Journal articles on the topic 'Popular culture industry'
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Alexander, Peter J. "Entropy and Popular Culture: Product Diversity in the Popular Music Recording Industry." American Sociological Review 61, no. 1 (February 1996): 171. http://dx.doi.org/10.2307/2096412.
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GIESTA, GABRIEL VALLADARES. "Os primeiros passos do samba com a indústria fonográfica: da Casa Edison à diversificação das gravadoras * The first steps of samba with the phonographic industry: from Casa Edison to the diversification of record." História e Cultura 2, no. 2 (December 30, 2013): 35. http://dx.doi.org/10.18223/hiscult.v2i2.1073.
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<p><strong>Resumo:</strong> O presente artigo parte de um estudo de caso sobre o samba e as gravadoras nas primeiras décadas do século XX no Rio de Janeiro, tendo como objetivo refletir sobre o conceito de indústria cultural. Neste caso, tem como foco a relação entre indústria cultural e cultura popular, principalmente no que tange à indústria fonográfica. Sendo assim, busca-se trabalhar uma construção teórica e conceitual no fazer historiográfico a partir do diálogo com o objeto de pesquisa em questão, neste caso, os sambas gravados no Rio de Janeiro das décadas de 1910, 1920 e 1930. </p><p><strong>Palavras-chave:</strong> Indústria fonográfica – Indústria cultural – Samba – Cultura popular.</p><p> </p><p><strong>Abstract:</strong> This article presents a case study on Samba and record labels in the first decades of the Twentieth Century at Rio de Janeiro, aiming to discuss the concept of culture industry. In this case, this article focuses on the relation between the culture industry and popular culture, mainly concerning the phonographic industry. Thus, it seeks out to work on a theoretical and conceptual construction in the historiographical craft dialoguing with the research object in question, in this case, the samba songs recorded at Rio de Janeiro in the 1910s, 1920s and 1930s.<br /><strong></strong></p><p><strong>Keywords:</strong> Phonographic industry – Culture industry – Samba – Popular culture.</p>
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Singh, Ankita. "CAPITALISM, CONSUMERISM AND POPULAR CULTURE." International Journal of Research -GRANTHAALAYAH 6, no. 4 (April 30, 2018): 205–10. http://dx.doi.org/10.29121/granthaalayah.v6.i4.2018.1645.
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A product’s utility has evolved over time. In today’s world, the commodities possess the power to define us. Every product that we own today, through its branding, reflects our social status, values and vice versa. It is difficult to refute the negative influence of capitalism that we witness in form of obsession with possession. The aim of the paper is to study the extent to which the products of the modern society like the protagonists in the following two movies suffer; whether it is possible to imagine an end of consumerism and not the world or has it become an inherent part of the late capitalist world in which there is no completeness but the perennial emergence of substitutes (objects). This paper studies the aforementioned issues through the movies “Fight Club” and “Confessions of a Shopaholic”. The first section of the paper uses the case of soap industry as the foundation and analyses “Fight Club”. The second section examines the role of credit card companies in compulsive buying disorder through “Confessions of a Shopaholic”. Despite the similarity between the two movies on the grounds of the modern world “suffering”, the paper highlights the difference in their treatment of the main theme of consumerism and links it to the gender politics. The final section draws a comparison between the endings of the two movies and investigates the premise of disorder in “Fight Club” and its existential threat to capitalism.
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Babich, Babette. "Musical “Covers” and the Culture Industry." Research in Phenomenology 48, no. 3 (September 27, 2018): 385–407. http://dx.doi.org/10.1163/15691640-12341403.
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Abstract This essay foregrounds “covers” of popular recorded songs as well as male and female desire, in addition to Nietzsche’s interest in composition, together with his rhythmic analysis of Ancient Greek as the basis of what he called the “spirit of music” with respect to tragedy. The language of “sonic branding” allows a discussion of what Günther Anders described as the self-creation of mass consumer but also the ghostly time-space of music in the broadcast world. A brief allusion to Rilke complements a similarly brief reference to Jankelevitch’s “ineffable.”
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Cloonan, Martin, and John Street. "Rock the Vote: Popular Culture and Politics." Politics 18, no. 1 (February 1998): 33–38. http://dx.doi.org/10.1111/1467-9256.00058.
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Rock the Vote was founded in 1996 as an attempt to exploit popular culture to boost political participation. Using pop musicians and comedians, it attempted to encourage young people to take part in politics. This article examines the formation of Rock the Vote, and explores its implications for the character of contemporary politics. It argues that Rock the Vote has to be understood not only as part of a larger shift in the nature of political campaigning and communication, but also as a response to the mutual needs of political parties and the popular culture industry. Rock the vote is both a symptom of new forms of campaigning and also a pragmatic solution to particular political problems.
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Pilkevych, Andrii. "US popular culture in the mirror of video game industry conventions." Ethnic History of European Nations, no. 64 (2021): 97–101. http://dx.doi.org/10.17721/2518-1270.2021.64.13.
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Video game culture is one of the most dynamically developed forms of modern popular culture. Over the past 10 years, the number of communities that represent certain areas has grown rapidly. Being in direct connection with film industry, literature and music the video game culture has occupied a new segment that requires detailed research. New opportunities of online communication have transformed the traditional understanding of gaming culture. Social segment identifies as gamers. This kind of culture can be used to spread a social message using human interactions. It should be noted that in a comprehensive sense, this problem covers the interaction with computer and algorithm art, artmedia, demoscene, cybernetic and digital art, evolutionary and generative art, new media, systems art and other areas which are represented in PC, VR, Console, Handheld, Tabletop. Communities of gamers, as well as game developers have created and promoting quite recognizable festivals and conventions which are described in this article. Games and game-related merchandise by Sony Interactive Entertainment – PlayStation Experience; BlizzCon by Blizzard Entertainment with their major franchises: Overwatch, Warcraft, StarCraft, Heroes of the Storm et al; general video gaming and video game streaming – TwitchCon convention; RTX conventions by Rooster Teeth; Penny Arcade Expo as gaming culture festivals with their PAX Arena, LAN Party, eSports tournament and Omegathon. This article does not describe the US comic con conventions that carry much more content than the focus on video games, such as San Diego Comic-Con International, New York Comic Con et al. Gamers have developed specific communication languages and rituals, they spread their culture on gaming conventions and discussion websites that create a distinct virtual space. An important part of video game culture is the activity of gamers on YouTube, gaming channels are very popular, this is confirmed by millions of subscribers. Post-dynamic structure of changes was formed in all streams of public life during the growth of the pandemic. COVID-19 is accelerating existing trends and indicate future transformations in the video game industry.
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Pilkevych, Andrii. "«Multigenre Convention» Through a Prism of US Popular Culture." Ethnic History of European Nations, no. 67 (2022): 136–41. http://dx.doi.org/10.17721/2518-1270.2022.67.18.
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The article gives a brief description of the most famous festivals and conventions of popular culture in the United States, which include Comic-Con International: San Diego, New York Comic Con, Wizard World Chicago Comic Con, AggieCon, Alamo City Comic Con, All-Con, ApolloCon, Archon, Big Apple Comic Con, Blerdcon, CarnageCon, Chattacon, Chicago Comic & Entertainment Expo, ClexaCon, CoastCon, ConCoction, ConGlomeration, ConnectiCon, CONvergence, Dragon Con, Emerald City Comic Con, Fan Expo Boston, Fan Expo Dallas, FanX, Florida Supercon, Genericon, Heroes Convention, LA Comic Con, MidSouthCon, MOBICON, MomoCon, Motor City Comic Con, Pacific Media Expo, Pensacon, Phoenix Fan Fusion, Sci-Fi Valley Con, Silicon Valley Comic Con, WonderCon, Zenkaikon. The most common thematic areas that fill the main structure of convention programs, in particular presentation of rare and latest examples of the comic’s industry, popularization of the idea of the value of collecting, providing space for novice artists to disseminate their work in the alley of artists. At the same time, with the growing dominance of the video game industry, board and card games, as well as themed collectible toys, remain widely popular. Most festivals feature cosplay competitions that reward the winners, autograph zones with invited celebrities, large-scale panels for exhibitions, where in addition to purely visual pleasure you can join workshops, thematic lectures and seminars. Events include Film Festival, cosplay and costume contests, dances, also the option of game playing. Programs include opportunities to preview the latest film industry news, anime, video game testing and sketches of leading artists from companies specializing in comic book content, exhibition panels with authentic material from the set of popular film franchises and interactions.
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Thumim, J. "The 'popular', cash and culture in the postwar British cinema industry." Screen 32, no. 3 (September 1, 1991): 245–71. http://dx.doi.org/10.1093/screen/32.3.245.
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Cuneo, Michael W. "Of demons and Hollywood: Exorcism in American culture." Studies in Religion/Sciences Religieuses 27, no. 4 (December 1998): 455–65. http://dx.doi.org/10.1177/000842989802700407.
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As the related phenomena of exorcism and deliverance ministry vividly attest, the popular entertainment industry in the United States possesses a tremendous capacity for influencing religious beliefs and behaviours. Since the early 1970s, cinematic and popular literary treatments of demonic possession and affliction have helped create recurrent demands for exorcism within various sectors of American society. This paper examines the peculiar dynamics by which markets for exorcism have been created and sustained by the entertainment industry, and also the various ways in which these markets have been satisfied by religious entrepreneurs within the respective worlds of neo-Pentecostalism, Protestant evangelicalism and Roman Catholicism.
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Venegas Ramos, Alberto. "Retrolugares, definición, formación y repetición de lugares, escenarios y escenas imaginados del pasado en la cultura popular y el videojuego." REVISTA DE HISTORIOGRAFÍA (RevHisto) 28 (May 18, 2018): 323. http://dx.doi.org/10.20318/revhisto.2018.4225.
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Resumen: La intención de este artículo es presentar el concepto “retrolugar” como la repetición de lugares imaginados del pasado dentro de la cultura popular debido a razones sociológicas, políticas y comerciales asociadas a la nueva cultura del capitalismo. Para lograr este objetivo insertaremos el concepto dentro de un marco historiográfico más general y situaremos ejemplos tanto de su concepción como de su desarrollo. Todo ello nos conducirá a la idea de empleo o utilización estética del pasado con razones políticas, sociales o comerciales. Usos del tiempo pretérito alejados del oficio del historiador, pero alojados extensamente entre la población debido a la integración de estos dentro de las manifestaciones culturales más populares.Palabras clave: Retrolugar, Usos públicos de la Historia, Cultura Popular, Mitohistoria, Industria cultural.Abstract: This article introduces the ‘retroplace’, the concept of recreating imagined places of the past within the popular culture on the basis of sociological, political and comercial reasons associated with the new culture of capitalism. To achieve this goal, the concept is examined within a more general historiographic framework, and examples of both its conception and its development are given. This analysis reveals the employment or the aesthetic use of the past for political, social or commercial motives. Although these uses of the past tense are far removed from the trade of the historian, they are widely accepted among the population due to their integration within the most popular cultural manifestations.Key words: Retroplaces, Public use of History, Popular Culture, Mythistory, Cultural industry.
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Murlianti, Sri. "Cycles of Beauty Culture: Ethnography of Beauty Clinics Commodification." KOMUNITAS: International Journal of Indonesian Society and Culture 6, no. 2 (December 20, 2014): 327–35. http://dx.doi.org/10.15294/komunitas.v6i2.3312.
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Skin care is not a completely new in beauty treatments. Previously there have been other types of cultural industry which also adopted the medical science, such as cosmetic and beauty salon industries. But, skin care beauty clinic successfully introduces the services of beauty treatments which are considered the healthiest. This paper is a summary of the research on how beauty clinic quickly became a part of everyday life of its consumers. The research focused on Natasha Skin Care, a most popular beauty clinic in Indonesia at the moment. According to Richard Johnson, the process of a culture industry reaches the society through a communication that in form a pattern cyclic communications. The stages in the pattern are interconnected but slipped, each stage is affecting others but are not specified in an uncertain manner; between the producer of culture industry with its consumers. This study is a multidiscipline research using three methods of interpretation namely ethnography, discourses analysis, and social hermeneutic study.Klinik kecantikan bukanlah budaya yang benar-benar baru dalam perawatan kecantikan. Sebelumnya telah ada jenis industri budaya lain yang juga mengadopsi ilmu kedokteran, seperti industri kosmetik dan salon kecantikan. Namun klinik kecantikan sukses menyandang predikat sebagai jasa perawatan kecantikan yang dianggap paling sehat. Tulisan ini merupakan rigkasan penelitian tentang bagaimana klinik kecantikan begitu cepat menjadi bagian hidup seharihari masyarakat konsumennya. Fokus penelitian ini adalah Natasha Skin Care, sebuah klinik kecantikan paling popular di Indonesia saat ini. Menurut Richard Johson proses sebuah industri budaya sampai pada masyarakat konsumennya melalui komunikasi yang timpang, membentuk pola komunikasi siklik, saling terhubung namun penuh dengan keterpelesetan, saling mewarnai namun tidak menentukan secara pasti antara produsen industri budaya dengan masyarakat konsumennya. Penelitian ini ditempuh dengan kerja multidispliner, menggunakan setidaknya tiga metode interpretasi, yaitu etnografi, analisis wacana dan hermenuitik sosial.
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Sugihartati, Rahma. "Youth fans of global popular culture: Between prosumer and free digital labourer." Journal of Consumer Culture 20, no. 3 (October 13, 2017): 305–23. http://dx.doi.org/10.1177/1469540517736522.
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The subculture of urban global popular-culture youth fans is believed to be a resistance-subculture against the hegemony of dominant power. This study, however, found that the subculture given rise to by the urban, global popular-culture youth fans of ‘the Mortal Instruments’ in Indonesia is in opposition to the Neo-Gramscian thought which has become the foundation of popular-culture studies. In constructing their identity, some of the digital fandoms of global popular culture have been critical of the content of cultural texts as a form of resistance against texts produced by cultural industries. However, they have only been developing artificial forms of resistance within the system, that is, in fan sites. This study found that the urban youths joining digital fandoms are not free from the hegemony of capitalism because they have become playlabourers, engaging in free digital labour for the powers of the global culture industry. This critical attitude of urban youths, in building their digital fandom-subculture identity, is incapable of standing against the system. They even position themselves within the network of cultural-industry capitalism – identified by the Frankfurt School as the domination and superiorization of the industry power of global entertainment that is continually self-restoring.
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SANTOS, Kristine Michelle L. "Localising Japanese Popular Culture in the Philippines：Transformative Translations of Japan’s Cultural Industry." Border Crossings: The Journal of Japanese-Language Literature Studies 13, no. 1 (December 30, 2021): 93–102. http://dx.doi.org/10.22628/bcjjl.2021.13.1.93.
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Japan’s Cool Japan Initiative has aimed to tap Japan’s cultural industry to boost the country’s soft power all over the globe. In Southeast Asia, Cool Japan has its merits in countries such as Thailand and Singapore where Japanese cultural products, ranging from restaurants to television shows, have become easily accessible. Borrowing from Koichi Iwabuchi, Cool Japan provides opportunities for the country to present their “cultural odour.” That said, when the government is no longer in control of different cultural products, this ‘cultural odour’ takes a different shape. As a country that has not been central to Cool Japan initiatives, the Philippines presents an interesting case of localisations that negotiate Japanese cultural products in the Philippines. Focusing on observations of Japan’s contents industry, particularly access to anime and manga, this paper highlights how local consumers have made efforts to transform the ‘cultural odour’ of these Japanese products. This paper focuses on digital outputs such as social media fan works and dōjinshi of popular anime shows that bravely challenge the meanings of these Japanese cultural products. I argue that these localisations present critical transformations of Japanese popular culture which has led to knowledge from deviates from normative notions of Japan.
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Pineda, Antonio, and Jesus Jimenez-Varea. "Popular Culture, Ideology, and the Comics Industry: Steve Ditko's Objectivist Spider-Man." Journal of Popular Culture 46, no. 6 (December 2013): 1156–76. http://dx.doi.org/10.1111/jpcu.12082.
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Yeeyon Im. "Shakespeare and Popular Culture in Korea: Theatre Industry in the New Millennium." Journal of Medieval and Early Modern English Studies 22, no. 1 (May 2012): 41–66. http://dx.doi.org/10.17054/jmemes.2012.22.1.41.
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Street, John. "Popular music and the state in the UK: culture, trade or industry?" Cultural Trends 18, no. 3 (September 2009): 275–76. http://dx.doi.org/10.1080/09548960903065469.
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Pratama, Adhitiya Prasta. "FESYEN ANIME JEPANG SEBAGAI KAJIAN BUDAYA POPULER." JURNAL SOSIAL Jurnal Penelitian Ilmu-Ilmu Sosial 22, no. 2 (January 6, 2022): 52–56. http://dx.doi.org/10.33319/sos.v22i2.79.
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At this time, the media act as the mastermind behind the formation of popular culture. Media shapes the reality of human life. Thus, humans are trapped in false needs. Today's popular culture comes through a new form, namely the Japanese anime fashion. Japanese anime fashion has emerged as a representation of popular culture in the Asian sphere. Apart from that, Japanese anime fashion also plays a role in the culture industry. This writing uses the literature method to obtain data. Furthermore, this paper also uses a theory based on the theory of Popular Culture by Dominic Strinati. Thus, this writing seeks to reveal, unravel, and explain that Japanese anime fashion is present as a popular culture that cannot be realized. Therefore, with the presence of popular culture, people, especially teenagers, seem to be immersed in surface, trivial, pragmatic, and commercial realities.
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Syahputra, Iswandi. "Terbentuknya Identitas Fans Sepak Bola sebagai Budaya Massa dalam Industri Media." INFORMASI 46, no. 2 (December 29, 2016): 205. http://dx.doi.org/10.21831/informasi.v46i2.11377.
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Nowadays football is not merely sport. It has become industry, even popular culture.
This happen because on the same time mass media grows into mass culture industry.
The union of football and mass media as industry has melted few social and culture
boundaries. Socially—through mass media—football had joined many social
background into football fans identity, and it even connect all over the world. Football
had transformed into popular culture that always moves in instability that drain its
fans’s emotion. The football fans emotion in turn polarised into fans club which was
created based on imaginary bound. Fans is the most visible part from text society and
pop culture practice that could become fanatic. This fans fanatism phenomena could
happen because the fans are pasif and patologic victim of mass media. This phenomena
also mark the indication of transition from agricultural society into industrial and
urban society.
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Miller, Laura. "Japan's Cinderella Motif: Beauty Industry and Mass Culture Interpretations of a Popular Icon." Asian Studies Review 32, no. 3 (September 2008): 393–409. http://dx.doi.org/10.1080/10357820802295955.
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García-Valdecasas Campelo, José, and Amaia Vispe Astola. "Despsiquiatrizar la cultura como necesidad ineludible para un cambio social emancipatorio. / Depsychiatrice culture as an inescaple need for an emancipatory social change." Kamchatka. Revista de análisis cultural., no. 10 (December 29, 2017): 407. http://dx.doi.org/10.7203/kam.10.10650.
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Resumen: La psiquiatría actual contribuye a configurar una cultura donde muchos malestares que podrían explicarse desde el punto de vista social son entendidos como problemas individuales subsidiarios de tratamiento farmacológico o psicoterapéutico. Esta situación se sostiene claramente por los beneficios obtenidos por diversos agentes que participan en ella: beneficio en términos económicos para la industria farmacéutica, beneficios en términos de prestigio para los profesionales, beneficios en términos de desresponsabilización para pacientes o familias, etc. Sin embargo, consideramos que los perjuicios, tanto para los sujetos individuales atrapados en esta red, como para la sociedad en su conjunto, son terribles. Señalaremos ejemplos de cómo aparece la psiquiatría en medios de comunicación y obras de la cultura popular y nos plantearemos que algo deberíamos intentar hacer en busca de un cambio emancipatorio, tanto desde un punto de vista individual como social.
Palabras clave: psiquiatría, cultura, industria farmacéutica, psicoterapia, cambio social.
Abstract: Current psychiatry helps to shape a culture where many discomforts that could be explained from the social point of view are understood as individual problems that need pharmacological or psychotherapeutic treatment. This situation is clearly supported by the benefits obtained by various agents involved in it: economic benefit for the pharmaceutical industry, benefits in terms of prestige for professionals, benefits in terms of patients or familias rejecting all responsibility, etc. However, we consider that the damages, both for the individual subjects caught in this network, and for society as a whole, are terrible. We will point out examples of how psychiatry appears in the mass media and works of popular culture and we will consider that something we should try to do in search of an emancipatory change, both from an individual and social point of view.
Keywords: psychiatry, culture, pharmaceutical industry, psychotherapy, social change.
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DIOP, Samba. "Nollywood: Indigenous Culture, Interculturality, and the Transplantation of American Popular Culture onto Postcolonial Nigerian Film and Screen." Communication, Society and Media 3, no. 1 (December 12, 2019): p12. http://dx.doi.org/10.22158/csm.v3n1p12.
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Nigeria, the Giant of Africa, has three big tribes: Yoruba, Igbo, and Hausa. It was a British colony which was amalgamated in 1914. The country became independent in 1962 and was right away bedeviled by military coups d’états and a bloody civil war (1967-1970). In 1999, the country experienced democratic dispensation. In the 1990s, the Nollywood nascent movie industry—following in the footpath of Hollywood and Bollywood—flourished. The movie industry grew thanks to four factors: Rapid urbanization; the hand-held video camera; the advent of satellite TV; and, the overseas migrations of Nigerians. Local languages are used in these films; however, English is the most prominent, along with Nigerian pidgin broken English. Many themes are treated in these films: tradition and customs, religion, witchcraft and sorcery, satire, urban and rural lives, wealth acquisition, consumerism, etc. I discuss the ways in which American popular culture is adopted in Nigeria and recreated on screen. Nigeria and USA share Federalism, the superlative mode, and gigantism (houses, cars, people, etc.), and many Nigerians attend American universities. In the final analysis, the arguments exposed in this paper highlight the multitude of ways in which Nigerians navigate the treacherous waters of modernity and globalization.
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Naficy, Hamid. "Cultural Dynamics of Iranian Post- Revolutionary Film Periodicals." Iranian Studies 25, no. 3-4 (1992): 67–73. http://dx.doi.org/10.1017/s0021086200015723.
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This essay is in two parts. Part I examines the dynamism and the political economy of the popular culture in Iran by focusing on the developments in the publication of film periodicals since the revolution of 1979. Part II provides a list of periodicals since the revolution that have dealt with cinema and the film industry.Periodicals specializing in film and cinema as well as those which devote only a section of each issue to the motion-picture industry are all part of the larger cultural dynamics of what we might call the Iranian post-revolutionary popular culture. These specialized and allied periodicals cannot be considered in a vacuum since, as part of the dynamics of this popular culture, they are involved in a host of negotiations and conflicting relations with the clerical state, official censorship boards, advertisers, film producers, the publishing industry, and finally their own readers.
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Mau, Heidi, and Cheryl L. Nicholas. "“Authenticity” in Popular Electronic Music." Journal of Popular Music Studies 32, no. 1 (March 1, 2020): 106–22. http://dx.doi.org/10.1525/jpms.2020.32.1.106.
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This study explores the construction of “authenticity” and related identity-competencies in popular electronic music through an investigation of the music group Ladytron during their formative first decade: 2001-2011. Textual analysis is used to examine the Ladytron narrative; the story that discursively emerges in/between industry and popular articles, music reviews, and band interviews. In developing the Ladytron narrative, the band's identity depends on negotiations between a “roots” concept of electronic music authenticity, performing artistic integrity, and interaction with audiences who participated in the perpetuation and maintenance of this alternative/indie identity. The Ladytron narrative shows how music artists might maintain an identity alternative to mass culture, while creating their own space within it.
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feng, An, and Zhao Haibo. "Research on the development status of domestic Korean catering industry." E3S Web of Conferences 233 (2021): 02049. http://dx.doi.org/10.1051/e3sconf/202123302049.
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With the steady development of China’s economy, the continuous improvement of people’s living standards, the transformation of people’s consumption concepts and the enhancement of their ability to accept foreign cultures, the special cuisine has been welcomed by Chinese people and became popular on their tables. Korean catering, which has its own unique flavor, is gradually developing among Chinese major cities. Compared with other regions, Wuhan, a second-tier city in China with relatively developed economy, relatively concentrated population, strong business culture and large proportion of young people, has a huge potential in food consumption. In addition, the unique conditions of Wuhan people’s positive attitude to foreign culture and the mature international metropolis culture of Wuhan itself all provide the sustainable development of Korean catering industry. This paper mainly analyzes the first-hand field research information and data of Korean catering industry status in Wuhan Optics Valley area rigorously and pragmatically to find and solve problems, as well as provide feasible strategies for college students in Korean catering business.
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Hakim, Lukman. "Conservative Islam Turn or Popular Islam? an Analysis of the Film Ayat-ayat Cinta." Al-Jami'ah: Journal of Islamic Studies 48, no. 1 (June 18, 2010): 101–28. http://dx.doi.org/10.14421/ajis.2010.481.101-128.
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This paper offers a film and cultural studies analysis of the Indonesian religious film Ayat-ayat Cinta. It examines the way in which the film represents Islam in the context of the globalisation of the media industry, the wider cultural transformation and religious context in Indonesia. This paper argues that the film Ayat-ayat Cinta represents “popular Islam”, which resulted from the interaction between the santri religious variants and the film industry, capitalism, market forces and popular culture in Indonesia. Santri religious variants in this film are rooted in traditionalist, fundamentalist, modernist, and liberal Islam in Indonesia, and those Islamic groups which have undergone a process of conformity with capitalism and popular culture. As a result, the representation of Islam in this film is pluralist, tolerant, and fashionable.
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Lomаtenkov, D. A., and J. V. Gnezdova. "The innovation transformation of telecom industry." Voprosy regionalnoj ekonomiki 38, no. 1 (March 30, 2019): 75–79. http://dx.doi.org/10.21499/2078-4023-2019-38-1-75-79.
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In article is considered investments into development of telecom industry on the basis of digital technologies, contrary to popular belief which optional should be long-term. At the same time adaptation of organizational model and development of the corporate culture oriented to innovations – one of the most important conditions of success. At the same time the Russian telecommunication sector is at an early stage of development in all directions of digital conversions.
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Rixon, Paul. "Popular newspaper discourse." Journal of Historical Pragmatics 15, no. 2 (July 21, 2014): 314–30. http://dx.doi.org/10.1075/jhp.15.2.08rix.
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Journalistic discourse, the world over, has developed over time, reflecting changes in the news industry and the wider society. Likewise television criticism, a specific form of journalism, has also had to evolve over time. Initially, as television critics sought recognition and respectability in the quality newspapers, they developed a form of writing similar to the way other forms of culture and art were reviewed. However, as journalists began to develop more popular ways of writing, and with the spread of soft news throughout newspapers and into new magazine supplements, television critics also found themselves having to follow suit. This was such that by the 1970s a number of critics had moved away from trying to mimic other forms of reviewing or criticism to creating their own, more popular form of discourse. In this article I will explore some of the ways the language of critics changed between the 1950s and the 1980s, and how these developments were similar or different to the wider changes in journalism happening at this time.
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Sari, Jenny Ratna, Roswita Oktavianti, and Roswita Oktavianti. "Budaya Populer Dalam Pembuatan Video Klip (Studi Kasus Pada Video Klip ‘Merakit’ Oleh Yura Yunita)." Koneksi 4, no. 1 (March 24, 2020): 172. http://dx.doi.org/10.24912/kn.v4i1.6444.
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Popular culture is dominated by the production and consumption of material goods whose creation is driven with the motive of profit.Video clips are also used to gain profit or profit for their creators.The study raised how popular culture is in the making of video clips.This research is a qualitative study with case study methods. The researcher conducted a case study of the video clip titled "Assemble" created by Yura Yunita.Data collection techniques are conducted with interviews to artists and creative teams.The result of this research is now that culture is no longer racing on the culture of existing and repeated standards.Visually, the video clip no longer has to be full-color but it can combine two identical colors that are black and white.Popular culture develops over time by adjusting the culture that was originally born and combined with things that don't usually happen.The cultural industry is directed by the need to realise value in the market.The advantage Motif determines the nature of various forms of culture. Video clips can now be combined with popular culture one of them is to use the disability as a model, combining traditional elements.The goal is to achieve a new target market in this case with disabilities. Budaya populer didominasi oleh produksi dan konsumsi barang material yang penciptaannya didorong dengan motif laba. Video klip juga digunakan untuk mendapatkan keuntungan atau laba bagi penciptanya. Penelitian ini mengangkat bagaimana budaya populer dalam pembuatan video klip. Penelitian ini merupakan penelitian kualitatif dengan metode studi kasus. Peneliti melakukan studi kasus terhadap video klip berjudul “Merakit” yang diciptakan oleh Yura Yunita. Teknik pengumpulan data dilakukan dengan wawancara terhadap artis dan tim kreatif. Hasil dari penelitian ini adalah kini budaya tidak lagi berpacu pada budaya standar yang ada dan berulang. Secara visual, video klip tidak lagi harus penuh warna melainkan bisa memadukan dua warna identik yaitu hitam dan putih. Budaya populer berkembang seiring waktu dengan menyesuaikan budaya yang awalnya sudah lahir dan dipadukan dengan hal yang biasanya tidak terjadi. Industri budaya diarahkan oleh kebutuhan untuk menyadari nilai di pasaran. Motif keuntungan menentukan sifat berbagai bentuk budaya. Video klip kini dapat dipadukan dengan budaya populer salah satunya adalah dengan menggunakan penyandang disabilitas sebagai model, memadukan unsur-unsur tradisional. Tujuannya untuk mencapai target pasar baru dalam hal ini penyandang disabilitas.
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Sun, Meicheng. "K-pop fan labor and an alternative creative industry: A case study of GOT7 Chinese fans." Global Media and China 5, no. 4 (December 2020): 389–406. http://dx.doi.org/10.1177/2059436420954588.
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Korean popular music or K-pop has achieved popularity among global audiences. The uniqueness of K-pop fan culture has helped to shape the success of the K-pop industry. Through a case study of Chinese fan labor vis-à-vis K-pop male idol group GOT7, the author notes three types of K-pop fan labor: specialized labor, managerial labor, and unskilled labor. This research argues that fan labor transforms the K-pop industry into an alternative creative industry because fan labor as creative labor is an indispensable part of the K-pop industry. Fan labor is utilized to distinguish fans from non-fans, and to draw boundaries between the grateful, more enthusiastic fans and the casual self-proclaimed fans who do not contribute to fandom or their idols’ success. These Chinese K-pop fans comply with the K-pop industry’s commodification of culture, are exploited by the K-pop industry, and seek empowerment in the K-pop production and distribution process. This paper’s exploration of fan labor, based on the author’s participant observations and in-depth interviews, will thus contribute to studies on the creative industries, creative labor, fandom, and the transnational flows of popular culture.
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Fairuz, Rifqi. "Concert and Charity: Operating Da’wah Activism through Maher Zain’s Pop Culture Industry." Jurnal Pemberdayaan Masyarakat: Media Pemikiran dan Dakwah Pembangunan 5, no. 2 (December 22, 2021): 345–80. http://dx.doi.org/10.14421/jpm.2021.052-04.
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Maher Zain is an icon of Islamic pop culture with the largest market share in the world. Indonesia constitutes the largest Maher Zain's fan base with multiple platinum awards and recorded million copies of album sale. Maher Zain's rise to fame coincided with the shifting of conventional Islamic authority, which turned from Kiai or Ulama to popular Muslim preachers. These preachers seek aspirations of Islamism in social and political movements through the da’wah institutions they lead. This article is aimed to examine the intersection between the Islamic pop culture industry, Maher Zain as a leading Muslim singer icon, and the strategies of Islamic activism of da’wah in Indonesia. This research found that popular preachers utilize their charitable activities, philanthropy and Islamic da'wah to legitimize and capitalize on Maher Zain's popularity in Indonesia, by playing role in the capitalistic mechanism of the Islamic music industry. These da'wah institutions operate through industrial mechanisms for the benefit of Islamic da'wah activism in Indonesia and even become an advantage in the midst of the struggle for political Islam in Indonesia.
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Abah, Adedayo Ladigbolu. "Popular culture and social change in Africa: the case of the Nigerian video industry." Media, Culture & Society 31, no. 5 (September 2009): 731–48. http://dx.doi.org/10.1177/0163443709339456.
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Manuel, Peter. "The regional North Indian popular music industry in 2014: from cassette culture to cyberculture." Popular Music 33, no. 3 (August 28, 2014): 389–412. http://dx.doi.org/10.1017/s0261143014000592.
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AbstractThis article explores the current state of the regional vernacular popular music industry in North India, assessing the changes that have occurred since around 2000 with the advent of digital technologies, including DVD format, and especially the Internet, cellphones and ‘pen-drives’. It provides a cursory overview of the regional music scene as a whole, and then focuses, as a case study, on a particular genre, namely the languriya songs of the Braj region, south of Delhi. It discusses how commercial music production is adapting, or failing to adapt, to recent technological developments, and it notes the vigorous and persistent flowering of regional music scenes such as that in the Braj region.
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Kumar, Keval Joseph. "The 'Bollywoodization' of Popular Indian Visual Culture: A Critical Perspective." tripleC: Communication, Capitalism & Critique. Open Access Journal for a Global Sustainable Information Society 12, no. 1 (March 21, 2014): 277–85. http://dx.doi.org/10.31269/triplec.v12i1.511.
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The roots of popular visual culture of contemporary India can be traced to the mythological films which D. G. Phalke provided audiences during the decades of the ‘silent’ era (1912-1934). The ‘talkies era of the 1930s ushered in the ‘singing’ /musical genre which together with Phalke’s visual style, remains the hallmark of Bollywood cinema. The history of Indian cinema is replete with films made in other genres and styles (e.g. social realism, satires, comedies, fantasy, horror, stunt) in the numerous languages of the country; however, it’s the popular Hindi cinema (now generally termed ‘Bollywood’) that has dominated national Indian cinema and its audiovisual culture and hegemonized the entire film industry as well as other popular technology-based art forms including the press, radio, television, music, advertising, the worldwide web, the social media, and telecommunications media. The form and substance of these modern art forms, while adapting to the demands of the new media technologies, continued to be rooted in the visual arts and practices of folk and classical traditions of earlier times.
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Kumar, Keval Joseph. "The 'Bollywoodization' of Popular Indian Visual Culture: A Critical Perspective." tripleC: Communication, Capitalism & Critique. Open Access Journal for a Global Sustainable Information Society 12, no. 1 (March 21, 2014): 277–85. http://dx.doi.org/10.31269/vol12iss1pp277-285.
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The roots of popular visual culture of contemporary India can be traced to the mythological films which D. G. Phalke provided audiences during the decades of the ‘silent’ era (1912-1934). The ‘talkies era of the 1930s ushered in the ‘singing’ /musical genre which together with Phalke’s visual style, remains the hallmark of Bollywood cinema. The history of Indian cinema is replete with films made in other genres and styles (e.g. social realism, satires, comedies, fantasy, horror, stunt) in the numerous languages of the country; however, it’s the popular Hindi cinema (now generally termed ‘Bollywood’) that has dominated national Indian cinema and its audiovisual culture and hegemonized the entire film industry as well as other popular technology-based art forms including the press, radio, television, music, advertising, the worldwide web, the social media, and telecommunications media. The form and substance of these modern art forms, while adapting to the demands of the new media technologies, continued to be rooted in the visual arts and practices of folk and classical traditions of earlier times.
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Kashif, Shumaila, and Shujaat Mubarik. "An Evolutionary Historical Perspective of Pakistan Retail Fashion Industry." JISR management and social sciences & economics 18, no. 1 (June 30, 2021): 53–75. http://dx.doi.org/10.31384/jisrmsse/2020.18.1.5.
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This study seeks to capture the evolution (emergence, diffusion, and transformation) of the retail fashion industry in Pakistan from largely unorganized to modern commerce retail. In particular, it strives to understand this evolution of "collective activity" as conceptualized by Regina Blaszczyk in terms of interactions among enterprise, culture, consumer, and commerce in the context of emerging economies with an emphasis on past two decades 1998-2018. Narrative analysis is built from Project oral histories (16 in-depth interviews from various experts as well as ordinary consumers, who lived through and witnessed the evolution), supplemented by newspapers, magazines, web articles, and archives. The study demonstrates various political, cognitive, socio-cultural challenges and opportunities faced by early designers/retailers. It also establishes popular culture profound influence in the dissemination of fashion and branding the industry despite political upheavals. Although limited to the Pakistani case, this research outlines the founding feature of the flourishing fashion retail industry in emerging economies and the role of popular culture in the nourishment of creative industries. The evolution of fashion retail in South East Asia in general and Pakistan, in particular, has received very little scholarly attention. The historical analysis contributes a unique perspective in understanding drivers of this evolution as not consumers themselves but the ones who played an active role in the creation of the retail fashion industry in Pakistan build through historical narrative.
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Hughes, Glyn. "Managing Black Guys: Representation, Corporate Culture, and the NBA." Sociology of Sport Journal 21, no. 2 (June 2004): 163–84. http://dx.doi.org/10.1123/ssj.21.2.163.
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This article explores the intersection of representation, management, and race in the National Basketball Association (NBA) through a larger question on the relationship between corporate strategies for managing racialized subjects and popular representations of race. The NBA “brand”is situated in terms of recent developments in corporate and popular culture and then analyzed as an example of diversity management. Relying on original interviews with NBA corporate employees, as well as business and marketing industry reporting, the article analyzes the NBA as simultaneously an organization and a brand. As such, the NBA helps to “articulate” the corporate with the popular, largely through an implied racial project that manages race relations by continuing to equate corporate interests with Whiteness. The analysis contributes to ongoing discussions about the role of sports in perpetuating social disparities based on race at a time when “colorblindness” remains the paradigm of White approaches to race.
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Bubnys, Andrius, and Indrė Kontrimavičiūtė. "PRAMOGINIO INTERNETINIO TURINIO MEDIJŲ VAIDMUO SKLEIDŽIANT VAKARUOSE DOMINUOJANČIUS POLITINIUS NARATYVUS." Res Humanitariae 29 (April 8, 2022): 238–59. http://dx.doi.org/10.15181/rh.v28i0.2406.
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Abstract This article seeks to evaluate whether the fifth ideological filter presented in the Herman-Chomsky propaganda model in 1988 is detected when researching the activities of the online popular entertainment industry and its principles, and to what degree these activities contribute to the spread of prevailing political narratives in the West. The research investigates three popular online entertainment culture websites, whose content is evaluated based on the presence of prevailing Western narratives, and whether they are presented positively (approvingly) or negatively (disapprovingly). The results of the study reveal that although political narrative structures are detected while researching cultural content in popular online culture, they do not play a major role in the overall content, and the contribution to the spread of narratives depends on the editorial policies of the websites, and the forms of the published popular culture content.
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Maksym W., Kyrchanoff. "SciFi Cinema as one of Spatial Localizations of Military Images in American Mass Culture." Humanitarian Vector 16, no. 5 (November 2021): 77–86. http://dx.doi.org/10.21209/1996-7853-2021-16-5-77-86.
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War is one of the most popular topics in modern mass culture. The author analyzes the features of the perception of war in modern science fiction cinema. The purpose of this article is to analyze the representation of war in American science fiction as a form of historical memory in mass culture. The author uses inventionism methods to analyze the images of war in the film production of mass culture as “invented traditions” of the consumer society. The range of perception of war and military experience in popular culture is analyzed. Modern global film industry and national film industries regularly address military themes in the world or national contexts, producing films that actualize military experience of nations and states. The film industry segments that specialize in the production of science fiction and fantasy films also do not ignore the military theme. It is supposed that popular culture offers a variety of images of war, including militarism, violence, military collective trauma, and military political psychosis. The author believes that military theme in popular culture arose as a result of reflection on real military conflicts, and the creators of the pop-cultural project could reject the war or idealize it. The author believes that military science fiction in modern American mass culture actualizes the values of pacifism or militarism as reflections of the left or right preferences of the creators of such cultural product for the consumer society. Science fiction films actualize various forms of war, including global military clashes, civil conflicts, aggression, intervention and genocide. Popular culture is becoming the main sphere of existence of the memory of war because military conflicts of science fiction series can be perceived in the consumer society as more real than the historical wars of the past. Military images of mass culture are supposed to actualize various forms of war memory, including memory as trauma, memory as marginalization, and memory as nostalgia which idealize war.
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Gronow, Pekka. "The record industry in Finland, 1945–1960." Popular Music 14, no. 1 (January 1995): 33–53. http://dx.doi.org/10.1017/s0261143000007625.
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As a child growing up in Finland in the 1950s, I heard all the popular songs of the day. We did not have a record player until 1957, and even then we never bought any pop records, as my father preferred classical music and I was getting interested in jazz. But the songs were all around us, and they still haunt me today. Many of them are now available on Compact Discs, and they are played regularly on the radio. Some of them are just Finnish language cover versions of records which were also popular in the USA and UK at the time, such as ‘Cherry Pink and Apple Blossom White’ or ‘Only Love Me’. Others are unmistakably Finnish, sentimental waltzes and tangos and rousing comic songs. Whatever, it is obvious that record companies created something that has become a permanent part of Finnish culture.
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Widiandari, Arsi. "Perkembangan dan Globalisasi Video Game Jepang." KIRYOKU 3, no. 2 (June 24, 2019): 71. http://dx.doi.org/10.14710/kiryoku.v3i2.71-76.
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(Title: Development and globalization Japanese Video Game ) Today, many Japanese cultural product are developing and become popular in the community, for example Japanese music, movie, anime and video game. Japanese creative industry has a big potential in economy sector and can not be underestimated. One of Japanese culture product that become popular is Japanese video game it self. Video game are considered as the pioneers of the modern game industry. This paper will discuss the development and dissemination of Japanese video game with the viewpoint of globalization.
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Chukurov, Andrey Yu. "DIGITAL BODILITY IN THE POPULAR CULTURE CONTEXT." Vestnik Tomskogo gosudarstvennogo universiteta. Kul'turologiya i iskusstvovedenie, no. 39 (2020): 144–54. http://dx.doi.org/10.17223/22220836/39/13.
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The article analyzes the phenomenon of digital bodility in the context of popular culture. In par-ticular, in the aspect of digital body existence in the space of MMORPG. The relevance is due to the apparent inadequacy of the traditional morphology of bodility, which implies the existence of a physi-cal and social body, as well as a transformation of communication strategies, including language prac-tices, which are strongly influenced by the gaming industry. However, if we are talking about the ap-pearance of a new type of bodility that fundamentally changes the whole morphology of the phenomenon, then, automatically, we raise another problem implicit in this phenomenon: these are the mechanisms of self-identification. The purpose of the work is to analyze the phenomenon of the MMORPG, the features of social communication and the specifics of self-identification in the virtual space. Modern foreign studies related to the digital body and the problems of interaction in the virtual world are, as a rule, of an applied nature, and they focus specifically on communication, rather than bodility. So, N. Dachenow, E. Nickell and R.J.Mour were very productively engaged in the study of communication strategies in the MMORPG Star Wars universe. A similar problem was solved by M. Griffits, M. Davis and D. Chapell, who were among the first to point out that it was the possibility of communication in the MMORPG that was the most attractive for users. V. Chen and G. Dach went further and turned to the analysis of the influence on the user of the immersion process in virtual reali-ty, so they came close to the problem of the digital body itself functioning. We point out the need to consider the problem of the digital body functioning in the context of increasing activity of minority cultures. Today, it can be unequivocally asserted that the importance of minority subcultural movements will increase. We are already witnessing a process in which subcul-tural movements are not simply massively entering the forefront of cultural life, but are increasingly asserting their rights to determine the cultural mainstream. The Information Society provided new opportunities and opened new prospects for the development of a very different minority communities. In our research, we define digital bodility as a highly aestheticized artificially and consciously created for the purpose of its further translation into the virtual world, formally divorced from physical sensations and the physical body, but actively interacting with it. Digital bodility determines the psy-chophysiological state of the creator, while bringing him/her closer to immortality, being able, in con-trast to the social body, to survive the death of the physical body. The article provides an analysis of the MMORPG phenomenon and the features of social communication in the space of multiplayer online games. The self-identification of modern man, and sometimes the whole process of socializa-tion, takes place precisely in the virtual space, so it is extremely important to identify the features of this process. Sometimes it seems that digital bodility gives the person many new opportunities. In particular, the possibility of existence in a parallel virtual reality with complete freedom of self-representation and self-identification. However, this is only the illusion of freedom, because both in social networks and in MMORPG the user only chooses an image/model/strategy of behavior from the ones offered to him, he collects his identity from the set of cultural patterns embedded in this program. We found that communication in these games is denser and multidimensional: the user simultaneously (in the literal sense of the word) refers to verbal communication, written communication – chats and sending letters using an alternative language system – and, most importantly, a fundamentally new and an unexplored form of communication, which can be described as “interpersonal visual.” We emphasize once again: if visual communication is actively studied as such, then communication of digital bodies remains outside the field of scientific reflection, and meanwhile, communication of this kind becomes one of the main ones. In other words, the image created in the game / social network determines the quality and success of the interaction of real users. We come to the conclusion that the main achievement of the MMORPG is not in the freedom of self-identification provision, but in the new communication strategies formation and their potential influence on the communication sphere as a whole because of the growing popularity of MMORPG.
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Costa, Anderson, and Lucas Barreto Catalan. "O EMERGIR DA MÚSICA POPULAR E SUAS INTERFACES COM A INDÚSTRIA FONOGRÁFICA." Caderno CRH 32, no. 87 (December 31, 2019): 517. http://dx.doi.org/10.9771/ccrh.v32i87.32241.
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<p>O presente artigo tem como objetivo central compreender os processos de interferência da indústria fonográfica sobre a música popular. Diante da expansão da lógica formal capitalista no campo da arte, a relação entre objetividade e subjetividade será a mola propulsora que utilizaremos para analisar paradoxos no processo de reprodução da música popular moderna, tais como indústria cultural e a reprodutibilidade técnica. Assim, partindo da análise do reggae jamaicano, buscamos ampliar o postulado adorniano sobre massificação da música para uma análise na qual seja possível investigar a experiência de produção artística periférica, como a da música popular jamaicana. Essa problemática abriu espaço para a discussão acerca da possibilidade de a indústria fonográfica ter múltiplas formas de atuação, a partir das contingências geradas pela singularidade do funcionamento desigual das condições econômicas, políticas e culturais de cada região, não perdendo de<br />vista que as configurações locais são partes integrantes do modo de produção capitalista.</p><p> </p><p>THE EMERGENCE OF POPULAR MUSIC AND ITS INTERFACES WITH THE PHONOGRAPHIC INDUSTRY</p><p>This article is about popular music, focusing in the relations built by music in face of capitalism’s expansion in the arts’ field. For this instance, the<br />relations between objectivity and subjectivity will be the plot from where we will analyze the paradoxes in the process of modern popular music reproduction, such as: culture industry and the work of art in the age of its technological reproduction. So, starting from the Jamaican reggae, we seek to wise Adorno’s perspective about music investigation to an analysis where is possible to<br />investigate the outlying artistic production, as the popular music that rises in Jamaica. This argument opened space to a discussion about the possibility of the phonographic industry have multiple actuation forms developed from its contingencies that are created by the singularities of its unequal way of work in face of different economic, political and cultural circumstances, keeping in sight that local realities are integrated to the capitalism mode of production.</p><p>Keywords: Popular music. Jamaican reggae. Culture industry. Phonographic industry. Aesthetics.</p><p> </p><p>L’EMERGENCE DE LA MUSIQUE POPULAIRE ET SES INTERFACES AVEC L’INDUSTRIE PHONOGRAPHIQUE</p><p>Le sujet de cet article c’est la musique populaire. On prend la question des rapports entre la musique et la logique de l’expansion capitaliste au domaine<br />de l’art. Pour cela, la relation entre l’objectivité et la subjectivité c’est la force motrice de notre analyse sur les paradoxes du procès de reproduction de la<br />musique populaire moderne, tels que : l’industrie culturelle et la reproductibilité technique. On part de la musique jamaïcaine pour faire la critique au postulat adornien de la négativité appliqué à la musique erudite, en visant comprendre avec lui, aussi, la musique populaire, particulièrement la musique pop des régions périphériques du monde. Cette voie des discussions nous ouvre des multiples possibilités des investigations sur l’industrie phonographique, issues des contingences générées par la singularité du fonctionnement inégal des conditions économiques, politiques et culturelles de chaque région, sans oublier que les configurations locales font partie intégrante de mode de production capitaliste.</p><p>Mots-clés: Musique populaire. Reggae jamaïcain. Industrie culturelle. Esthétique.</p><p> </p>
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Farrugia, Rebekah, and Kellie D. Hay. "Wrecking rap's conventions: the cultural production of three daring Detroit emcees." Popular Music 37, no. 1 (December 8, 2017): 63–80. http://dx.doi.org/10.1017/s0261143017000575.
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AbstractThis article profiles the music of three politically motivated hip hop emcees. It combines textual and musicological analysis with ethnographic data to examine the ways in which these women use music to empower themselves and to contribute to meaningful, positive change in post-industrial, post-bankruptcy Detroit. These narratives are significant because they combat the dominant, hegemonic two-dimensional representations of African American women that are epitomised in commercial hip hop and popular culture at large. Further, in a context where art and activism are connected, their work challenges the current controlling images and sexual scripts that dominate both commercial music industry representations and scholarship on women in hip hop. The artists we profile exemplify a new kind of musical movement where women are agents and creative solutionaries. At times, they are explicitly critical of the narrow range of black womanhood presented in popular culture and in other instances, they focus on issues such as the environment, race relations, racialized bodies, poverty and abuse, all the while challenging the hip hop industry and popular culture norms that communicate who black women are and who they should be.
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Nenadic, Stana. "Exhibiting India in Nineteenth-Century Scotland and the Impact on Commerce, Industry and Popular Culture." Journal of Scottish Historical Studies 34, no. 1 (May 2014): 67–89. http://dx.doi.org/10.3366/jshs.2014.0098.
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Guss, D. M. ""Full Speed Ahead with Venezuela": The Tobacco Industry, Nationalism, and the Business of Popular Culture." Public Culture 9, no. 1 (October 1, 1996): 33–54. http://dx.doi.org/10.1215/08992363-9-1-33.
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Booth, Gregory D. "Preliminary thoughts on Hindi popular music and film production: India's ‘culture industry(ies)’, 1970–2000." South Asian Popular Culture 9, no. 2 (July 2011): 215–21. http://dx.doi.org/10.1080/14746689.2011.569075.
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Patria, Asidigisianti Surya. "UKIYO-E SENI POPULAR ( POP ARTIS) ZAMAN EDO." Jurnal Dimensi Seni Rupa dan Desain 9, no. 2 (September 1, 2012): 163–76. http://dx.doi.org/10.25105/dim.v9i2.940.
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AbstractThe root of Ukiyo-e can be traced back when urbanization became trend in Japan in 16 century leading the developing of merchans and actors started to write stories and novels, then combinedwith picture painting, called ehon. Ehon is picture book with full illustration and story. Ukiyo-e also used as Kabuki show poster. The source of inspiration was real life and urban culture in that time. In the beginning Ukiyo-e was only art expression but then became industry which related with literature. In the end Ukiyo-e shifted into literature visualization. Abtrrak Akar seni Ukiyo-e dapat dilacak ketika urbanisasi melanda pada abad 16 yang menuntun perkembangan kelas pedagang dan pelakon yang memulai menulis cerita-cerita atau novel-novel serta lukisan gambar digabungkan dengna ehon, yaitu buku bergambar dengan cerita dan ilustrasi. Juga digunakan sebagai poster pertunjukan Kabuki. Sumber inspirasi gambar Ukiyo-e merupakan benar-benar kenyataan kehidupan dan budaya urban masyarakat Jepang pada masa itu. Pada awalnya Seni Ukyo-e merupakan ekspresi seni rupa belaka kemudian berkembang menjadi industri yang juga mengandung seni sastra. Seni Ukiyo-e bergeser menjadi visualisasi seni sastra
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Austin, D. Mark, and Patricia Gagné. "Commodification and Resistance: Theoretical Implications Drawn from a Mobile Recreational Community." Journal of Contemporary Ethnography 46, no. 6 (January 25, 2016): 723–47. http://dx.doi.org/10.1177/0891241615626556.
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Drawing on interview, survey, and long-term participant observational research in the BMW motorcycling community, we analyze issues related to the commodification of riding. We use Hill-Collins’s (1999) “both/and” approach in our data analysis. Specifically, we draw on Adorno’s (1991) and Marcuse’s (1964) theories of the commodification of popular culture and the power of the “culture industry” to market non-essential products. We find that Marx’s (Marx and Engels 1988) theory of ways to attain “species-being” have the potential to be expanded via serious leisure activities (e.g., motorcycling) even as some are caught up in the discursive power of the culture industry.
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Andilolo, Imanuella R., and Ikma Citra Ranteallo. "Understanding The Implications Of A Trending Popular Culture: The Online Food Review." KnE Social Sciences 1, no. 3 (April 13, 2017): 121. http://dx.doi.org/10.18502/kss.v1i3.731.
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<p>Online food reviews as a part of popular culture instigated by the propagation of the Internet are increasingly used by food industries to help consumers in creating decision making: “to buy or not to buy”. Some food industries are moving out from classical ways of word-of-mouth and printed or digital advertisements into online food reviews similar to content reviews of restaurants, hotels, films, music, and also Applications. The study uses qualitative exploratory methods and Focus Group Discussion to examine consumers’ behaviors in making a decision before eating what and where. The findings suggest that consumers are also influenced by the quality of information, ratings, and services. Findings indicate that consumer involvement in online food reviews provide challenges that able small and big food industries overcome the barrier arising from the lack of doing business in popular culture.</p><p> </p><strong>Keywords: </strong><em>online food review, restaurant industry, popular culture, decision making, consumer</em>
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Hernández-Pérez, Manuel. "Looking into the “Anime Global Popular” and the “Manga Media”: Reflections on the Scholarship of a Transnational and Transmedia Industry." Arts 8, no. 2 (April 28, 2019): 57. http://dx.doi.org/10.3390/arts8020057.
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This article introduces the special issue dedicated to global industries around anime, its theoretical commentary and its cross-cultural consumption. The concepts “anime” and “anime studies” are evaluated critically, involving current debates such as those presented in this volume. This discussion will employ the concepts of “manga media” as well as the “popular global”, giving an account of the transmedia and transcultural character of these creative industries. The conclusion critiques the irregular presence of Cultural Studies in the study of Japanese visual culture and advocates for constructing an updated dialogue with this tradition in order to readdress the study of these media as a form of global popular culture.