of the most famous festivals and conventions of popular culture in the United States, which include Comic-Con International: San Diego, New York Comic Con, Wizard World Chicago Comic Con, AggieCon, Alamo City Comic Con, All-Con, ApolloCon, Archon, Big Apple Comic Con, Blerdcon, CarnageCon, Chattacon, Chicago Comic & Entertainment Expo, ClexaCon, CoastCon, ConCoction, ConGlomeration, ConnectiCon, CONvergence, Dragon Con, Emerald City Comic Con, Fan Expo Boston, Fan Expo Dallas, FanX, Florida Supercon, Genericon, Heroes Convention, LA Comic Con, MidSouthCon, MOBICON, MomoCon, Motor City Comic Con, Pacific Media Expo, Pensacon, Phoenix Fan Fusion, Sci-Fi Valley Con, Silicon Valley Comic Con, WonderCon, Zenkaikon. The most common thematic areas that fill the main structure of convention programs, in particular presentation of rare and latest examples of the comic’s industry, popularization of the idea of the value of collecting, providing space for novice artists to disseminate their work in the alley of artists. At the same time, with the growing dominance of the video game industry, board and card games, as well as themed collectible toys, remain widely popular. Most festivals feature cosplay competitions that reward the winners, autograph zones with invited celebrities, large-scale panels for exhibitions, where in addition to purely visual pleasure you can join workshops, thematic lectures and seminars. Events include Film Festival, cosplay and costume contests, dances, also the option of game playing. Programs include opportunities to preview the latest film industry news, anime, video game testing and sketches of leading artists from companies specializing in comic book content, exhibition panels with authentic material from the set of popular film franchises and interactions.
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Thumim, J. "The 'popular', cash and culture in the postwar British cinema industry." Screen 32, no. 3 (September 1, 1991): 245–71. http://dx.doi.org/10.1093/screen/32.3.245.

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Cuneo, Michael W. "Of demons and Hollywood: Exorcism in American culture." Studies in Religion/Sciences Religieuses 27, no. 4 (December 1998): 455–65. http://dx.doi.org/10.1177/000842989802700407.

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As the related phenomena of exorcism and deliverance ministry vividly attest, the popular entertainment industry in the United States possesses a tremendous capacity for influencing religious beliefs and behaviours. Since the early 1970s, cinematic and popular literary treatments of demonic possession and affliction have helped create recurrent demands for exorcism within various sectors of American society. This paper examines the peculiar dynamics by which markets for exorcism have been created and sustained by the entertainment industry, and also the various ways in which these markets have been satisfied by religious entrepreneurs within the respective worlds of neo-Pentecostalism, Protestant evangelicalism and Roman Catholicism.
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Venegas Ramos, Alberto. "Retrolugares, definición, formación y repetición de lugares, escenarios y escenas imaginados del pasado en la cultura popular y el videojuego." REVISTA DE HISTORIOGRAFÍA (RevHisto) 28 (May 18, 2018): 323. http://dx.doi.org/10.20318/revhisto.2018.4225.

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Resumen: La intención de este artículo es presentar el concepto “retrolugar” como la repetición de lugares imaginados del pasado dentro de la cultura popular debido a razones sociológicas, políticas y comerciales asociadas a la nueva cultura del capitalismo. Para lograr este objetivo insertaremos el concepto dentro de un marco historiográfico más general y situaremos ejemplos tanto de su concepción como de su desarrollo. Todo ello nos conducirá a la idea de empleo o utilización estética del pasado con razones políticas, sociales o comerciales. Usos del tiempo pretérito alejados del oficio del historiador, pero alojados extensamente entre la población debido a la integración de estos dentro de las manifestaciones culturales más populares.Palabras clave: Retrolugar, Usos públicos de la Historia, Cultura Popular, Mitohistoria, Industria cultural.Abstract: This article introduces the ‘retroplace’, the concept of recreating imagined places of the past within the popular culture on the basis of sociological, political and comercial reasons associated with the new culture of capitalism. To achieve this goal, the concept is examined within a more general historiographic framework, and examples of both its conception and its development are given. This analysis reveals the employment or the aesthetic use of the past for political, social or commercial motives. Although these uses of the past tense are far removed from the trade of the historian, they are widely accepted among the population due to their integration within the most popular cultural manifestations.Key words: Retroplaces, Public use of History, Popular Culture, Mythistory, Cultural industry.
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Dissertations / Theses on the topic "Popular culture industry"

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Marshman, Sophia Francesca. "From testimony to the culture industry : representations of the Holocaust in popular culture." Thesis, University of Portsmouth, 2005. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.416226.

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This thesis addresses the issue of how the Holocaust has been represented in popular culture in recent decades. The starting point of my research relates to the question of whether, though the Holocaust appears to be firmly imprinted upon the public imagination, this engagement can be regarded as superficial. This thesis also examines how survivor testimony has been increasingly marginalised as the Holocaust has entered the sphere of popular culture and entertainment, and how this affects memory. In terms of methodology, I have adopted a case study approach, with each chapter of the thesis addressing a different form of Holocaust representation. Chapter One examines the importance of survivor testimony and its unique ability to convey the full horror of the Holocaust. This chapter also sets up the central debate which drives my research: the question of how we can hope to understand the Holocaust if we ignore the wealth of testimony in favour of the comforting inventions of popular culture. Chapter Two addresses the problems inherent in the genre of Holocaust fiction, and the ethical implications of literature which introduces elements of distortion, falsification and sexualisation to the `story' of the Holocaust. Chapter Three looks at the Americanisation of the Holocaust, with particular reference to the film Schindler's List. Chapter Four by contrast looks at the different approach of European Holocaust films and documentaries which are less entertainment-focused and therefore believed to represent the Holocaust more accurately. Chapter Five examines the growth in the number of museums devoted to the Holocaust, and the question of whether a heavy reliance on artefacts and images from the Holocaust/liberation era further dehumanises victims and encourages voyeurism. Chapter Six appraises the phenomenon of Holocaust tourism and the kind of memory communicated by authentic sites which are now essentially `empty', compromised by decay, reconstruction, and the commercialism which tourism inevitably encourages. Within the conclusion I offer an evaluation of the different approaches to the Holocaust with regard to their merits and shortcomings. In terms of a contribution to knowledge, my thesis draws together many different forms of Holocaust representation to evaluate which accurately represent the Holocaust, and which shield us from its harsher realities, indulge in sentimentalism and encourage consumption. i
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Selby, Shawn M. "Congress, Culture and Capitalism: Congressional Hearings into Cultural Regulation, 1953-1967." Ohio : Ohio University, 2008. http://www.ohiolink.edu/etd/view.cgi?ohiou1212766295.

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Austin, Thomas. "Industry, intertexts and audiences : the marketing and reception of contemporary popular film in Britain." Thesis, University of East Anglia, 1997. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.389273.

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Moraes, Stela Guimarães de. "Do rabo e chifre às marchinhas: como uma reportagem da Rede Globo interferiu na criação do carnaval de São Luiz do Paraitinga (SP)." Universidade de São Paulo, 2011. http://www.teses.usp.br/teses/disponiveis/27/27154/tde-26092011-115241/.

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Sabe-se que celebrações e outras manifestações culturais humanas podem sofrer influências tanto positivas quanto negativas de instituições religiosas e dos meios de comunicação. Aqui, buscou-se entender a interferência da mídia na reconstrução do Carnaval de São Luiz do Paraitinga, em 1981 proibido anteriormente pela Igreja e também na promoção desta festa na atualidade. À luz do conceito de indústria cultural, foi investigado se a manifestação, motivada por uma matéria da Rede Globo, se tornou ela própria um produto da indústria cultural. Como aporte teórico para este estudo, foram usados os preceitos de Theodor W. Adorno sobre o impacto dos meios de comunicação de massa naquela sociedade. Foram investigadas, ainda, as origens do Carnaval luizense. O estudo concluiu que a influência dos media foi determinante para a festa, tanto no passado quanto na contemporaneidade, mas outros elementos, como o próprio ethos cultural dos habitantes do município, também interferiram na mobilização destes para a produção do Carnaval ressignificado.
It knows that celebrations and other cultural human manifestations can suffer both positiveand negative influences from religious institutions and from the media. Here, it sought to comprehend the medias interference in the construction of São Luiz do Paraitingas Carnival, in 1981 - previously banned by the Church -, and also in the promotion of this party at present time. Taking in consideration the concepts of the culture industry, it was investigated whether the party, motivated by a news report from Globo Network Television, became itself a product of the culture industry. The precepts of Theodor W. Adorno regarding the impact of the mass media in that society were used as theoretical support for the research. The origins of São Luizs Carnival were also investigated. The study has concluded that the influence of the media was determinant to the party, both in the past and nowadays, but other elements, such as the citys inhabitants cultural ethos, also interfered in the peoples mobilization to produce a ressignified Carnival.
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Rodrigues, Vanúzia Almeida. "Música popular e dança de salão: o maxixe nos jornais norte-americanos do início do século XX." Universidade de São Paulo, 2017. http://www.teses.usp.br/teses/disponiveis/8/8138/tde-27032018-171249/.

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Este trabalho trata da circulação de notícias do maxixe brasileiro nos jornais estadunidenses no começo do século XX. Os periódicos colhidos no repositório Newspaperarchive foram sistematizados nos moldes de um corpus documental. Este foi o principal objetivo do trabalho ora apresentado: produzir um instrumento de pesquisa através da construção de uma coletânea com todas as matérias a respeito do maxixe brasileiro, publicadas nos jornais dos Estados Unidos, na forma de anúncios, artigos, contos, notas, notícias e poemas, entre 1906 momento em que encontramos a primeira notícia focalizando o tema , e o final dos anos 1930, quando já vinha se desenvolvendo no Brasil uma música tipicamente nacional e os produtos da cultura brasileira já tinham circulado pelo mundo, especialmente Europa e Estados Unidos. No período estudado, música popular é música de divertimento, feita para dançar. Dançar nos salões do Brasil, nos dancings de Paris, nos ballrooms americanos, mais do que moda, era uma forma de participar da sociedade, de se inteirar das novidades, dos passos mais conhecidos, afinal a música popular e a dança coreográfica são expressões artísticas que transitam entre as diferentes classes sociais. O maxixe nasceu miscigenado, reflete a misturada de ritmos e gêneros, presentes no Brasil desde o século XVIII, como o batuque, o lundu (ambos de matriz africana). Mas, recebeu também forte influência de gêneros europeus como a modinha, e mais tarde da polca (século XIX) e do choro uma invenção brasileira. Como toda dança, causou escândalo quando surgiu, em virtude dos movimentos considerados ousados, extravagantes e lascivos. Pouco a pouco, os passos exibidos nos cabarés do Rio de Janeiro transformaram-se, adequando-se aos ambientes dignos da sociedade brasileira, e é assim que passam a ocupar os salões frequentados pelas classes mais abastadas. No eixo internacional, Paris foi a bússola que orientou e pautou os códigos de comportamento no mundo inteiro, principalmente durante a Belle Époque. As viagens de músicos, agentes, mecenas etc. e de objetos sonoros através do Atlântico são vistas pela perspectiva da transculturação. O contato entre grupos de culturas diferentes contribui para que os artistas e sua arte se transformem e isso ocorre independente do processo de dominação econômica, uma vez que todos passam por mudanças (dominados e dominantes). Por outro lado, o conceito de triangulação é apropriado para compreender o modo como circulam os objetos sonoros e dançantes, e proporciona o mapeamento dos lugares por onde transitaram tais objetos, colaborando para a percepção dos aspectos que estão em jogo na circulação deles. Nos Estados Unidos, as escolas, as universidades e a técnica, de um lado; e a família e os professores de dança, de outro, foram centrais ao processo de branqueamento que permitiu a aceitação do maxixe. Por outro lado, o teatro de caráter trovadoresco - onde se inclui o vaudeville e, mais tarde, os musicais no teatro e no cinema, colaboraram para que a música e a dança maxixe continuassem presentes naquele país, avançando além dos anos 1930. A difusão do maxixe obedeceu à lógica da indústria cultural, articulando-se aos mecanismos de reprodutibilidade próprios do mercado.
This paper explores the circulation of Brazilian maxixe news in American newspapers at the beginning of the 20th century. The journals collected in the Newspaperarchive repository were systematized in the form of a documentary corpus. This was the main objective of the work presented here: to produce a research instrument through the construction of a collection of all the Brazilian maxixe materials, published in the United States newspapers, in the form of advertisements, articles, short stories, notes, news and poems, between 1906 - when we found the first news focusing on the theme - and the late 1930s, when Brazilian music was already developing in Brazil, and the products of Brazilian culture had already circulated throughout the world, especially in Europe and the United States. In the period studied, popular music is fun music, made for dancing. Dancing in the halls of Brazil, in the dancings of Paris, in the American ballrooms, more than fashion, was a way to participate in society, to find out about the news, the best known steps, after all, popular music and choreographic dance are artistic expressions which pass through the different social classes. Maxixe was born miscegenated, reflects the \"mixed\" rhythms and genres, present in Brazil since before the 18th century, such as the batuque, the lundu (both African matrix). But it was also strongly influenced by European genres such as modinha, and later by the polka (19th century) and choro - a Brazilian invention. Like all dance, it caused scandal when it arose, by virtue of the movements considered daring, extravagant and lascivious. Little by little, the steps displayed in the cabarets of Rio de Janeiro were transformed, adapting themselves to the \"dignified\" places of Brazilian society, and that is how they began to occupy the ballrooms frequented by the wealthiest classes. On the international axis, Paris was the compass that guided and led the codes of behavior throughout the world, especially during the Belle Époque. The trips of musicians, agents, patrons, etc. and sound objects across the Atlantic are seen from the perspective of transculturation. The contact between groups of different cultures contributes to the transformation of artists and their art, and this occurs independently of the process of economic domination, since all undergo changes (dominated and dominant). On the other hand, the concept of triangulation is appropriate to understand the way the sound and dance objects circulate, and it provides a mapping of the places through which these objects transited, collaborating to the perception of the aspects that are at play in their circulation. In the United States, schools, universities and technique, on the one hand; And family and dance teachers on the other, were central to the bleaching process that allowed the acceptance of the maxixe. On the other hand, theater like a vaudeville and, later, musicals in the theater and in the cinema, collaborated so that the music and the maxixe dance continued present in that country, advancing beyond the 1930s. Diffusion of the maxixe obeyed the logic of the cultural industry, articulating itself to the mechanisms of reproducibility proper to the market.
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Pires, Carlos Eduardo de Barros Moreira. "Canção popular e processo social no tropicalismo." Universidade de São Paulo, 2009. http://www.teses.usp.br/teses/disponiveis/8/8151/tde-22022010-135938/.

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Nesta dissertação investigamos três dos principais discos tropicalistas - Gilberto Gil (1968), Caetano Veloso (1968) e Grande Liquidação (1968), de Tom Zé procurando identificar marcas do processo social nas canções e atitudes líricas. Essa leitura busca repensar o sentido do tropicalismo no processo de transformação político-cultural do final dos anos 60, decisivo, talvez, para a compreensão da história recente do país.
This dissertation investigates three important tropicalist solo albums - Gilberto Gil (1968), Caetano Veloso (1968) e Grande Liquidação (1968), Tom Zé´s album searching the signs of the social process in its songs and lyrical attitudes. This reading purpose rethinks the meaning of the tropicalismo in the politic and cultural transformation in the late 1960´s, maybe the principal moment to understand the contemporary history of Brazil.
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au, l. huf@cqu edu, and Elizabeth L. Huf. "On the western line : the impact of Central Queensland's heritage industry on regional identity." Murdoch University, 2006. http://wwwlib.murdoch.edu.au/adt/browse/view/adt-MU20061121.145704.

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This thesis examines the ways in which regional communities appropriate their historic icons of the past, integrating these ‘markers of identity’ into the wider socio-economic context. It notes how nostalgia and the collective memory, together with a strong sense of place are reflected in celebrations which honour national and local historic characters and events, and observes the ways in which isolated rural towns reconcile their new tourist image with their pioneering past. It will be argued that the concepts of nation and national identity are increasingly being challenged by the need for a social and cultural identity which belongs to the local community. A range of diverse cultures and heritage sites has been studied in order to analyse the dilemmas facing local, outback, and Indigenous communities in reconstructing a regional identity today. The Heritage Trail can be seen as a symbolic rite of passage, and this thesis is indeed a personal journey divided into two major components. First, it takes the form of documentary, a visual component consisting of three video films which capture the heritage tourism product along the Tropic of Capricorn. On the Western Line documents the author’s journey on ‘The Spirit of the Outback’ from the central coast to Winton and Kynuna, the home of Waltzing Matilda in far western Queensland. Two further historical productions The Legend of King O'Malley and The Triumph and Tragedy of Tommy Wills record local and national narratives, which both deliver a controversial picture of federation politics and pioneer settlement, colonial sport and frontier war, each focusing on a regional perspective within a wider national vision. The second, written component reflects upon the role of the documentary maker in recording a social history of these diverse communities. It examines the auteur/director’s own perceptions of regional identity, and the oppositions and ambiguities of reality are juxtaposed with legend and myth. This essay explores the different layers of meaning inscribed within central images of cultural tourism such as: the Stockman’s Hall of Fame at Longreach; the Australian Worker’s Heritage Centre at Barcaldine; local museums at Mt. Morgan and Emu Park; the Dreamtime Cultural Centre; and the South Sea Islanders’ Sugar Trail. Following Bennett and Bourdieu’s work on museum visitors, the author’s preliminary survey of tourists seeking Capricornia’s increasingly popular heritage destinations is discussed. In conclusion, it can be argued that the rapid growth of Central Queensland’s cultural centres, local museums, and bicentennially funded outdoor art and ‘unusual’ monuments, has produced new sources of income in a community desperately seeking to survive. The cultural tourist has become a major producer of the heritage industry which impacts strongly on regional identity.
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Mello, Maurício de. "O encontro da cultura popular e os meios de comunicação na obra de Solano Trindade - Os anos em Embu das Artes (1961-1970)." Universidade de São Paulo, 2009. http://www.teses.usp.br/teses/disponiveis/27/27154/tde-07102009-155102/.

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Esta dissertação traz uma abordagem das questões sócio-históricas e culturais que nortearam a formação de inúmeras conceituações acerca da cultura brasileira durante as décadas de 1960 e 1970, e tem como objeto de pesquisa a vida e a obra do poeta Solano Trindade, suas atividades intelectuais, poéticas e teatrais. No aporte teórico do trabalho, as manifestações da cultura popular e as suas relações com as práticas culturais autenticadas pelos meios de comunicação de massa foram investigadas, com o intuito de trazer à luz as conseqüências desse encontro, os debates sobre as políticas culturais que surgiram na tentativa de controlar tais expressões, os focos de resistências e a configuração social pautada pela modernidade capitalista. A idéia de contribuir para uma noção de cultura, e como ela perpassou inúmeras definições na sociedade brasileira, atravessou a maioria das indagações durante as leituras e análise de dados que guiaram a redação. Revisar um período conturbado em termos de novos horizontes sociais e políticos no Brasil, nos permitiu avaliar uma realidade nem sempre clara para a maioria dos grupos sociais.
This dissertation brings socio-historical and cultural issues that guided the formation of many conceptualizations about the Brazilian culture during the 1960s and 1970s in Brazil, and aims to research the poet Solano Trindade\'s life and work, his intellectual, poetic and theatrical activies. In support of theoretical work, the popular culture manifestations and its relations with the cultural practices certified by the mass media were investigated in order to bring to light for the consequences of this meeting, the discussions about the cultural politics that have emerged in attempt to control such expression, the focus of resistance and social configuration lined by capitalist modernity. The idea of contributing to a sense of culture, and how it permeates many settings in Brazilian society, it crossed most of the inquiries during the readings and data analysis that guided the writing. To review a confused period in terms of new social and political horizons in Brazil allowed us to evaluate a fact not always clear to most social groups.
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Ranocchi, Di Cesare Francesco. "L'arquitectura: de la societat de l'espectacle a l'era de les xarxes. L'architettura: dalla società dello spettacolo all'era delle reti." Doctoral thesis, Universitat de Girona, 2015. http://hdl.handle.net/10803/402894.

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This paper analyzes the adaptation of the design culture to the americanization of western society; this phenomenon is studied with a special attention to the effects of the growth of the network society ( ie, in the process of global communication developed for digital technology) on the public realm of mass culture. Our study examines both the changes of the architectural expression and the deficiency of the critical method that has described it. As this is an unprecedented study that embraces the phenomenon not only in comparison with the past twenty years, but also in its evolution during the twentieth century, it was necessary to review the most important nodal moments, especially since the First World War and the shift of the econòmic center of gravity towards the United States; a kind of counter story.
En aquest treball s’analitza l'adaptació de la cultura del disseny a la americanització de la societat occidental i a un univers de la publicitat propi de la cultura de masses, en relació amb el creixement de la societat de les xarxes, és a dir, el procés de comunicació global desenvolupat per la tecnologia digital. El nostre estudi aborda les raons que estan en l'arrel, tant dels paràmetres de les configuracions de superfície en l'art i l'arquitectura, com en les limitacions del mètode històrico-crític que s’ha emprat normalment per estudiar aquestes anàlisis. Com que es tracta d'un estudi inèdit i que abraça el fenomen no tan sols en la comparació teòrica amb els últims vint anys, sinó que també analitza la seva evolució durant el segle XX, ha estat necessari revisar els moments nodals més importants, sobretot des de la Primera Guerra Mundial i el canvi del centre de gravetat econòmic d’Europa als Estats Units, en una mena de counterstory.
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Vieira, Keila. "Trans*formations of the Womanly Body : hybrid feminine representation in manga-inspired quadrinhos." Thesis, Lyon, 2017. http://www.theses.fr/2017LYSE3052/document.

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Nous nous concentrons sur la reproduction visuelle de la « femme » dans le quadrinhos en tant que référence de la période créatif et innovante de la littérature visuelle au Brésil au travers du manga. Cette thèse étudie le fait que la « femme » en tant que personnage principal peut être vu comme un simple critère esthétique pour un regard masculin érotique. Cependant, nous trouvons également dans ces caractéristiques un contrepoids, puisque dans ce référentiel érotique, ces personnages féminins sont devenus un exemple de liberté personnelle d´indépendance et d´autonomie au Brésil. Nous analysons de manière entrelaçé l´immigration au Brésil et au Japon, la représentation visuelle féminin en quadrinhos, manga et manga-inspirés quadrinhos, le fandom et les contradictions féminines
The visual reproduction of the "woman" in quadrinhos marks a creative and innovative period of the visual literature in Brazil concerning its hybridization with manga. This thesis concerns the fact that this "woman" can be seen as a simple aesthetic criterion for an erotic male gaze. However, we argue that this characteristic becomes a counterweight for women´s personal freedom, independence and autonomy in Brazil. We analyse it through a carnivalization which mark the immigration of Japanese to Brazil and of Brazilian Japanese to Japan with the female visual representation in quadrinhos, manga and manga-inspired quadrinhos, the fandom and feminine contradictions
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Books on the topic "Popular culture industry"

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Culture industry today. Newcastle upon Tyne, UK: Cambridge Scholars, 2010.

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Cook, Deborah. The culture industry revisited: Theodor W. Adorno on mass culture. Lanham, Md: Rowman & Littlefield Publishers, 1996.

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The culture industry revisited: Theodor W. Adorno on mass culture. Lanham, MD: Rowman & Littlefield, 1996.

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Geoff, Cox, Krysa Joasia, and Lewin Anya, eds. Economising culture: On 'the (digital) culture industry'. New York: Autonomedia, 2004.

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Negus, Keith. Producing pop: Culture and conflict in the popular music industry. London: E. Arnold, 1992.

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Adorno, Theodor W. The culture industry: Selected essays on mass culture. London: Routledge, 1991.

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Adorno, Theodor W. The culture industry: Selected essays on mass culture. London: Routledge, 2001.

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Ozturk, Gulay. Handbook of research on the impact of culture and society on the entertainment industry. Hershey, PA: Information Science Reference, 2014.

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Cloonan, Martin. Popular music and the state in the UK: Culture, trade or industry? Aldershot, Hampshire, England: Ashgate, 2007.

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Nollywood: Popular culture and narratives of youth struggles in Nigeria. Durham, North Carolina: Carolina Academic Press, 2016.

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Book chapters on the topic "Popular culture industry"

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Robinson, Simon J., and Alexandra J. Kenyon. "Young People, Social Scene and Popular Culture." In Ethics in the Alcohol Industry, 103–18. London: Palgrave Macmillan UK, 2009. http://dx.doi.org/10.1057/9780230250581_6.

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Collins, Jim. "“If You Can Read, You Can Write, or Can You, Really?”." In New Directions in Book History, 367–88. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-53614-5_16.

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AbstractThe popular literary culture that emerged in the late 1990 s depended on a number of interdependent factors that formed a unique media ecology—book clubs (actual, online, televisual) literary bestsellers, Amazon.com, high-concept adaptation films, “superstore” bookstore chains, etc. The reading cultures generated by that media ecology were unified by certain overarching values, none more significant than the empowerment of amateur readers who were driven by the conviction that passionate reading was equal, if not superior to the bloodless close reading of professionalized readers. While the latter required a long apprenticeship, the former was guided by a self-imaging process that was fueled by a reading advice industry that provided confidence-building measures to validate that reading. The empowerment of readers depended on knowing where to look for both expertise and validation. Or, to put it another way, quality reading depended less on native intelligence, or a university education, and more on the ability to search and filter. Many of the factors that led to a fundamental recalibration of the relationship between amateur and professionalized reading have also changed the relationship between amateur and professional writing. I want to focus on the deeply conflicted perspectives concerning how the craft of writing is taught, or even can be taught, that have emerged over the past year in North American Literary cultures, in three contemporary novels, Tommy Orange’s There There (2018), Sigrid Nunez’s The Friend (2018) and Ocean Vuong’s On Earth We are Briefly Gorgeous (2019).
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Nehring, Daniel, Emmanuel Alvarado, Eric C. Hendriks, and Dylan Kerrigan. "Cultural Struggles, Intimate Life and Transnational Narratives." In Transnational Popular Psychology and the Global Self-Help Industry, 101–22. London: Palgrave Macmillan UK, 2016. http://dx.doi.org/10.1057/9780230370869_6.

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"WOODY ALLEN’S CULTURE INDUSTRY." In Adorno on Popular Culture, 159–77. Routledge, 2003. http://dx.doi.org/10.4324/9780203166062-12.

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"The culture industry and popular culture." In Gaga Aesthetics. Bloomsbury Academic, 2021. http://dx.doi.org/10.5040/9781350102729.0013.

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"Residential Amenity, Respectable Morality and the Rise of the Entertainment Industry: the Case of Blackpool, 1860-1914." In Popular Culture, 127–39. Routledge, 2013. http://dx.doi.org/10.4324/9781315002408-14.

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"Culture Industry to Popular Culture in Mythologies." In Utopia Limited, 57–71. Duke University Press, 2004. http://dx.doi.org/10.1215/9780822385455-003.

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"Culture Industry to Popular Culture in Mythologies." In Utopia Limited, 57–71. Duke University Press, 2004. http://dx.doi.org/10.2307/j.ctv11g97v3.7.

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"2. Culture Industry to Popular Culture in Mythologies." In Utopia Limited, 57–71. Duke University Press, 2020. http://dx.doi.org/10.1515/9780822385455-005.

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Brinker, Felix. "Seriality, Culture Industry, and Digital-Era Popular Culture." In Superhero Blockbusters, 23–58. Edinburgh University Press, 2022. http://dx.doi.org/10.3366/edinburgh/9781474485180.003.0002.

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This chapter situates the book’s understanding of seriality within a broader theory of commercial entertainment. To do so, it develops a new reading of Max Horkheimer and Theodor W. Adorno’s theory of the culture industry that can account for the centrality of serial repetition and variation within capitalist cultural production. The chapter then maps central tenets of the ideology of engagement that orients much of commercial screen entertainment today. For this purpose, it reads Jenkins’s work on digital-era participatory culture against Boltanski and Chiapello’s study of The New Spirit of Capitalism. The chapter then proceeds with a discussion of recent conceptualizations of digital-era capitalism which, I argue, can offer a much-needed qualification for some of Jenkins’s claims about digital-era popular culture. The chapter ends by considering the relationship between superhero blockbusters’ enduring popularity and the technological infrastructure of the digital era.
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Conference papers on the topic "Popular culture industry"

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Peishan, Sun, and Wang Yufei. "Luxury Brands Culture and Marketing: How Does Chanel Stay popular." In 2021 3rd International Conference on Economic Management and Cultural Industry (ICEMCI 2021). Paris, France: Atlantis Press, 2021. http://dx.doi.org/10.2991/assehr.k.211209.234.

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Cullinan, Brian, and Kim Wangler. "The Past, Present, and Future Influence of Popular Culture on the Music Industry." In MEIEA Summit 2022. Music and Entertainment Industry Educators Association, 2022. http://dx.doi.org/10.25101/22.13.

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Patricia, Florens Debora. "The power of new media Bestnine Instagram in creating a popular culture for creative industry workers: The study of the popular Instagram Bestnine application among the Illustrators." In International Conference of Communication Science Research (ICCSR 2018). Paris, France: Atlantis Press, 2018. http://dx.doi.org/10.2991/iccsr-18.2018.19.

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Timoshenko, I. V., and N. V. Geraskina. "Varieties of redis breeding Biryuchekutskaya Vegetable Breeding Experimental Station." In Растениеводство и луговодство. Тимирязевская сельскохозяйственная академия, 2020. http://dx.doi.org/10.26897/978-5-9675-1762-4-2020-63.

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Radish is of great importance as an early valuable vegetable product, especially in spring and first half of summer. Due to its high taste and nutritional qualities, radish is the most popular early crop in the world practice of vegetable growing, which is grown everywhere. One of the main methods for solving the problem of providing the population of our country with marketable products of this culture is the development of selection and seed production. The creation of new competitive varieties and hybrids will help to transfer the vegetable growing industry to a qualitatively new level of development.
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Carvalho, Vítor Marques, and Elizabeth Sucupira Furtado. "GLiMPSE - A Framework for Evaluating UX in Games." In I Workshop sobre Interação e Pesquisa de Usuários no Desenvolvimento de Jogos. Sociedade Brasileira de Computação - SBC, 2019. http://dx.doi.org/10.5753/wiplay.2019.7834.

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The gaming industry has grown considerably in the last decades, designing experiences and interactive platforms through games, an entertainment media from the popular culture. With the advancement of technologies and user experience design methods, a challenge is faced for the constant improvement of the characteristics of a game aiming to improve the enjoyment and immersion perceived by users. To face this challenge, we designed a conceptual framework named GLIMPSE based on constructs used to evaluate user experiences with games. GLIMPSE brings together concepts of presence and interaction, goals, learning, context, and immersion used to evaluate experiences with games. Its applicability was tested through a questionnaire answered by 241 users from gaming forums and communities. The results provide insights revealing the GLIMPSE conceptual framework to be a useful tool for evaluating experiences in games by assessing the main UX elements and their existing overlap.
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Abanum, Andrew Monday, Ibidabo David Alebere, and Chinemerem Patricks-E. "Determinants of IOGP Life-Saving Rules Compliance Among Nigerian Petroleum Industry Workers." In SPE Nigeria Annual International Conference and Exhibition. SPE, 2021. http://dx.doi.org/10.2118/208227-ms.

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Abstract Life-saving rules (LSRs) are a set of defined rules that support and complement general site-specific safety rules and procedures (SRPs). LSRs are popular in the oil & gas (O&G) industry and are part of the safety management system framework designed to prevent incidents in the workplace. Complying with LSRs ensures its intent of incident prevention, drives the goal of creating decent work, economic growth and sustainable development. With the continuum of incidents in the industry, total compliance with LSRs and SRPs still remains a mirage. Even though the introduction of LSRs in the O&G caused a paradigm shift from fair to better safety performance, incident investigations continue to unveil cases of violations/non-compliance. In the space of continuous improvement, it becomes expedient to determine possible causes of these LSRs and SRPs non-compliance, with a view to nipping the causal factors in the bud. A descriptive cross-sectional study was conducted to determine the factors affecting the level of workers compliance with IOGP LSRs in selected O&G companies operating in Delta State, Nigeria. The research recruited 317 sharp end workers and selected leaders, through a multistage sampling technique. A semi-structured, self-administered questionnaire was used as instrument for data collection. The study in its findings was able to elicit numerous compliance determinants arising from socio-demography, occupational and organisational factors. These factors are barriers to strengthen if the goal of total compliance and zero incident must be achieved in the workplace. The study recommends that management should comply with Thomas Legge's aphorisms 1 & 4 on SRPs and design training programmes for employees to be imparted with requisite knowledge needed for compliance, commit to safety and lead a positive safety culture to drive continuous improvement. Furthermore, there is the need to pursue total compliance with LSRs, SRPs and any site-specific safety rules to achieve zero incidents in the O&G industry.
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Bargsten, Jeanne, Clemens Treier, Özlem Yilmaz, Amandine Pades, Andrea Kim, and Jung-Kyu Lee. "ISO 19443: Fundamental Requirements of the New Quality Management Standard for the International Nuclear Supply Chain." In 2022 29th International Conference on Nuclear Engineering. American Society of Mechanical Engineers, 2022. http://dx.doi.org/10.1115/icone29-91803.

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Abstract The new quality management standard ISO 19443 [2] defines specific requirements for supply chain organizations in the nuclear industry. The standard became increasingly popular in the last years and a certification is now often a prerequisite for equipment manufacturers and service providers to participate in the bidding process of new build projects. These companies face the challenge, to adapt their existing quality management system to the new requirements of ISO 19443 [2], since this is necessary to receive a globally accepted accredited certification. A conducted analysis of the ISO 19443 standard [2] identified major differences to the established quality management system standard ISO 9001 [3], the results are presented. Furthermore, the key requirement areas of the standard with particular significance to the nuclear industry, are evaluated. ISO 19443 [2] enshrines nuclear safety culture as the fundamental element throughout the entire supply chain and enables a graded approach to the application of quality requirements. The standard aims at the global harmonization of management standards and facilitates the regulation of the international nuclear supply chain. Best practice approaches are highlighted, on how to successfully adapt a quality management system. It is based on experience of one of the first accredited inspection bodies, already supporting several manufacturing companies on their way to certification.
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Marfella, Giorgio. "Seeds of Concrete Progress: Grain Elevators and Technology Transfer between America and Australia." In The 38th Annual Conference of the Society of Architectural Historians Australia and New Zealand. online: SAHANZ, 2022. http://dx.doi.org/10.55939/a4000pi5hk.

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Modern concrete silos and grain elevators are a persistent source of interest and fascination for architects, industrial archaeologists, painters, photographers, and artists. The legacy of the Australian examples of the early 1900s is appreciated primarily by a popular culture that allocates value to these structures on aesthetic grounds. Several aspects of construction history associated with this early modern form of civil engineering have been less explored. In the 1920s and 1930s, concrete grain elevator stations blossomed along the railway networks of the Australian Wheat Belts, marking with their vertical presence the landscapes of many rural towns in New South Wales, Queensland, Victoria, and Western Australia. The Australian reception of this industrial building type of American origin reflects the modern nation-building aspirations of State Governments of the early 1900s. The development of fast-tracked, self-climbing methods for constructing concrete silos, a technology also imported from America, illustrates the critical role of concrete in that effort of nation-building. The rural and urban proliferation of concrete silos in Australia also helped establish a confident local concrete industry that began thriving with automatic systems of movable formwork, mastering and ultimately transferring these construction methods to multi-storey buildings after WWII. Although there is an evident link between grain elevators and the historiographical propaganda of heroic modernism, that nexus should not induce to interpret old concrete silos as a vestige of modern aesthetics. As catalysts of technical and economic development in Australia, Australian wheat silos also bear important significance due to the international technology transfer and local repercussions of their fast-tracked concrete construction methods.
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Wang, Jianran, Xiaofang Liu, Haifeng Zhang, Qi Luo, Shihong Jiang, and Haifeng Hong. "Study of Carbody Structure Design Under Different Standards." In ASME 2021 International Mechanical Engineering Congress and Exposition. American Society of Mechanical Engineers, 2021. http://dx.doi.org/10.1115/imece2021-67822.

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Abstract Under the background of economic globalization, more and more car-builders not only supply railway vehicles to domestic market, but also actively bidding international projects and deliver products all over the world. The railway vehicle design standards are significantly different throughout the world. Using carbody system as example, the popular standards include European standard system (EN), British standard GM/RT 2100, International Union of Railways (UIC) standard system, US standard system (AAR/APTA/ASME) and Japanese standard system (JIS). In addition, some country’s standard might have special requirement based on local conditions and culture. These various standards will inevitably present different carbody design requirements. Among the above standards, EN and US standards are applicable to Europe, China, and America, which are largest railway vehicle markets in the world. This paper will introduce the history and characteristics of the mainstream rail vehicle standards worldwide and analyze the relationship between standard and vehicle design. Light Rail Vehicle (LRV), subway and commuter rail vehicle (multi-level vehicle) are selected as typical examples for the interpretation and application of US standard and EN standard separately. The 3 major requirements of carbody design, including static strength, fatigue strength and crashworthiness, are compared between US and EN standards to specify the general difference as well as the influence on the carbody design, such as material distribution, structure development, which could provide valuable reference for researchers and engineers in the rail vehicle industry to define and design new products more efficiently across different country’s rail standards.
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Zhou, Ping, Jiali You, and Wenjing Wu. "Research on Health Communication Strategies of Short Video on Popular Medical Science." In 2021 3rd International Conference on Economic Management and Cultural Industry (ICEMCI 2021). Paris, France: Atlantis Press, 2021. http://dx.doi.org/10.2991/assehr.k.211209.172.

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