Dissertations / Theses: '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 authors 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/directors 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 Stockmans Hall of Fame at Longreach; the Australian Workers 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 Bourdieus work on museum visitors, the authors preliminary survey of tourists seeking Capricornias increasingly popular heritage destinations is discussed. In conclusion, it can be argued that the rapid growth of Central Queenslands 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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Choi, Hwanho. "Value and value creation : popular music in the digital era : the case of the independent music industry in South Korea." Thesis, University of Manchester, 2014. https://www.research.manchester.ac.uk/portal/en/theses/value-and-value-creation--popular-music-in-the-digital-era-the-case-of-the-independent-music-industry-in-south-korea(bbf539a4-ee2f-4149-aa03-6b80ada39c7a).html.

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This thesis investigates the production and consumption of the independent music sector in South Korea in the digital age. It examines the value of music and how it is created in the digital age. Thus, it suggests the impacts of the Internet for consumers and producers. The investigation is based on the view that there has been a transition to value co-creation by consumers and producers, away from the traditional view of value being produced by firms alone, and that this value can be symbolic, emotional and experiential. The thesis shows that this transition has indeed occurred in the music industry. To investigate value and value creation in popular music in the digital age, an in-depth single case study of the independent music industry in South Korea is conducted. Qualitative data was collected, using semi-structured interviews, from independent music consumers and independent record labels. This research reveals that consumers’ music consumption is made up of both information-processing and experiential behaviours. Their desire to minimize the inappropriateness and maximize the appropriateness of independent music and its culture contributes to its sustainment and expansion. This research also reveals the online practices of consumers, categorized into three themes: acquisition, relationship and engagement. In addition, the examination of music communities in South Korea shows that consumers are resource integrators. It reveals that the consumption communities are organized and maintained through various operant resources of the participants. The data from the independent record labels reveals that they are trying hard to interact with consumers and benefit from the new media. They are found to conduct four value (co)creation strategies: contacting, bonding, spreading and managing. Finally, this research shows that difficulties in utilizing social media can be categorized into the following: adaptability, uncontrollability, representability and applicability. The key contributions of this research are as follows: Firstly, it extends our understanding of the symbolic consumption of music. Secondly, it identifies a form of consumption community, which can be termed a ‘co-creative consumption community’. Lastly, it demonstrates the value (co)creation practices used by consumers and the strategies used by producers. These findings extend the existing knowledge and suggest new evidence that contributes to an increased understanding of the concept of value co-creation, and to consumer research in general. In addition, the findings will benefit marketers and producers, especially in cultural industries such as the music industry.

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Horiuchi, Isamu. "Stylizing, Commodifying, and Disciplining Real Bodies: An Examination of WWE Wrestling." Scholarship @ Claremont, 2012. http://scholarship.claremont.edu/cgu_etd/55.

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This dissertation examines professional wrestling in the U.S., in particular, live and television shows produced by the World Wrestling Entertainment (WWE). Through the examination, it addresses complex issues of authenticity, audience, commodification, and discipline in contemporary popular culture and media. I use three approaches in this study. First, I apply the theory of culture industry, developed by Theodor W. Adorno and Max Horkheimer, to understand WWE wrestling. I examine how the WWE thoroughly stylizes its products to attract fans and condition them to repeat the same calculable reactions. However, contemporary fans often refuse to react as the WWE wants them to. By analyzing the complex interplay between the WWE and fans, I update and re-contextualize Adorno and Horkheimer's idea that the culture industry exerts total control over consumers. Second, I examine the recent rise of "nonfictional" narratives in professional wrestling, narratives that candidly acknowledge wrestling's scripted nature. I demonstrate how the WWE uses nonfictional narratives to present fans new ways of finding realness in wrestling and respecting wrestlers. I also point out that, by utilizing both fictional and nonfictional narratives, the WWE has developed clever ways of balancing between offering controversial products and transmitting conservative and respectable messages to enhance its populist appeal. Third, I look at the history of professional wrestling through theories of modernity and postmodernity. I grasp it as a dynamic process in which wrestling has expressed its challenge against and ambivalence towards dominant ideologies, values, and masculinities of modernity in multiple ways. I also examine the predominance of obsessed subjectivities in contemporary WWE wrestling as a unique form of postmodern expression. I argue that obsessively competitive and self-destructive performances of WWE wrestlers illuminate the contradiction of the construction of modern "disciplined" subjects described by Michel Foucault. They also reveal that in the culture where pain and destruction of human beings are among the most desired objects, the WWE has to endanger real live bodies of its wrestlers in order to survive and thrive. WWE is a rich, problematic, and compelling cultural phenomenon that illuminates issues and contradictions of itself, and the system it belongs to.

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Barbosa, Leonardo Ribeiro. "MPB e indústria cultural: uma perspectiva sobre o desenvolvimento da sociologia da cultura no Brasil." Universidade Federal de Juiz de Fora (UFJF), 2017. https://repositorio.ufjf.br/jspui/handle/ufjf/5861.

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O objetivo deste estudo foi analisar o desenvolvimento da sociologia da cultura no meio acadêmico brasileiro, pari passu a evolução da indústria cultural no Brasil. Para tanto, investigamos a evolução das pesquisas científicas realizadas nos programas de pós-graduação brasileiros, particularmente as teses e dissertações, que tiveram como objeto principal a música popular brasileira (MPB) e a indústria cultural. A hipótese central é a de que os conceitos trazidos pela Escola de Frankfurt, notadamente o de indústria cultural, foram instrumentos capitais para a formação de um pensamento social brasileiro sobre o tema da cultura e suas relações com o mercado, possibilitando a construção de um campo de sociologia da cultura e da arte no país, respaldando as investigações sobre a organização da produção artística e cultural em suas relações com o mercado. Nessa trajetória, expusemos a chamada Teoria Crítica de Theodor W. Adorno (1903-1969) e Max Horkheimer (1895-1973) da Escola de Frankfurt; em seguida, investigamos quando e como as ideias da Escola de Frankfurt — sobre o conceito de indústria cultural, apresentados por Adorno e Horkheimer — chegaram ao Brasil. Por fim, realizamos um levantamento sobre a produção científica brasileira sobre o tema, desde a década de 1980 — época em que surgem as primeiras teses e dissertações sobre o assunto — até o ano de 2015, apresentando as abordagens dos trabalhos mais diretamente ligados ao tema. Nossas observações revelam que a academia brasileira se apropriou do conceito de indústria cultural, utilizando-o para analisar a nova realidade do país, sendo que este permanece atual em vários aspectos, se constituindo em uma ferramenta importante para a compreensão do desenvolvimento da sociologia da cultura e da indústria cultural brasileira.
The aim of this study was to analyze the development on Sociology of Culture in the Brazilian academic environment, pari passu the evolution of the cultural industry in Brazil. In order to do so, we investigated the evolution of the scientific research carried out in Brazilian Graduate Programs, particularly theses and dissertations, whose main purpose was Popular Brazilian Music (MPB) and the cultural industry. The central hypothesis is that the concepts brought by the Frankfurt School, notably that of "cultural industry", were capital instruments for the formation of a brazilian social thought on the subject of culture and its relations with the market, making possible the construction of a field on Sociology of Culture and Art in the country, and supporting research on the organization of artistic and cultural production in its relations with the market. In this trajectory, we exposed the so-called "Critical Theory" by Theodor W. Adorno (1903-1969) and Max Horkheimer (1895-1973) Frankfurt School founders, and then investigated when and how the ideas of the Frankfurt School - related to "cultural industry" presented by Adorno and Horkheimer - arrived in Brazil. Finally, we carried out a survey of the Brazilian scientific production on the subject, since the 1980s - when the first theses and dissertations were published on the subject - until the year 2015, presenting the approaches of the works most directly related to the theme. Our observations reveal that the Brazilian Academy has appropriated the concept of cultural industry, using it to analyze the new reality of the country and that it remains current under several regards, serving as background for understanding the development of Sociology of Culture and of Brazilian cultural industry.

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Huf, Elizabeth L. H. "On the western line : the impact of Central Queensland's heritage industry on regional identity /." Access via Murdoch University Digital Theses Project, 2006. http://wwwlib.murdoch.edu.au/adt/browse/view/adt-MU20061121.145704.

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Esteves, Anna Maria Pereira. "Dramaturgie et mémoire : le groupe Icaros do Vale, dans le Minas Gerais ( Brésil)." Thesis, Paris 10, 2012. http://www.theses.fr/2012PA100122.

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Cette thèse construit une réflexion sur les liens entre dramaturgie et mémoire, dans “l’écriture de la scène” du groupe de théâtre « Icaros do Vale », dans le Minas Gerais (Brésil), considérant que le “mode populaire de la production artistique” d'Icaros do Vale s’inscrit dans l’assertion lukacsienne de l’universalité esthétique de la représentation, même apparemment ancrée dans le particulier et le “processus de la vie réelle”. L’analyse inclut une réflexion sur la culture populaire et, plus spécifiquement dans le domaine du théâtre, sur les modes de recréation, dans l’écriture de la scène, de ces représentations exemplaires. La redéfinition idéologique de ce qui est appelé “culture populaire” inclut un questionnement de l’authenticité et de la légitimité de sa “récupération mémorielle”, sans la condamner à une simple reproduction de stéréotypes et aussi sans considérer comme art authentique les démonstrations colonisées par l’industrie de la culture. Le dévoilement des implications sociales, politiques, idéologiques et esthétiques qui imprègnent le groupe Icaros do Vale exige une connaissance de la vie de la région de Jequitinhonha, son occupation et son peuplement à partir de 1789 et les modes de maintien des fêtes traditionnelles, des coutumes, des légendes, des chants anciens et du théâtre populaire. A partir de cette genèse des manifestations culturelles, il sera possible d’étudier l’émergence et la réémergence, dans le temps, de cette diversité et de cette richesse culturelle. Et de tenter d’éclaircir l’apparent paradoxe que représente l’existence de ce groupe théâtral de grande qualité dans une région au statut socioéconomique aussi précaire que le Vale do Jequitinhonha
The object of this thesis is to reflect on the dramaturgy and memory of Ícaros do Vale theater group, which has completed fifteen years of political and aesthetical resistance in Vale do Jequitinhonha, Minas Gerais. For that purpose, the following investigation was carried out in order to investigate if the “popular method of artistic production” of Ícaros do Vale, known for its commitment to the “process of real life”, elevates itself to universality, even though it is linked to the representation of something in particular. The task consisted of an analysis beyond the efforts commonly found on studies about representation on popular culture and, specifically on the field of the theater produced by Ícaros do Vale, object of this research, about the efforts to “rescue” their own “exemplary” representations through their scenic procedures. The representation of the popular culture of Minas Gerais on the performances of the group will not be legitimized with redeeming authenticity, nor will it be condemned as mere reproduction of the stereotype, as it is usual on a discourse that considers genuine art the manifestations largely colonized by the cultural industry

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Jing, Yujuan. "Reconstructing Ancient Chinese Cultural Memory in the Context of Xianxia TV Drama." Thesis, Uppsala universitet, Institutionen för informatik och media, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-446181.

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This study explores how Chinese ancient cultural memory is constructed, and specifically how it is reconstructed through Chinese Xianxia TV dramas during the past five years. Ancient Chinese culture has become a hit in Chinese popular culture today, in which Xianxia TV dramas draw the biggest audiences. This study focuses on the ways, namely the transformations between cultural memory as storage memory to cultural memory as living functional memory, in which the Xianxia genre reconstructs the past. Bringing together a ritual view of communication, cultural memory and participatory culture, it applies a cultural approach to communication, which refers to the production and the fandom reception of Xianxia TV drama. Meanwhile, the perspective of culture industry provides a critical dimension to look into this highly commercial genre. This study is based on the analysis of content and representations of the theme song lyrics, posters and the general narratives of six selected Xianxia TV dramas, as well as a virtual ethnography of fan-generated videos and their comments. The findings suggest that, the reconstruction of ancient Chinese cultural memory in Xianxia TV dramas is a complex interplay between the culture industry logics of Xianxia production and the passionate participatory fan culture. The limited representations of the past in the series are absorbed and practiced by the fan audiences. Through fan practices, the fans extend the media text with their passion and knowledge of ancient culture, attaching the cultural memory into their present real-life cultural identity and hence vigorously transforming cultural memory from storage memory into functional memory. This study speaks to the lack of bottom-up perspectives in the studies of the ancient culture revival trend in China, and it contributes to a deeper scholarly understanding of the Xianxia genre.

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Babb, G. Kyle Boyd Jean Ann. ""Roll over Beethoven" the reaction of classical music recording divisions to the continuing emergence of a consumer culture in America between 1956 and 1982 /." Waco, Tex. : Baylor University, 2007. http://hdl.handle.net/2104/5043.

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Johnson, Alfred B. "Fascination machine : a study of pop music, mass mediation, and cultural iconography." Virtual Press, 1998. http://liblink.bsu.edu/uhtbin/catkey/1185429.

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The mediation of popular musicians in the twentieth century results in the construction of cultural formations-mass mediated pop musician icons-that are, to various degrees, weighted down by the ideologies and concerns of those who receive them as mediated texts. In passing judgment on these cultural icons, the public engages in a massive act of reading, and in the process the icons become sites of personal and cultural signification. This study examines the nature of signification in and through mass mediated popular music icons by exploring the processes by which popular music icons are produced, circulated, and read as texts; and it examines, when appropriate, the significant content of these icons.

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Yanes, Nicholas Adam. "Commodifying counterculture: William Gaines, EC Comics, Mad magazine, and the rise of the corporate anti-establishment." Diss., University of Iowa, 2014. https://ir.uiowa.edu/etd/6893.

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Founded as Educational Comics in 1944 and rebranding itself as Entertaining Comics a few years later, EC Comics would publish several comic book titles, such as Tales from the Crypt, and the magazine, Mad. While the success of these publications can be measured by a legacy of directors, writers, comedians, and others in the entertainment industry who describe EC's properties as an early inspiration for them, the company itself cannot be seen as equally successful in the business world. Though its publications have left permanent fingerprints on American popular culture, the company represents an interesting example of a company that never became 'big.' In short, EC provides an interesting contrast to standard narratives about entertainment companies and properties. With scholarship in this field typically analyzing how a company started off small and grew into a larger corporation, EC is an example of a company that started small and remained small as a subsidiary of a larger corporation. In addition to this dissertation functioning as a critical corporate biography of EC's evolution, it also examines how U.S. entertainment has changed as mass audiences have become increasingly fractured as new forms of entertainment technologies have emerged. Overall, this dissertation aims to show how standard humanities approaches to analyzing popular culture can be augmented by also investigating the business practices and work cultures that shaped an entertainment property.

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Filho, Renato Gonçalves Ferreira. "\"E a gente faz um país\": sentidos da autonomia artística e do mercado na obra de Marina Lima e Antonio Cicero no Brasil da década de 1980." Universidade de São Paulo, 2016. http://www.teses.usp.br/teses/disponiveis/31/31131/tde-12122016-165917/.

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A obra de Marina Lima e Antonio Cicero, durante a década de 1980, destacava-se das demais expressões do pop rock no Brasil pois, apesar de estar voltada evidentemente ao mercado, possuía uma elaboração estética diferenciada. O presente trabalho visa identificar, nas canções, por um lado, traços de diferenciação dentro do mercado hegemônico e, por outro, a incorporação de uma estrutura de consumo. Para abordar o objeto em suas múltiplas dimensões, mobilizam-se instrumentos teóricos das áreas de comunicação, teoria crítica, psicanálise, musicologia e estudos de gênero. Chega-se à percepção de que Marina Lima e Antonio Cicero compreendem tão bem o mercado que, em vez de alienarem-se das lógicas mercadológicas, utilizam-nas deliberadamente para criar um espaço possível de autonomia artística.
Marina Lima and Antonio Cicero\'s artistic work, during the 1980s, stood out from the other expressions of pop/rock music in Brazil because it had a different aesthetic development, despite being clearly focused on the market. The present study aims to identify, through their songs, differentiating aspects in the hegemonic market and the incorporation of a consumption structure. In order to approach the object in its multiple dimensions, this study mobilizes theoretical instruments of different areas, such as communication, critical theory, psychoanalysis, musicology and gender studies. As results, it is realized that Marina Lima and Antonio Cicero understand so well the market that, rather than alienate themselves from marketing logic, they use it deliberately to create a possible space of artistic autonomy.

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Peng, Hsin-Pey. "The rise of regionalisation in the East Asian television industry: a case study of trendy drama 2000-2012." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2012. https://ro.ecu.edu.au/theses/534.

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This thesis examines the contemporary Taiwanese television industry and its influence on the Asian TV market and popular culture in Asia. It explores the East Asian TV industry’s ability to produce a specific regional TV genre – that of trendy drama – as a means of representing the tastes and lifestyles of a new audience. I claim in the thesis that the East Asian TV industries have produced trendy drama for an emerging middle class audience in Asia. Trendy drama still is one of the most popular genres at the level of local TV productions; it can also be sold to an Asian regional audience. The main premise of the study is that the media has the symbolic power to centralise most social resources and technology, and because of that they can produce certain cultural meanings influential to ordinary people’s social and cultural experience. A study of the rise of regionalisation which specifically focused on the East Asian TV industry, has led to this case study of trendy drama. In the case study I analyse how East Asian TV industries produce and sell these types of local TV productions to a wider TV market. After the review of regionalisation literature, the study examines the specific content of the TV genre, trendy drama, within the context of the Asian TV market. This raises questions about the role of trendy drama and its function in the rise of regionalisation from political and economic perspectives. The answers to these questions are then used to examine the production of Taiwanese idol drama through a filmic and semiotic analysis. The earlier findings are supported by the television producers’ and directors’ (professionals’) practical insights into why and how they produce trendy drama for the Asian market. Macro- and micro-level approaches used in this study demonstrate the transition from a global television industry dominated by America to the way East Asian TV industries earlier on drew from the American TV industry’s values, technical knowledge and resources. However, ultimately the East Asian TV industry developed their own expertise which is why they now have the symbolic power to sell to audiences within the region. Furthermore, East Asian TV industries today have the ability to centralise enormous resources so they can produce culturally shared meanings, which is becoming part of popular culture in Asia. Consequently, the media’s symbolic power enhances the rise of regionalisation in East Asian TV industries. It is intended that this project will inform further debate about the changing configuration of television markets within the Asian region and the role of the media in mediating popular culture within the contemporary media age.

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Ratcliffe, Gavin M. "Parental Advisory, Explicit Content: Music Censorship and the American Culture Wars." Oberlin College Honors Theses / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=oberlin1467141078.

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Kube, Sven. "Born in the U.S.A. / Made in the G.D.R.: Anglo-American Popular Music and the Westernization of a Communist Record Market." FIU Digital Commons, 2018. https://digitalcommons.fiu.edu/etd/3656.

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Scholars from various disciplines have demonstrated that popular culture factored significantly in Cold War contestation. As a pervasive form of cultural content and unifying medium for baby boomers worldwide, pop music played an important part in the power struggle between the era’s two adversarial camps. Historical studies of the past thirty years have identified initiatives of cultural diplomacy, from radio broadcasting to live concert tours, as key to disseminating Western music in Eastern Bloc societies. This project explains how cultural commerce across the divide of the Iron Curtain familiarized millions of music fans in the German Democratic Republic (GDR) with popular sounds from the United States, the United Kingdom, and other Western democracies. Detailing a process that affected all Bloc states in similar ways, it seeks to enrich the scholarly discourse on the role of pop culture in the twentieth century’s defining ideological conflict. Through analysis of previously unavailable or inaccessible sources, the dissertation reconstructs the economic development of a communist culture industry and measures the commercial significance of Western commodities in one Eastern Bloc marketplace. Drawing on untapped archival files, it traces the evolution of Deutsche Schallplatten (German Records) from a small private firm into a flagship enterprise on the GDR’s cultural circuit. It illuminates how dependency on technology and resources from capitalist countries prompted East Germany’s managers to prioritize the westward export of classical recordings for the purpose of earning hard currencies. Based on oral histories of contemporary witnesses, it documents how the Amiga label through the parent company’s business ties to capitalist partners advanced the import of Western jazz, blues, rock, pop, and dance music to exhaust the purchasing power of the home audience. Empirically evaluating formerly classified production data for a total of 143 million records, it reveals how the state-owned monopolist engineered a de facto takeover of the domestic marketplace by American, British, and West German performers to achieve high profitability. The dissertation argues that intensifying Westernization of its walled-in music market exemplified the GDR’s decision to concede the Cold War battle over cultural preferences and political loyalties of its citizens out of economic necessity.

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Galletta, Thiago Pires 1979. "Cena musical independente paulistana - início dos anos 2010 : a "música brasileira" depois da internet." [s.n.], 2013. http://repositorio.unicamp.br/jspui/handle/REPOSIP/279205.

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Orientador: Pedro Peixoto Ferreira
Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciências Humanas
Made available in DSpace on 2018-08-23T22:31:07Z (GMT). No. of bitstreams: 1 Galletta_ThiagoPires_M.pdf: 3758270 bytes, checksum: a1f138696ba939ba60a2b8d830e1c60b (MD5) Previous issue date: 2013
Resumo: Os desenvolvimentos sócio-técnicos observados em torno da internet, ao longo dos anos 2000, são fundamentais para entendermos o processo de formação de uma nova geração produtora e consumidora de música no Brasil. Este processo é especialmente significativo quando se considera a música produzida pela chamada ?cena brasileira independente? contemporânea. Neste contexto, cada vez mais artistas partícipes desta cena, viabilizando seus trabalhos sem o aporte de grandes gravadoras, têm alcançado repercussão significativa junto a públicos segmentados, obtendo crescente reconhecimento em premiações nacionais de música e em uma gama variada de mídias especializadas, nas quais esta produção musical tem sido apontada como responsável por muitas das inovações e contribuições estéticas mais significativas no atual panorama da ?música brasileira? contemporânea. A chamada ?cena independente paulistana? do início dos anos 2010, e seus artistas, têm assumido um papel de relevo neste cenário, projetando muitos dos principais nomes associados ao que tem sido identificado e discursado, no período, como um ?novo momento da música brasileira?. O objetivo principal desta pesquisa foi identificar e analisar - a partir de vasto levantamento de dados sobre o campo enfocado e de entrevistas com artistas e produtores, realizadas presencialmente ou obtidas a partir de publicações na internet - as principais especificidades desta ?cena paulistana? responsáveis por singularizá-la, potencializar suas condições criativas e/ou de produção e a distinguir em relação a: (1) momentos anteriores da ?produção musical independente? no Brasil; (2) o conjunto da produção fonográfica contemporânea no país; (3) a ?cena independente e o novo momento da música brasileira?, mais particularmente. Com respeito aos conjuntos (1) e (2) assume importância fundamental as novidades trazidas pelas tecnologias digitais e pelos novos processos econômicos e novas políticas culturais observados no país nos últimos 15 anos. Na composição da especificidade da ?cena paulistana? em relação à ?cena independente brasileira? mais ampla (3), têm se destacado centralmente as oportunidades privilegiadas encontradas em São Paulo-SP para o desenvolvimento, sustentabilidade e repercussão de trabalhos musicais autorais independentes. Estas oportunidades serão responsáveis pela migração de um conjunto significativo de artistas independentes de outros estados brasileiros para o solo paulistano, nos últimos anos. A contribuição estética variada e diferenciada, trazida por estes músicos migrantes, se somará à peculiaridade da cultura musical paulistana e aos talentos criativos de seus artistas, bem como às vivências urbanas próprias à cidade, compondo-se, assim, a especificidade musical desta cena - cena marcada, de modo importante, por um alto nível de produção colaborativa entre seus agentes, e por trabalhos que tem buscado se afirmar para além de gêneros e categorizações musicais específicas
Abstract: The socio-technical developments related to the Internet between 2000 and 2010 are essential for an understanding of the process of formation of a new generation of music producers and consumers in Brazil. This process is especially significant when one considers the music put out by the so-called contemporary "independent Brazilian scene." Growing numbers of musicians took part in this scene and produced their work with no backing from the large recording companies and they have been very well received by segmented markets. They have won Brazilian awards in music and they have been recognized in a broad range of specialized media, where their musical output has been considered responsible for many of the innovations and significant aesthetic contributions in today's panorama of contemporary "Brazilian music." The so-called "São Paulo independent scene" of the early 2010s and its musicians have assumed an outstanding role in this context, projecting many of the most outstanding names associated with what has been described as a "new moment in Brazilian music." The main objective of the study for this paper was to identify and analyze the main specific aspects of this "São Paulo scene." The research is based on a careful collection of data about the field and on interviews with musicians and producers. Interviews were carried out in person or taken from publications found on the Internet. Several specific aspects of this "São Paulo scene" are responsible for stimulating the creativity and productivity of this phenomenon and, at the same time, distinguish it (1) from preceding historical periods of "independent musical production" in Brazil; (2) from the overall contemporary phonographic production in Brazil; and, especially, (3) from the "independent scene and new moment in Brazilian music." With respect to Items 1 and 2, new aspects brought on by digital technologies, new economic advances and new political-cultural observed in Brazil over the last 15 years have all been particularly important. The exceptional opportunities found in São Paulo for the development, continuation and repercussion of independent musical production have all stood out in the specific character of the "São Paulo scene" vis-a-vis the broader "independent Brazilian scene" (Item 3). These opportunities stimulated the migration to São Paulo of a great many independent musicians from other states in Brazil in recent years. The varied and distinct aesthetic contribution brought by these musicians has joined hands with the peculiar musical culture of São Paulo, the creative talent of its musicians, and the city's intense urban character. It is a scene strongly marked by a high level of cooperative output by its agents and by work that has sought to assert itself beyond specific musical genres and categories
Mestrado
Sociologia
Mestre em Sociologia

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Silva, Marcus Vinícius da 1981. "Adoniran Barbosa = nem trabalho, nem malandragem." [s.n.], 2012. http://repositorio.unicamp.br/jspui/handle/REPOSIP/270107.

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Orientador: Mário Luiz Frungillo
Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem
Made available in DSpace on 2018-08-19T23:30:14Z (GMT). No. of bitstreams: 1 Silva_MarcusViniciusda_M.pdf: 1147261 bytes, checksum: a579e68f331bf36d0559797a5544fe7c (MD5) Previous issue date: 2012
Resumo: Este trabalho propõe uma reflexão sobre os elementos temáticos e estéticos presentes nas canções de Adoniran Barbosa, essencialmente em suas letras, que despertaram interesse de seus mediadores no resgate do samba "autêntico", durante o processo de redefinição da MPB, que se deu entre os anos 60 e 70. Para isso, pretende-se observar as letras de suas canções presentes nos três primeiros elepês: Adoniran Barbosa 1974, Adoniran Barbosa 1975, e Adoniran e Convidados, de 1980. Esse recorte visa levantar quais foram os possíveis critérios de escolha das canções por seus produtores culturais, e analisar, a partir dos contextos político, econômico e sócio-cultural, que fatores possivelmente influenciaram na concepção de algumas dessas obras, bem como de que forma diversas dessas canções foram lidas e entendidas mais de vinte anos após serem compostas. A dissertação está dividida em duas partes. A primeira parte é composta por dois capítulos. O primeiro abrange a trajetória de análise da obra de Adoniran. Nesse capítulo, procura-se contextualizar o artista como parte do processo de racionalização da indústria cultural no Brasil - a partir dos conceitos frankfurtianos - e como esse processo, que acontece em concomitância com um momento de grandes tensões políticas e ideológicas, durante o regime militar, permite a consolidação de um cenário único e propício para a formação da MPB renovada. O resgate da figura de Adoniran nesse momento, na minha perspectiva, tem um significado político, ideológico e cultural bastante importante e singular no processo de construção e consolidação da música e da cultura brasileira. No segundo capítulo, pretende-se fazer um levantamento das principais críticas feitas sobre os álbuns que fazem parte do corpus da análise, essencialmente presentes em periódicos e nos encartes de seus elepês, com o objetivo de revelar de que maneira jornalistas, intelectuais e críticos de música influenciaram na constituição da presença de Adoniran na tradição do samba. Já a segunda parte da dissertação dedica-se à análise das canções presentes no corpus, procurando desenvolver, em dois capítulos diferentes, o caráter ambíguo das canções de Adoniran Barbosa inseridas em três debates recorrentes no contexto da MPB renovada: trabalho x malandragem; tradição x progresso; som local x som universal. No primeiro capítulo, o objetivo é realizar uma leitura das canções de Adoniran que refletem, do ponto de vista da recepção, um caráter de resistência à ordem vigente e à ética do trabalho, mas ao mesmo tempo caminham em rumo contrário ao discurso da malandragem tradicional dos sambas cariocas. É outra forma de resistência, que assume caráter de denúncia ao universo suburbano do trabalho. O segundo capítulo diz respeito essencialmente ao entendimento de uma postura crítica e contrária ao ideal de progresso assumido pela elite paulistana, que entendia São Paulo como a locomotiva do país desde o início do século. Ainda nesse capítulo, pretende-se desenvolver um debate estético e ideológico existente no cenário da música brasileira desse período, anos 60 e 70, tendo por um lado o som local, "autêntico" e "de raiz", representado pela MPB renovada, e o som universal, "inovador" e "moderno", representado pela Jovem Guarda e pela Tropicália
Abstract: This dissertation proposes an extended treatment on the aesthetic and thematic features of songs by Adoniran Barbosa, mainly in his lyrics, which led to interest of cultural agents in the rescue of the "authentic" samba, throughout the process of redefinition of MPB (Brazilian Popular Music), from the 60?s to the late 70?s. In order to do so, the song lyrics presented in his first three LPs were studied: Adoniran Barbosa 1974, Adoniran Barbosa 1975, and Adoniran and Guests 1980. In the period chosen we have questioned what the criteria for choosing the songs were, from the perspective of cultural producers, and analyzed possible influences in the composition of some of these works, according to political, economic and socio-cultural contexts, as well as how several of these songs have been read and understood over twenty years later. The thesis is divided into two parts. The first part consists of two chapters. The first covers the line of development of Adoniran?s work. In this chapter, the artist is contextualized as part of the rationalization process of the cultural industry in Brazil - according to Frankfurt School concepts - and this process, which happens to coincide with a time of great political and ideological tension, during the military regime, is comprehended as the consolidation of a unique and conducive scenario that allows the formation of the renewed MPB. The rescue of the figure of Adoniran at that point, in my view, has a political, ideological and cultural meaning which is very important and unique in the construction and consolidation of Brazilian music and culture. In the second chapter, the main criticisms on the analyzed albums were studied, mostly from newspapers and LP inserts, with the objective to expose how journalists, intellectuals and music critics have influenced the constitution of Adoniran?s presence in the tradition of samba. The second part of the dissertation, also in two different chapters, is the analysis of the lyrics presented in the corpus, aiming to develop the ambiguous character of Adoniran Barbosa?s songs in relation to three recurring debates in the context of renewed MPB: work x truancy; tradition x progress; local sound x universal sound. In the first chapter, the goal is to read Adoniran songs, from a perspective of reception, as resistance to the existing order and work ethics, as they take an opposite direction from the traditional discourse of truancy presented in sambas from Rio. It's a way of resistance, which denounces the universe of suburban work. The second chapter is dedicated to the understanding of the São Paulo elite?s posture of criticism and opposition to an ideal of progress, as they believe the state to be "the locomotive of the country" since the beginning of the century. Also in this chapter, we have presented the aesthetical and ideological debate in the Brazilian music from that period, the 60's and the 70's: on one hand the local, "authentic" and "native/root" sound, represented by the renewed MPB; on the other, the universal, "innovative" and "modern" sound, represented by Jovem Guarda and Tropicália
Mestrado
Literatura e Outras Produções Culturais
Mestre em Teoria e História Literária

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Serizawa, Molly M. "Dialectic of Celebrity Politics: Identifying Public Personalities and Political Performers in Twenty-First Century America." Scholarship @ Claremont, 2013. http://scholarship.claremont.edu/scripps_theses/254.

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‘Celebrity’ has become a growing field of critical inquiry and cultural interest in twenty-first century society. Celebrities embody a host of meanings and engender larger ideological and discursive practices, in which they articulate expressions of social, cultural and political power that attach meaning to public individuals. Beginning with the late-twentieth century, celebrities have come to occupy spaces that exist beyond popular culture platforms, most notably in politics and international diplomacy. In spite of its typical association with superficial discussions of gossip and cheap entertainment, celebrities have become the site of anxiety in a capitalist society. To come to terms with these growing anxieties concerning celebrity and its accoutrements, this thesis explores the embedded complexities and consequences of the celebrity system within the framework of what has dubiously been called ‘celebrity politics.’ Through a detailed examination of this phenomenon, this thesis explores the coalescing spheres of Hollywood and the White House, where ‘celebrity’ and ‘politician’ have become interchangeable monikers. In addition to examining the historical conditions that have given rise to the phenomenon, this study examines contemporary articulations of the ‘celebrity politician,’ focusing on Angelina Jolie, Sean Penn and President Barack Obama. Discussion of these figures is framed by critical theory and media studies to better understand their location within the contemporary Western landscape.

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Droguett, Victoria. "Voces populares: — proyecto editorial: introducción a un fenómeno popular impreso La Lira Popular." Tesis, Universidad de Chile, 2012. http://repositorio.uchile.cl/handle/2250/100474.

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Como Lira Popular se ha denominado a un conjunto de pliegos de poesía popular de fines del siglo XIX y principios del siglo XX. Corresponde a una manifestación de la cultura popular en el que se plasmaban hechos de actualidad y que conformaron un medio de expresión de las clases bajas de la sociedad, excluidas del circuito cultural de la sociedad acomodada de la época. El hecho de que La Lira Popular haya sido reconocida como “memoria del mundo” sobre otras publicaciones de similares características presentes en América Latina, nos dice que es un patrimonio de gran valor para nuestra cultura, o así debería ser, por lo que es necesario que como profesionales del diseño realicemos algo por ella, sacándola de los estantes de conservación y rescatando su historia y contexto. Si bien existen expresiones en el diseño gráfico en torno a la Lira Popular, estas no pasan de usarla como decoración en objetos como poleras, bolsas, croqueras, entre otras, dejando de lado un contexto histórico, social y cultural muy importante en la historia de la conformación local. Es por esto que el ánimo de este proyecto editorial es hacer un pequeño aporte a todo aquél investigador e interesado en la Lira, pueda obtener una visión general de lo que es y de su contexto histórico, siendo una fuente primaria de información para acudir a una bibliografía especializada en la Lira Popular.

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Koutsogianopoulos, Ralia. "Thonging for identity : learning about girlhood, sexuality and feminity in a tween retail space." Thesis, McGill University, 2005. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=83190.

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Children learn from a variety of sources. One of the most powerful pedagogical sites for kids is the consumer sphere. Marketers recognize this and have recently carved out a new consumer niche for those between childhood and adolescence, marking them as tweens. La Senza Corporation, which specializes in women's lingerie, responded to this trend by opening a tween store with a name heavily laden with meanings of sexuality: La Senza Girl. This study will apply a textual analysis to the tween retail space, in an effort to understand the informal pedagogy that takes place within this milieu. While La Senza Girl celebrates girlhood by creating a space that tween girls can call their own, it is important to take stock of the meanings of girlhood being celebrated. This study interrogates La Senza Girl's 'pedagogies' of femininity, sexuality and girlhood.

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Labar, Morgan. "La gloire de la bêtise : régression et superficialité dans les arts depuis la fin des années 1960." Thesis, Paris 1, 2018. http://www.theses.fr/2018PA01H055.

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Depuis la fin des années 1960 se sont développées différentes pratiques artistiques délibérément bêtes, assumant et parfois même revendiquant leur bêtise. Dans une approche ancrée à la fois dans l'histoire culturelle et la théorie esthétique, prenant en compte les paramètres que sont les modalités d'exposition, l'industrie du divertissement et le rôle des collectionneurs, il s'agit de comprendre comment un phénomène à l'origine excentré, marginal et parfois contestataire, est devenu une donnée centrale de la production artistique contemporaine. Le premier mouvement revient sur la tradition de la bêtise en histoire de l'art. Partant de l'expression « bête comme un peintre », y est proposé une relecture du « retour à la peinture» du début 1980 (Figuration Libre, Mülheimer Freiheit à Cologne, bad painting américaine). Le deuxième moment porte sur les mécanismes de diffusion, d'expansion, de légitimation et d'institutionnalisation de l'art bête dans les années 1990 et 2000, abordant notamment les pratiques Martin Kippenberger, Jeff Koons, Paul McCarthy, Mike Kelley, Richard Jackson, Gelitin, Wim Delvoye ou encore Damien Hirst. Le troisième et dernier temps consiste en une généalogie alternative de cette histoire de la bêtise en prenant la Californie comme paradigme. On y développe l'hypothèse qu'à Los Angeles sont en germe, depuis le milieu des années 1960, les formes de bêtise artistique qui s'imposent à l'échelle internationale depuis les années 1990 : l'industrie du divertissement et le culte du succès, de la célébrité et de la richesse, et son contre-point dynamique, son envers dévoyé, le modèle du bad boy made in L.A
Stupidity (bêtise) can be apprehended as bodily, vulgar, even regressive. Or it can simply be understood as foolish, silly or childish. I investigate all of these strains of "bêtise" in order to demonstrate the key role it has played in shaping aesthetic styles and debates about contemporary art from the late 1960s to the present day. The dissertation thus traces these fluctuations by looking at the shift from the 1960-l 970s, when dumbness, used as a critical tool, occupied a position at the margins of the art world, to the l 980-1990s when "bêtise" began to constitute an autonomous aesthetics mobilized by the art world's biggest stars. What used to be marginal then became preeminent, what used to be popular culture became high art, while lowbrow turned into highbrow. The first part takes a look back at the tradition of stupidity in art history. Viewed from the popular phrase "stupid as a painter", I propose a reevaluation of the so-called "return to painting" in the early 80s (Figuration libre, Bad Painting, Mülheimer Freiheit Grup in Koln) as an initial step. The second section analyses the mechanisms of diffusion, expansion, legitimation and institutionalization of "dumb art" in the 90s and 2000s, focusing on practices of artists like Martin Kippenberger, JeffKoons, Paul McCarthy, Mike Kelley, Gelitin, Wim Delvoye or Damien Hirst. The third and last part is an attempt to write an alternative narrative to this history of stupidity, in which I propose California as a paradigmatic model. The entertainment industry and the cult of success, fame and wealth, and its dynamic counterpoint, its dark side, the made-in-L.A.-bad-boy model played major roles in that process

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Bowsher, Andrew John. "Authenticity and the commodity : physical music media and the independent music marketplace." Thesis, University of Oxford, 2014. http://ora.ox.ac.uk/objects/uuid:a421adac-1d86-4351-8778-6e16e1744513.

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This thesis examines the circulation of physical music media (78rpm records, LPs, CDs, tape) in the independent music marketplace. It is based on six months of ethnographic fieldwork in Austin, Texas, amongst the producers of goods for the independent marketplace, independent music stores and consumers of these goods and services. Against prevailing constructivist interpretations, I will argue for the value of authenticity as an analytical anthropological concept because it unites what my research participants value about materiality, technology, and marketplace relationships. In the independent marketplace for physical music media, authenticity is a multi-local, multi-vocal phenomenon. A nexus of economic rationales, design, reproduction-technologies, histories and personal conduct interact in an ongoing process that authenticates music commodities and their marketplace. This means that particular commodities are sought out over others on account of the multi-local authenticities they anchor. The thesis firstly demonstrates how the independent music scene safeguards claims to authentic identities by constructing an opposition to the mainstream, drawing on discourses of ethical production and consumption, sound technologies, spaces of consumption and cultural production. Secondly, I will uncover how physical music media and sound-reproduction technologies are assessed as effective providers of authentic musical reproductions according to their historical contingencies and performative material capacities. Thirdly, I develop the notion of the scene (Shank 1994) from its previously genre-fixed perspective to encompass multiple musical styles operating within a common social network of producers, retailers and collectors. The pluralistic scene I describe utilises multiple musical genres and nuanced notions of materiality and authenticity to establish their complex hierarchy of sonic and technological experiences.

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Makhubu, Nomusa Mary. "The fantastic subject: a visio-cultural study of Nollywood video-film." Thesis, Rhodes University, 2014. http://hdl.handle.net/10962/d1021166.

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The increasing popularity of Nigerian video-film, defined as the ‘Nollywood phenomenon’ (Barrot 2008, Haynes 2010, Adesokan 2011), has attracted recent interdisciplinary academic attention, now known as ‘Nollywood Studies’. The aesthetics and ideological approach of Nollywood video-film are often differentiated from those of the long-established and illustrious African Cinema. Films of Africa are, however, generally characterised by seemingly unique forms of the fantastic – an uneasy theme in scholarship on Nollywood. Although Nollywood video-film is commended by some scholars, its representation of the supernatural and the fantastic is often perceived to be demeaning. Considering the complexity of fantastic themes in creative arts of Africa, this study contributes to this field of study by positioning Nollywood as an interventionist artistic practice that subverts the division between art and popular culture. Further, it considers how this positioning could shift our thinking about what constitutes art and creative practice in Africa. The distinctions between art and popular culture have been inherited from particularly Western disciplines. A critical analysis of the fantastic in Nollywood could expand interpretations of the broader uses of new media and appropriation and develop the discourse on contemporary creative practices of Africa and the parameters of the art history discipline. I interrogate the visual language of the video-film medium through a discussion of other forms of artistic media such as photography, video art, and performance art. The fantastic themes, such as ‘magic’, ‘fetishism’ and violence, conveyed through new media open up a field of questions regarding contemporary social-political dynamics. The cultural value of Nollywood video-film is often based on who makes it. As a proletarian product, Nollywood has been underestimated as a ‘low’ form of culture. Its use of appropriated material connotes the complex dialectics that formulate class difference. I consider how a positioning of video-film as a creative practice could be complicated by the fact that it also operates as a theocentric implement that is used by churches to evangelise. Moreover, I examine how ‘epic’ films construct idyllic notions of ‘ethnicity’ based on dialectics of rational/irrational or real/fantastic. Nollywood video-film also creates images of fantastic spaces. In this thesis, I address concepts of space in Nollywood from which fantastic desire is constructed.

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Oliveira, Silvia de Cassia Rodrigues Damacena de. "A Literatura pop de Roberto Drummond : arte pop, referencialidade e ficção /." São José do Rio Preto : [s.n.], 2008. http://hdl.handle.net/11449/106340.

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Orientador: Arnaldo Franco Júnior
Banca: Maria Lúcia Outeiro Fernandes
Banca: Luciene Azevedo
Banca: Sérgio Vicente Motta
Banca: Álvaro Luiz Hattnher
Resumo: Literatura pop foi a designação criada por Roberto Drummond para definir um tipo de escritura que buscou romper com o conceito tradicional do fazer literário. Quatro livros fizeram parte deste projeto, o chamado Ciclo da Coca-Cola: A morte de D. J. em Paris (1975), O dia em que Ernest Hemingway morreu crucificado (1978), Sangue de Coca-Cola (1980) e Quando fui morto em Cuba (1982). Neste trabalho, buscamos mostrar a influência da Arte Pop na confecção destas obras, uma vez que o autor nunca negou ter sido este movimento artístico o alicerce de seu projeto, sobretudo em relação aos temas e procedimentos. Entretanto, Roberto Drummond não se limita a eles. Apropria-se de referências insólitas e, por meio delas, explicita as violências impostas à sociedade brasileira da segunda metade do século XX: a da ditadura militar, da indústria cultural e da cultura de massa. Num verdadeiro "jogo-de-armar" novas possibilidades, ele faz com que personalidades do mundo real interajam com personagens ficcionais, incitando o leitor a retomar referências, muitas vezes, perdidas e/ou esquecidas pelo tempo.
Abstract: Pop Literature (literarily, Pop Literature) was the name coined by Roberto Drummond to define one kind of writing that aimed to break up with the traditional concept of literary doing. This project was composed by four books, a serie known as the Coca-Cola Cycle: A morte de D. J. em Paris (1975), O dia em que Ernest Hemingway morreu crucificado (1978), Sangue de Coca-Cola (1980) and Quando fui morto em Cuba (1982). In this study we try to show the Pop Art influence in these works' composition, considering the author never denied this artistic movement had been the foundation of his project, especially referred to themes and procedures. Nevertheless Roberto Drummond doesn't limit himself by them; he owns remarkable references and, through them, explains the violence imposed to the Brazilian society of the second half of Twentieth century: by military dictatorship, cultural industry and mass culture. In actual building blocks of possibilities, he makes real people to interact with fiction characters, encouraging the reader to take references, sometimes lost and/or forgotten through time.
Doutor

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Filho, Reinaldo Cardenuto. "Discursos de intervenção: o cinema de propaganda ideológica para o CPC e o ipês às vésperas do golpe de 1964." Universidade de São Paulo, 2008. http://www.teses.usp.br/teses/disponiveis/27/27153/tde-20052009-164313/.

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Esta dissertação tem o objetivo de investigar o cinema de propaganda política produzido por duas associações de caráter ideológico, entre os anos 1961 e 1964: o Instituto de Pesquisas e Estudos Sociais (Ipês), dirigido principalmente por ricos empresários liberais e anticomunistas; e o Centro Popular de Cultura (CPC da UNE), constituído por jovens artistas influenciados pelas idéias marxistas. Para tanto, busquei articular informações provenientes da análise intrínseca de seus filmes com as do contexto histórico em que foram feitos e exibidos e, em especial, as extraídas da documentação a que tive acesso, com o intuito, então, de compreender os modelos cinematográficos aos quais essas obras se alinharam. Ao estudar como ipesianos e cepecistas foram adversários em meio às instabilidades de um Brasil próximo ao Golpe de 1964, foi possível constatar como os dois grupos financiaram a atividade cinematográfica com a expectativa de intervir nos rumos socioeconômicos e culturais do país a partir de projetos conflitantes que, por um lado, pretendiam fortalecer o poder da elite com um capitalismo de base liberal e, por outro, romper com as estruturas de poder capitalistas. Nesse sentido, mesmo com essas divergências, a pesquisa demonstra como ambos utilizaram um discurso próximo em suas filmografias, repleto de similaridades, que se manifesta no uso de técnicas e linguagens idênticas, como é o caso das experiências estéticas didáticas e das representações do povo com a finalidade de concretizar um programa ideológico para a nação. Assim, esse mestrado procura defender a hipótese de que, mesmo politicamente opositores, Ipês e CPC manusearam um referencial cinematográfico com diversas semelhanças.
The present dissertation aims the investigation of the political propaganda film industry production between 1961 and 1964 by two ideological character associations: the Instituto de Pesquisas e Estudos Sociais Ipês (Research and Social Studies Institute), managed especially by liberal and anticommunist rich businessmen; and the Centro Popular de Cultura CPC da UNE (Culture Popular Center), constituted of young artists influenced by marxist ideas. And to do so, I tried to join information provided by the intrinsic analysis of their films and the historic context in which they were produced and released and, especially, the information taken from the documentation I had access to, with the purpose of understanding the cinematographic models to which these films attached. By studying how ipesianos (term used to refer to the members of Ipês) and cepecistas (term used to refer to the members of CPC) were opponents in the instable Brazil near the 1964 coup detat, it was possible to observe how both groups financed their cinematographic activity, expecting to exercise some influence on the country cultural and socioeconomic course, by producing conflicting projects intended to, on the one hand, strengthen the power elite by supporting liberal based capitalism, and on the other hand, bring the capitalist power structures to an end. Nevertheless, even showing divergences, this research makes evident how both groups made use of analogue methodology on their filmographies, full of similarities, expressed in their identical techniques and languages, which can be seen in their didactical esthetic experiences and representations of the people with the purpose of concretize an ideological program for the nation. Therefore, the main goal of this masters degree is to support the hypothesis that, even being politically opposite, Ipês and CPC made use of very similar cinematographic referential.

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Hadzinsky, Chad. "A Look into the Industry of Video Games Past, Present, and Yet to Come." Scholarship @ Claremont, 2014. http://scholarship.claremont.edu/cmc_theses/842.

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Since its inception, the video game industry has been both a new medium for art and innovation as well as a major driving force in the advancements of many technologies. The often overlooked video game industry has turned from a hobby to a multi-billion dollar industry in its short, forty year life. People of all ages and genders across the world are playing video games at a higher clip than ever before. With so many new gamers and emerging technologies, it is an exciting time for the industry. The landscape is constantly changing and successful business models of the past will need to find ways to adapt if they wish to remain successful in the growing industry. Looking at how past trends and technological innovations have driven the industry gives understanding and insight into where it is at today and where it will go in the future. Video games have become an interactive art medium which inspires users to explore and create. The digitalization of games and their extreme popularity reflect our instinctive desire to seek out game-playing for its fun, cooperative, and competitive nature.

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Oliveira, Silvia de Cassia Rodrigues Damacena de [UNESP]. "A Literatura pop de Roberto Drummond: arte pop, referencialidade e ficção." Universidade Estadual Paulista (UNESP), 2008. http://hdl.handle.net/11449/106340.

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Literatura pop foi a designação criada por Roberto Drummond para definir um tipo de escritura que buscou romper com o conceito tradicional do fazer literário. Quatro livros fizeram parte deste projeto, o chamado Ciclo da Coca-Cola: A morte de D. J. em Paris (1975), O dia em que Ernest Hemingway morreu crucificado (1978), Sangue de Coca-Cola (1980) e Quando fui morto em Cuba (1982). Neste trabalho, buscamos mostrar a influência da Arte Pop na confecção destas obras, uma vez que o autor nunca negou ter sido este movimento artístico o alicerce de seu projeto, sobretudo em relação aos temas e procedimentos. Entretanto, Roberto Drummond não se limita a eles. Apropria-se de referências insólitas e, por meio delas, explicita as violências impostas à sociedade brasileira da segunda metade do século XX: a da ditadura militar, da indústria cultural e da cultura de massa. Num verdadeiro “jogo-de-armar” novas possibilidades, ele faz com que personalidades do mundo real interajam com personagens ficcionais, incitando o leitor a retomar referências, muitas vezes, perdidas e/ou esquecidas pelo tempo.
Pop Literature (literarily, Pop Literature) was the name coined by Roberto Drummond to define one kind of writing that aimed to break up with the traditional concept of literary doing. This project was composed by four books, a serie known as the Coca-Cola Cycle: A morte de D. J. em Paris (1975), O dia em que Ernest Hemingway morreu crucificado (1978), Sangue de Coca-Cola (1980) and Quando fui morto em Cuba (1982). In this study we try to show the Pop Art influence in these works’ composition, considering the author never denied this artistic movement had been the foundation of his project, especially referred to themes and procedures. Nevertheless Roberto Drummond doesn’t limit himself by them; he owns remarkable references and, through them, explains the violence imposed to the Brazilian society of the second half of Twentieth century: by military dictatorship, cultural industry and mass culture. In actual building blocks of possibilities, he makes real people to interact with fiction characters, encouraging the reader to take references, sometimes lost and/or forgotten through time.

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Oliveira, Claudio Jorge Pacheco de. "Disco é cultura: a expansão do mercado fonográfico brasileiro nos anos 1970." reponame:Repositório Institucional do FGV, 2018. http://hdl.handle.net/10438/24090.

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Este estudo tem por objetivo investigar a contribuição do artigo 2º da Lei Complementar nº 4, de 2 de dezembro de 1969, conhecida como “Lei disco é cultura”, para a expansão do mercado brasileiro de discos ocorrida na década de 1970. Consequência da política econômica de forte estímulo ao consumo do regime militar, a “Lei disco é cultura” autorizava as empresas produtoras de discos fonográficos a abater, do montante do Imposto sobre Circulação de Mercadorias (ICM), o valor dos direitos autorais artísticos e conexos, pagos aos autores e artistas brasileiros. A busca por investimentos estrangeiros era um aspecto fundamental do modelo econômico da ditadura. A expectativa era que a “maior eficiência” das empresas multinacionais contribuísse para um rápido crescimento. Essa política favoreceu a expansão das gravadoras estrangeiras, que tiveram seus interesses e demandas acolhidos pelo governo.
This study investigates the contribution of article 2 of Complementary Law nº 4, dated December 2, 1969, known as the “Album is Culture Law”, in the expansion of the Brazilian music market in the 1970s. An economic policy of strong stimulus to the consumption of the military regime, the “Album is Culture Law” authorizes record companies to write down, from the amount of the Merchandise Circulation Tax (ICM), the value of artistic copyrights and related, paid to Brazilian authors and artists. The search for foreign investment was a fundamental aspect of the economic model of the dictatorship. The “higher efficiency” of multinational companies was expected to contribute to rapid growth. This policy favored the expansion of foreign record companies, which had their interests and demands accepted by the government.

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Portnoff, Linda. "Control, cultural production and consumption : theoretical perspectives, empirical dilemmas, and Swedish music industry practices." Doctoral thesis, Stockholm : Economic Research Institute, Stockholm School of Economics [Ekonomiska forskningsinstitutet vid Handelshögskolan i Stockholm] (EFI), 2007. http://www2.hhs.se/efi/summary/742.htm.

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Aguiar, Joaquim Alves de. "Musica popular e industria cultural." [s.n.], 1989. http://repositorio.unicamp.br/jspui/handle/REPOSIP/269567.

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Orientador: Maria Lucia Dal Farra
Dissertação (mestrado) - Universidade Estadual de Campinas , Instituto de Estudos da Linguagem
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Resumo: Esta dissertação trata de questões relacionadas com a indústria cultural, o horizonte no qual inscrevi a trajetória da moderna canção brasileira. Ela contém por idéias básicas: 1. A implantação de uma sociedade de consumo relaciona-se com a implantação da indústria cultural no Brasil. É nesse contexto que se forma a moderna música popular brasileira, através de gravações em discos e emissões radiofônicas. 2. Um importante momento econômico, político e cultural relaciona-se com as mais estimulantes manifestações em termos de MPB: a Bossa Nova, a Canção de Protesto, o Tropicalismo e, em tom menor, a Jovem Guarda. É a época em que a MPB se torna importante veículo catalisador das questões culturais e políticas que animaram o período, saltando à vista do debate entre o "nacional" e o "estrangeirado". 3. O esvaziamento das questões do período anterior, mais o esgotamento de toda uma geração abrem caminho para o salto de internacionalização dado pela MPB. O ponto culminante desses processo tem sido o rock, configurado como grande tendência musical dos anos 80. Modernizando-se (sem contudo perder a marca periférica), a MPB deixa de ocupar o fórum de debates que ocupava há duas décadas, gerando o vazio e o mal-estar, visíveis no meio dos novos artistas e no seio da própria mensagem musical. Esta situação acaba por refletir o sintoma geral do país, num momento de crise e de desencanto quanto às promessas de um Brasil menlhor
Abstract: Not informed.
Mestrado
Teoria Literaria
Mestre em Letras

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Athique, Adrian Mabbott. "Non-resident cinema transnational audiences for Indian films /." Access electronically, 2005. http://www.library.uow.edu.au/adt-NWU/public/adt-NWU20060511.140513/index.html.

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Cappellano, Ana Paula. "Processo de criação da música pop e expansão dos registros de processo: o caso Let it Be - The Beatles." Pontifícia Universidade Católica de São Paulo, 2010. https://tede2.pucsp.br/handle/handle/5319.

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Coordenação de Aperfeiçoamento de Pessoal de Nível Superior
The following dissertation intends to investigate the creative process of pop music from the study of the audiovisual format as a musical creative process register, the documentary film and the making of in particular. Relations and interactions between the music created in the music industry dynamics and the culture of the image, as well as with the expansion of the registers and documents of process of music, from the eletronic record to the video, are established. Pop music refers to that of the Culture Industry, of media insertion, especially mass media, such as the radio, the cinema and the television, and their production is seen as a wide creative network. The documentary Let it Be, by the British group The Beatles, filmed in 1969 and released in 1970, was chosen as case study and, from the processes critique approach and based on the theories of the work of art creative networks, by Cecília Almeida Salles, it is understood as register and index of the collective process of creation of the band. The movie is considered, from this perspective, a precursor of the audiovisual format known today as the making of and, based on their critical analysis, different moments and points of tension are recognised during the creation and recording of an album, nods of the pop music network. We seek to understand how the interactions among their members, the creative subjects, as well as with external factors to that specific process, characterized the collective process of creation of the group at that stage of their career
A seguinte dissertação pretende investigar o processo de criação da música pop a partir do estudo do formato audiovisual como registro de processo de criação musical, em particular, o gênero cinematográfico documentário e o formato audiovisual making of. São estabelecidas relações e interações entre a música criada na dinâmica da indústria fonográfica e a cultura da imagem, bem como com a expansão dos registros e documentos de processo da música desde a gravação eletrônica até o vídeo. Denomina-se música pop aquela da Indústria Cultural, de inserção nas mídias, especialmente as de massa, como o rádio, o cinema e a televisão e sua produção é vista como uma grande rede criativa. O documentário Let it Be, do grupo britânico The Beatles, filmado em 1969 e lançado em 1970, foi escolhido como estudo de caso e, a partir da abordagem da crítica de processos e da teoria das redes de criação da obra de arte, de Cecília Almeida Salles, é entendido como registro e índice do processo de criação coletivo da banda. O filme é considerado, nesta perspectiva, um precursor do formato audiovisual hoje denominado making of e, a partir da sua análise crítica, são reconhecidos diferentes momentos e pontos de tensão durante a criação e gravação de um álbum, nós das redes de criação da música pop. Procura-se entender como as interações entre seus integrantes, os sujeitos criativos, bem como com fatores externos àquele processo específico, caracterizavam o processo de criação coletivo da banda naquele ponto da carreira

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Cruz, Eduardo Felipe Cangemi da [UNESP]. "Discos Marcus Pereira: Disco finalmente é cultura! - indústria fonográfica, música popular e memória social do choro." Universidade Estadual Paulista (UNESP), 2016. http://hdl.handle.net/11449/144665.

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A presente pesquisa tem como foco central de análise a produção fonográfica da gravadora independente Discos Marcus Pereira, entre os anos de 1974 e 1978. Este período foi marcado pelo processo de consolidação do mercado de discos no Brasil e pelas discussões em torno de elementos que viriam redimensionar o campo da música popular brasileira, a partir de valores e comportamentos vinculados a certas categorias de apreciação e consumo. A empresa Discos Marcus Pereira lançaria no mercado fonográfico 142 elepês, todos voltados exclusivamente para o registro e divulgação da “autêntica música popular brasileira”. Deste universo discográfico estão sendo considerados como fontes desta investigação, àqueles dedicados à música popular instrumental, mais especificamente o choro. A década de 1970 demarcaria um importante momento de rearticulação e de revitalização deste gênero musical. Se de um lado ocorre a “redescoberta” do gênero e de seus artífices, por outro, concorre uma nova safra de compositores e instrumentistas que passam a pensar o choro para além dos modelos “tradicionais” de composição e execução. Essa tensão entre “preservação” e “revitalização” dos repertórios do choro é amealhada ao longo do trabalho, compondo parte do cenário em que circulariam os discos da gravadora. Essas discussões tangenciariam toda a década de 1970, marcada pela necessidade da afirmação da identidade nacional brasileira, para a qual colaborou de forma significativa a esfera da música popular. A escolha dos repertórios e artistas realizados pela gravadora iriam dialogar com a construção de uma tradição musical nacional, negociada e elaborada por memorialistas, musicólogos e folcloristas ao longo do século XX, através de práticas sociais que se constituíram, produzindo representações específicas acerca de uma determinada tradição musical a ser salva e preservada das influências deletérias dos gêneros musicais estrangeiros. Essa concepção em torno da cultura popular compõe e identifica a atuação da Discos Marcus Pereira nos anos de 1970. Tais posicionamentos em diálogo com um ideário estético e político onde, povo e nação, seriam tomados como elementos centrais de nossa identidade, são discutidos aqui, a partir da produção fonográfica da gravadora.
This research has the central focus of analysis the record production of the independent record label Discos Marcus Pereira, between the years 1974 and 1978. This period was marked by record market consolidation process in Brazil and the discussions on elements that would resize the field of Brazilian popular music, from values and behaviors related to certain categories of appreciation and consumption. The company Discos Marcus Pereira launch in phonographic 142 LPs market, all geared exclusively for the recording and disclosure of "authentic Brazilian popular music." This discographic universe are being considered as sources of this investigation, those dedicated to the instrumental popular music, specifically crying. The 1970s demarcate an important moment of re-articulation and revitalization of this musical genre. On the one hand there is the "rediscovery" of the genre and its creators, on the other, contributes a new crop of composers and instrumentalists who spend thinking crying beyond the "traditional" models of composition and performance. This tension between "preservation" and "revitalization" of the choro repertoire is accumulated throughout the work, forming part of the scenario in which circulate the recording disks. These discussions They crossed throughout the 1970s, marked by the need for affirmation of Brazilian national identity, which contributed significantly the sphere of popular music. The choice of repertoire and artists performed by the label would dialogue with the construction of a national musical tradition, negotiated and drafted by witnesses, musicologists and folklorists throughout the twentieth century, through social practices that constitute, producing specific representations about a particular musical tradition to be saved and preserved from harmful influences of foreign musical genres. This conception around the popular culture composes and identifies the role of Marcus Pereira discs in the 1970s Such positions in dialogue with an aesthetic and political ideas where people and nation, would be taken as central elements of our identity are discussed here, from the record production label.

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Fenerick, José Adriano. "Nem do morro, nem da cidade: as transformações do samba e a indústria cultural - 1920-1945." Universidade de São Paulo, 2002. http://www.teses.usp.br/teses/disponiveis/8/8137/tde-28052003-160547/.

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Esta tese estuda algumas das relações entre o samba e o implemento da indústria cultural nos anos 1920/45. Na perspectiva adotada por este trabalho, agentes no processo de construção do moderno samba brasileiro, pois, entre outras coisas, alteraram o modo de produção e significados sociais dessa música. Assim, o samba deixava cada vez mais de ser uma música tradicional, para se tornar um produto da, assim chamada, indústria de diversões. Entretanto, o samba não foi apenas uma construção dos modernos meios de comunicação de massa. Houve vários interesses conjugados, abordados neste trabalho, que atuaram na sua elaboração. a possibilidade de profissionalização do músico popular, o rádio comercial em expansão (e em busca de novidades), o projeto nacionalista do governo Vargas etc., são alguns exemplos do envolvimento de boa parte da sociedade brasileira na criação do "samba nacional", um misto de tradição e modernidade.
This work was aimed to study some relations between samba anda the implement of the cultural industry in Brazil from 1920 to 1945. It was focused that the mass media were important agents on the modern Brazilian samba development, althering both the social meaning and the production way. However, the Brazilian samba was not only a result of this entertaining industry. Many other interests influenced on its elaboration, such as the commercial radio expansion (and its search for news rhythms), the professionalization of popular musicians, togheter with Vargas nationalist project etc., were some evidences of the Brazilian society involviment with the national samba creation, which is a mixture of tradition and modernity.

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Santos, Ricarte Almeida. "MÚSICA POPULAR MARANHENSE E A QUESTÃO DA IDENTIDADE CULTURAL REGIONAL." Universidade Federal do Maranhão, 2012. http://tedebc.ufma.br:8080/jspui/handle/tede/48.

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The work seeks to investigate the appearance and the development of a modern popular music produced in the state of Maranhão, starting with the incorporation of symbols and elements from popular culture by the music of composers from this referred state, in the mid of the 1970 s, and is later forthcoming with the tools of the cultural industry in the political context of Maranhão. The recording of the LP Bandeira de Aço , by Papete, in 1978, gathering compositions from Cesar Texeira, Josias Sobrinho, Sérgio Habibe (and Ronaldo Mota) assured that a large visibility was given to the rising popular music and started to generate a better acceptance from society of that new musical aesthetics and the expression of popular culture. The analysis contained in the present work are theoretically based on Thompson and Geertz, mainly, and also aims to analyze the expansion of the phenomena as from the onset of Mirante FM radio station, in the 1980 s, and the relation of that production with the cultural and political industry.
O trabalho busca investigar o surgimento e desenvolvimento de uma música popular moderna produzida no Maranhão a partir da incorporação de símbolos e elementos da cultura popular pela música de compositores maranhenses, em meados da década de 1970, e sua posterior aproximação com as ferramentas da indústria cultural no contexto político do Maranhão. A gravação do LP Bandeira de Aço, de Papete, em 1978, reunindo composições de Cesar Teixeira, Josias Sobrinho, Sérgio Habibe (e Ronaldo Mota) garante grande visibilidade à então nascente música popular e passa a provocar maior aceitação da sociedade dessa nova estética musical e das manifestações da cultura popular. As análises contidas no presente trabalho fundamentam-se teoricamente em Thompson e Geertz, principalmente, e procuram analisar também a expansão do fenômeno a partir da rádio Mirante FM, na década de 1980, e a relação dessa produção com a indústria cultural e política.

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Fernandes, Dmitri Cerboncini. "A inteligência da música popular: a \'autenticidade\' no samba e no choro." Universidade de São Paulo, 2010. http://www.teses.usp.br/teses/disponiveis/8/8132/tde-15092010-171819/.

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Partindo das disputas intelectuais, simbólicas e materiais que enlaçam os dois gêneros musicais chancelados como identificadores da nação, o samba e o choro, analiso a constituição e a reprodução de um microcosmo artístico possuidor de parâmetros estéticos relativamente autônomos. Percorro um longo período histórico no intento de demonstrar que o adensamento de instituições voltadas ao abrigo da música popular enseja uma contrapartida, a do surgimento de engajados que tratam de separar as produções musicais populares entre as que consideram autênticas das inautênticas, grupamento a que denomino de inteligência da música popular. Coube estabelecer sob que condições, quando e por meio da ação de quais personagens conformouse este microcosmo, espaço que logrou direcionar as apreciações e investidas de todos inseridos na atividade musical popular urbana.
Starting from the intellectual, symbolic and material disputes that intertwine both muscial genres heralded as the Nations identifiers: samba and choro, I analyse the constitution and reproduction of an artistic microcosm possessor of relatively autonomous aesthetic parameters. Covering a long historical period with the intent of showing that the densification of institutions aimed at the sheltering of popular music ensues a counterpart, one of stemming the engaged parties whose efforts aim at dissociating the popular musical productions between the ones they regard as authentic from the inauthentic, a grouping which I denominate popular music intelligentsia. This implied establishing under which conditions, when and through the action of which actors such microcosm was yielded, a space that managed to direct the appreciations and investements of everyone inserted in the urban popular music activity.

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Araujo, Luiz Claudio de. "Pão, circo e sorriso: a recepção e a audiência no markenting social." Pontifícia Universidade Católica de São Paulo, 2006. http://tede2.pucsp.br/handle/handle/2621.

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Os dados aqui apresentados fazem parte da pesquisa " Pão, Circo e Sorriso. A recepção e a audiência no Marketing Social" que teve como principal objetivo identificar o Markting Social na perspectiva da audiência e da recepção -e produtos da industria da cultura, principalmente mídia e recepção

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Muller, Daniel Gustavo Mingotti. "Musica instrumental e industria fonografica no Brasil : a experiencia do selo som da gente." [s.n.], 2005. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284765.

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Orientador: Jose Roberto Zan
Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
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Resumo: O selo Som da Gente, ativo entre os anos de 1981 e 1992, foi criado e gerenciado pelo casal de compositores Walter Santos e Teresa Souza. A empresa produziu, ao todo, 46 discos exclusivamente instrumentais, que representam uma parte bastante significativa dos lançamentos daquele segmento, no período. A partir de um amplo levantamento bibliográfico e da realização de entrevistas com músicos e profissionais envolvidos na história do selo, procurou-se construir um extenso panorama da sua atuação, desde a escolha do cast até a divulgação e distribuição dos discos, no Brasil e no exterior, passando pela relação que se estabeleceu entre os artistas e os empresários. Analisando esses dados e incorporando-os em uma interpretação daquele momento específico do mercado fonográfico brasileiro, este trabalho pôde verificar o comportamento do selo num período de transição da estrutura de organização global desse mercado, no sentido da adoção de um sistema aberto de produção, em que a relação entre pequenas e grandes gravadoras tende a migrar de um cenário onde predomina a atuação autônoma ¿ a chamada produção independente ¿ para um cenário onde o predomínio é de uma atuação complementar entre elas ¿ as pequenas gravadoras produzindo estreitamente vinculadas às grandes
Mestrado
Mestre em Música

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Straw, Will 1954. "Popular music as cultural commodity : the American recorded music industries 1976-1985." Thesis, McGill University, 1990. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=39241.

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This dissertation is an analysis of historical change within those cultural industries involved in the production and dissemination of popular music. Through an analysis of the relationship between the recording and radio industries within the United States, during the period 1976-1985, the manner in which crises within these industries arise and are resolved is traced. The emergence of such musical forms as "disco" and "New Wave", and the manner in which these forms have been integrated within the functioning of the music-related industries, are central concerns of the dissertation. At the same time, more general theoretical hypotheses concerning the role played by taste in the creation of audiences for different categories of popular music are elaborated and employed within the study of specific musical genres.

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Tagarelli, Diego. "Crisis y transformaciones socioculturales en la Argentina durante la década del noventa." Bachelor's thesis, Universidad Nacional de Cuyo. Facultad de Ciencias Políticas y Sociales, 2007. http://bdigital.uncu.edu.ar/4702.

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El objetivo general de la tesis es analizar el surgimiento de un fenómeno musical como expresión de los sectores populares en el marco de las transformaciones socioculturales que se sucedieron en Argentina durante la crisis estructural de la década del noventa. Por lo que estudiar las transformaciones socioculturales que han terminado por producir este fenómeno musical de representación popular dentro del rock nacional, significa examinar la problemática de los sectores desplazados y las condiciones culturales del país que han modificado la situación de las clases sociales en los últimos años, como así también las manifestaciones musicales que se articulan en el campo popular a fin de vincular la estructura social y cultural con las expresiones del arte nacional. Los objetivos específicos trazados tienen como finalidad reconocer los diferentes actores sociales que se encuentran involucrados en el proceso cultural de hibridación y transformación, como así también comprender e identificar los espacios marginales de expresión popular durante la crisis en el marco del proceso ideológico de la globalización, para conocer los cambios que se han producido en el terreno de la cultura nacional.
Fil: Tagarelli, Diego. Universidad Nacional de Cuyo. Facultad de Ciencias Políticas y Sociales.

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Dell, Molina Mauricio Henry. "Transferencia tecnológica del big data hacia la gestión cultural : pertinencia del uso de indicadores de marketing digital en la industria de la música popular chilena." Tesis, Universidad de Chile, 2015. http://repositorio.uchile.cl/handle/2250/138165.

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Magíster en gestión cultural
Dado que durante los últimos 50 años las industrias culturales y creativas se han validado cada vez más como áreas diferenciadas de la economía y el desarrollo, el gestor cultural profesional enfrenta también un creciente desafío profesional y requiere de herramientas, conocimientos y capacidades afines que le permitan impulsar las actividades culturales en tanto sector productivo. Junto con lo anterior, el explosivo desarrollo de las nuevas tecnologías de la información y las comunicaciones alojadas en Internet originaron en los últimos 20 años el fenómeno conocido hoy como big data1, que ha revolucionado el acceso, el alcance, la magnitud y la variedad de los datos existentes. Esta revolución de los datos es otra fuente de desafíos para el músico y el gestor cultural quienes deberán estar informados y actualizados de cómo estos avances pueden beneficiar o afectar sus labores Actualmente en Chile es posible acceder de manera abierta y democrática a un creciente cuerpo de datos estadísticos para el estudio y comprensión de las industrias culturales. Sin embargo, estos registros de fuentes institucionales dejan brechas que deben ser cubiertas por otras fuentes y modelos de acceso a la información. Con esta necesidad se genera la oportunidad de proponer una transferencia de conocimientos y tecnologías de producción y procesamiento de información, desde otras actividades como el marketing, campo que es afín a la gestión cultural en tanto actividad para el desarrollo económico e industrial. Las afinidades que existen entre el marketing y la gestión cultural nos permitirán proponer la factibilidad de extrapolar prácticas y conocimientos desde un sector al otro a modo de transferencia tecnológica. Específicamente buscaremos dar con un sub-grupo de indicadores de marketing que, proviniendo del territorio de los nuevos medios y el big data,

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Malta, Diogo Manuel Matias da Silva. "Insergência ilustrada nos desportos de ação." Master's thesis, Universidade de Lisboa, Faculdade de Arquitetura, 2017. http://hdl.handle.net/10400.5/13940.

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Dissertations / Theses on the topic 'Popular culture industry'

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