Artículos de revistas sobre el tema "Popular culture in mass media"
Siga este enlace para ver otros tipos de publicaciones sobre el tema: Popular culture in mass media.
Crea una cita precisa en los estilos APA, MLA, Chicago, Harvard y otros
Consulte los 50 mejores artículos de revistas para su investigación sobre el tema "Popular culture in mass media".
Junto a cada fuente en la lista de referencias hay un botón "Agregar a la bibliografía". Pulsa este botón, y generaremos automáticamente la referencia bibliográfica para la obra elegida en el estilo de cita que necesites: APA, MLA, Harvard, Vancouver, Chicago, etc.
También puede descargar el texto completo de la publicación académica en formato pdf y leer en línea su resumen siempre que esté disponible en los metadatos.
Explore artículos de revistas sobre una amplia variedad de disciplinas y organice su bibliografía correctamente.
1
Blackmore, Tim. "Media Making: Mass Media In Popular Culture". American Journalism 17, n.º 1 (enero de 2000): 110–12. http://dx.doi.org/10.1080/08821127.2000.10739231.
Texto completo
2
Valencialaw, Natasya y Lusia Savitri Setyo Utami. "K-Pop dan Perilaku Konsumtif Menonton Konser". Koneksi 7, n.º 1 (29 de marzo de 2023): 112–19. http://dx.doi.org/10.24912/kn.v7i1.21301.
Texto completoResumen
South Korean popular culture or K-Pop has managed to become the center of attention throughout the world, including Indonesia. Indonesia is a target for the South Korean entertainment industry market due to the large number of existing K-Pop fans. It is the intervention of the existence of communication and the mass media as a bridge connecting all information about popular culture. Popular culture also brings K-Pop along with other activities, namely music concerts. The existence of this background can lead to a consumptive behavior. The purpose of this study is to describe the process of developing Korean popular culture and the formation of consumptive behavior towards fans in watching music concerts. The discussion uses mass communication, new media, social media, popular culture, consumptive behavior and fans. To explore existing research phenomena, a qualitative research approach is used with phenomenological methods. The results can describe the development of popular culture through mass communication and mass media, this can be seen from the presence of K-Pop popular culture that enters and expands through the involvement of social media such as Youtube and Twitter. The author also describes the existence of consumptive behavior carried out by fans with aspects of being wasteful and seeking pleasure in watching concerts. Budaya populer Korea Selatan atau K-Pop berhasil menjadi pusat perhatian seluruh dunia tidak terkecuali di Indonesia. Indonesia merupakan sasaran dari pasar industri hiburan Korea Selatan karena banyaknya penggemar K-Pop yang ada. Hal itu merupakan campur tangan dari adanya komunikasi dan media massa sebagai jembatan penghubung masuknya semua informasi mengenai budaya populer. Budaya populer turut membawa K-Pop masuk bersama dengan kegiatan lainnya yakni konser musik. Adanya latar belakang tersebut dapat menyebabkan suatu perilaku yang konsumtif. Tujuan penelitian ini untuk mendeskripsikan proses budaya populer Korea yang berkembang dan adanya pembentukan perilaku konsumtif terhadap penggemar dalam menonton konser musik. Dalam pembahasannya menggunakan komunikasi massa, media baru, media sosial, budaya populer, perilaku konsumtif dan penggemar. Untuk mendalami fenomena penelitian yang ada, digunakan pendekatan penelitian kualitatif dengan metode fenomenologi. Hasil yang di dapat mendeskripsikan adanya perkembangan budaya popular melalui komunikasi massa dan media massa, hal tersebut dapat dilihat dari adanya budaya popular K-Pop yang masuk dan meluas melalui keterlibatan media social seperti Youtube dan Twitter. Penulis turut mendeskripsikan adanya perilaku konsumtif yang dilakukan oleh penggemar dengan aspek pemborosan dan mencari kesenangan dalam kegiatan menonton konser.
3
Jelytha Ningrum, Anindha, Raden Nita, Yulia Fatimah, Mei Krismonica Sianturi, Ellisya Taskiyah, Khairunnisa Karimah, Erangga Adi Putra, Adi Abdillah y Willy Kristantio Desmonda. "The Roll of Mass Media in Influencing Popular Culture". International Journal of Advanced Multidisciplinary Research and Studies 4, n.º 4 (9 de julio de 2024): 145–49. http://dx.doi.org/10.62225/2583049x.2024.4.4.3015.
Texto completoResumen
Mass media plays a noteworthy part in forming and impacting prevalent culture. This article explores how media stages such as tv, radio, and the web, beside media substance such as movies, music, and TV appears, affect the recognitions and behaviors of society towards well known culture. The impact of new advances such as social media and online gushing is additionally analyzed within the setting of fast social alter. Furthermore, the part of the promoting industry in advancing particular items, administrations, and ways of life through mass media is inspected Studies of generalizations, unequal representations, and the social affect of mass media are moreover talked about. This article too analyzes social changes over time and society's reaction to unused patterns popularized by mass media. The suggestions of mass media impact on social personality and values are moreover surveyed, as well as endeavors to oversee this impact emphatically.
4
Harris, Judith A. y Clinton R. Sanders. "Marginal Conventions: Popular Culture, Mass Media and Social Deviance." Contemporary Sociology 20, n.º 4 (julio de 1991): 612. http://dx.doi.org/10.2307/2071859.
Texto completo
5
Nichols, Lawrence T. "Toward A Renewed Sociology of Mass Media and Popular Culture". American Sociologist 40, n.º 3 (septiembre de 2009): 147–48. http://dx.doi.org/10.1007/s12108-009-9076-z.
Texto completo
6
Barkow, Jerome H., Rick O'Gorman y Luke Rendell. "Are the New Mass Media Subverting Cultural Transmission?" Review of General Psychology 16, n.º 2 (junio de 2012): 121–33. http://dx.doi.org/10.1037/a0027907.
Texto completoResumen
Popular culture is a subcategory of culture. Today, mass and new media appear to be interfering with the evolved mechanisms that permit the acquisition and editing of culture. We know surprisingly little about these cognitive attentional processes that enable the information acquisition and editing packed into the term “cultural transmission.” It was Michael Chance who first concluded that we attend to and learn preferentially from those high in status. For Chance, high status based on fear leads to agonistic attention and a constricted type of learning, while hedonic attention based on respect permits much broader learning possibilities. If Chance's theories are supported, then it would follow that much of the current unpredictability of popular culture and culture change in general reflects the replacement of family and community high-status figures by influential media celebrities, thereby damaging the transmission of local culture. Chance's approach would also explain why we seem to find it difficult to pay attention to those low in status and power. There may be attractors of attention involved in cultural transmission in addition to status, including physical attractiveness. We consider, from an evolutionary perspective, various researchable hypotheses that stem from Chance's and related work and from ethnography, we discuss this work's implications for how we understand culture and “popular culture,” and we argue that the kind of research in cognitive and evolutionary psychology we espouse is also needed for the next generation of mathematical models of gene–culture coevolution. We conclude with a list of research questions.
7
DeFleur, Margaret H. "MediaMaking: Mass Media in a Popular Culture, Thousand Oaks (Book review)". Mass Communication and Society 2, n.º 1-2 (enero de 1999): 95–97. http://dx.doi.org/10.1080/15205436.1999.9677866.
Texto completo
8
DeFleur, Margaret H. "MediaMaking: Mass Media in a Popular Culture, Thousand Oaks (Book review)". Mass Communication Society 2, n.º 1&2 (enero de 1999): 95–97. http://dx.doi.org/10.1207/s15327825mcs0201&2_8.
Texto completo
9
Syahputra, Iswandi. "Terbentuknya Identitas Fans Sepak Bola sebagai Budaya Massa dalam Industri Media". INFORMASI 46, n.º 2 (29 de diciembre de 2016): 205. http://dx.doi.org/10.21831/informasi.v46i2.11377.
Texto completoResumen
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.
10
Kariko, Abdul Aziz Turhan. "Malay Pop: Mass Media Hegemony in Indonesia Popular Music". Lingua Cultura 3, n.º 2 (30 de noviembre de 2009): 99. http://dx.doi.org/10.21512/lc.v3i2.336.
Texto completoResumen
Article discusses the domination of Malay pop music through textual analysis of songs, observation of musical programs, and interviews with important figures. The research data were obtained by library research and analyzed through a critical theory approach to gain an understanding of the text and its effects. The article concludes that Malay pop contains a strong uniformity which may be termed a phenomenon in the context of the culture industry, while also being dominant because of its legitimacy created by the media. The nature of Malay pop is also very profitable for those participating in it, therefore the spirit of capitalism was also quite dominant in this context. There is also resistance from the indie music movement, and its attempts to fight regressive qualities of music that are legitimized in the mainstream mass media.
11
Guzhva, Alla. "Political populism and popular culture". Filosofska dumka (Philosophical Thought) -, n.º 3 (7 de septiembre de 2021): 125–37. http://dx.doi.org/10.15407/fd2021.03.125.
Texto completoResumen
The article provides a comparative analysis of the cultural practices of political populism and the popular culture. The leading role of the media in the formation and promotion of popular movements and leaders is emphasized. There is a difference in the understanding of a leader's charisma that brings new values, according to Max Weber, and the pseudo-charisma of modern populist leaders that is created by their regular presence in the media. Populist politician is seen as a sign in cultural communication, where the politician’s personality is put as the signifier, and the ideology that the politician promotes — as the signified. Based on this analysis, three ideal types of populists have been identified: a blank sign that is focused on the present and represents populists without ideology; a sign that is oriented on the past and represents a populist national ideology; the sign that is oriented on the future and represents the reformers, the bearers of new social values. Theoretical approaches to the interpretation of popular culture are analyzed and it is pointed out that a mass society emerging is necessary both for the phenomenon of popular culture and for political populism to perform the quantitative indicator of public preferences. Common characteristics in the functioning of popular culture and populism are revealed — symbolism, emotionality, "origin from people", resistance against the system. The decisive role of the media in cultural communication for both popular culture and political populism is emphasized. However, there are significant differences between popular culture and political populism. Popular culture has its own values, while political populism uses values of others. Comparing popular culture and its impact on culture in general on one hand and political popularization and its impact on the political system on the other, a scrutator could expect for some renewal and diversification of current political institutions that would be a positive factor for the global political system and global society.
12
Amsal, Bahrul, Rukiana Novianti Putri y Jusnawati Jusnawati. "Popular Cultural Resistance of Makassar Students". Edumaspul: Jurnal Pendidikan 7, n.º 2 (1 de octubre de 2023): 2968–74. http://dx.doi.org/10.33487/edumaspul.v7i2.6765.
Texto completoResumen
Popular culture is often interpreted as the practice of pacifism over the instant and commercial superiority of mass culture. Students, as community members, cannot be separated from social reality, which intersects with popular culture on a daily basis. Hegemonic popular culture can become an arena for contesting students' reinterpretation practices to express their resistance to the values that are behind the presence of a cultural trend. The purpose of this study is to reveal first, students' popular cultural practices in relation to changes in orientation as a scientifically oriented, objective, and critical learning agent, and second, how students make resistance efforts from within popular culture to re-create meaning practices in order to avoid domination. cultural hegemony in capitalism. This research uses a descriptive-qualitative approach. Data analysis was carried out through three stages: data reduction, data presentation, and drawing conclusions. The results of the study found two main things. First, popular culture is a social construction of mass media, which is an important part of the birth of mass culture. Second, popular culture is an arena for contestation of the practice of redefining so that it can change the values of cultural capitalism into values of resistance.
13
Triantoro, Dony Arung, Fathayatul Husna, Rizky Amalia Syahrani, Futri Syam y Ainal Fitri. "Adaptation of Popular Culture in Digital Fatwa on Social Media". Islam Realitas: Journal of Islamic and Social Studies 9, n.º 2 (31 de diciembre de 2023): 169. http://dx.doi.org/10.30983/islam_realitas.v9i2.7607.
Texto completoResumen
<p>The development of modern information technology and mass education does not necessarily weaken traditional religious authorities such as <em>Habib</em>. One of <em>Habib's</em> efforts to survive amidst the development of contemporary information technology is to deliver <em>fatwas</em> with popular culture. <em>Fatwa</em> is the main channel for <em>Habib</em> to establish and strengthen his authority. This article examines the adaptation of popular culture in digital <em>fatwa</em>s on social media. This study uses a qualitative method. The data collection technique was carried out through <em>netnography</em>. Then, the data was analyzed using thematic analysis. The results of this research show that there are several forms of adaptation of popular culture carried out by Habib Husein Ja'far in conveying his <em>fatwa</em> on social media. First, Habib Husein Ja'far adapted slang language in conveying his <em>fatwa</em> on social media. Second, Habib Husein Ja'far adopted Japanese culture. Third, Habib Husein Ja'far visualized his <em>fatwa</em> in modern comics. Based on these findings, this study concludes that the development of modern technology has provided opportunities for <em>habib</em> to deliver their <em>fatwas</em> digitally. The form of the <em>fatwa</em> delivered by Habib adopts the form of popular culture, thereby attracting the attention of modern young Muslims.</p><p><em>Perkembangan teknologi informasi modern dan pendidikan massal tidak lantas melemahkan otoritas keagamaan tradisional seperti habib. Salah satu upaya yang dilakukan habib untuk bertahan di tengah perkembangan teknologi informasi modern adalah dengan mengemas fatwa melalui budaya populer. Fatwa menjadi saluran utama bagi seorang habib untuk membentuk dan menguatkan otoritasnya. Artikel ini bertujuan untuk mengkaji adaptasi budaya populer dalam fatwa digital di media sosial. Penelitian ini menggunakan metode kualitatif. Adapun teknik pengumpulan data dilakukan melalui netnografi. Kemudian data dianalisis menggunakan analisis tematik. Hasil penelitian ini menunjukkan bahwa ada beberapa bentuk adaptasi budaya populer yang dilakukan Habib Husein Ja’far dalam menyampaikan fatwanya di media sosial yaitu: Pertama, Habib Husein Ja’far mengadaptasi bahasa slang dalam menyampaikan fatwanya di media sosial. Kedua, Habib Husein Ja’far mengadaptasi budaya Jepang. Ketiga, Habib Husein Ja’far memvisualisasikan fatwanya ke dalam komik modern. Berdasarkan temuan tersebut, penelitian ini menyimpulkan bahwa perkembangan teknologi modern telah memberikan peluang kepada habib untuk menyampaikan fatwanya secara digital. Bentuk fatwa yang disampaikan oleh habib mengadopsi bentuk budaya populer, sehingga menarik perhatian anak muda Muslim modern.</em></p>
14
Marciniak, Mateusz. "The popular culture and the civic engagement of university students". Podstawy Edukacji 13 (2020): 147–62. http://dx.doi.org/10.16926/pe.2020.13.10.
Texto completoResumen
The huge potential of popular culture shaped and transmitted over “mass-media” and “new” media is noticed. At the same time, they are criticized due to their content and their influence on human actions and social relations. A number of social researchers refer to the submission of media to popular culture and entertainment, promoting of immaturity of the recipients and in consequences withdrawn from the public sphere. On the other hand, the popular culture is consider as a factor important for development of the human capital, the bonding social capital, individuals identity and society’s cohesion. The aim of this paper is to analyse the relationship between popular culture and the civic engagement of youth. First, the basic assumptions of popular culture- civic engagement relations are introduced. The second section is based on the chosen findings of author’s pilot study into the field of The youth identity formation in the mobile society era (N=92). The mutual associations between the popular culture consumption of university students and their level of civic engagement are analysed. The research results show statistical significance of the positive relationship in the sample between analysed factors. The higher is level of students’ cultural participation and media consumption, the higher is level of their civic engagement. The article concludes with the explanation of those findings, which may be considered surprising in light of popular culture criticism.
15
Horne, John. "Sport and the Mass Media in Japan". Sociology of Sport Journal 22, n.º 4 (diciembre de 2005): 415–32. http://dx.doi.org/10.1123/ssj.22.4.415.
Texto completoResumen
The tendency in discussions of media consumption in the past decade has been to move away from political economy or the “production of consumption” perspective; it has been accompanied by a growing interest in the active audience, symbolic culture, and textual analysis. Though sport and the mass media are a popular research topic in English-language publications, the major focus has been on a narrow range of advanced capitalist economies. This article on the relationship between the mass media and sport in Japan takes issue with both these emphases and contributes to on-going debates about sport, the media, and the commodification of popular culture. First, it provides a sketch of episodes in the development of the mass media in Japan—especially the newspaper press, radio, and television—in conjunction with that of sport. The focal point is the involvement of business corporations in the development of relations between professional sport and the mass media and the underlying commercial logic that steers that development. Second, by focusing on Japanese examples, the article provides additional empirical data so that similarities and contrasts can be drawn among existing accounts of the development of mediasport in advanced capitalist countries. In particular, it is argued that much of the writing about sport and the mass media has been derived from examination of “Anglo-American” experiences. Attention to media and sport in Japan, both as an economic commodity and as a vehicle for the creation of meaningful discourse about national identity, raises questions about debates concerning sport, media, and globalization.
16
Chase, Anthony. "Lawyers and Popular Culture: A Review of Mass Media Portrayals of American Attorneys". American Bar Foundation Research Journal 11, n.º 2 (1986): 280–300. http://dx.doi.org/10.1111/j.1747-4469.1986.tb00242.x.
Texto completo
17
Jackson, Kathy Merlock. "Playing It Again and Again:Casablanca's Impact on American Mass Media ad Popular Culture". Journal of Popular Film and Television 27, n.º 4 (enero de 2000): 33–41. http://dx.doi.org/10.1080/01956050009602813.
Texto completo
18
Dr. Abhishek Kumar Singh. "A Study of Popular Culture and its Impact on Youth’s Cultural Identity". Creative Launcher 7, n.º 6 (30 de diciembre de 2022): 150–57. http://dx.doi.org/10.53032/tcl.2022.7.6.16.
Texto completoResumen
With the advent of technology and globalization, the level of interaction is very high, and people are close to each other, due to this the social communication and exchange of values, opinions, and cultures are at their peak. This certainly plays a very important role in the society to understand new culturism and allows people to interact and mix with people from other parts of the world, accept other cultures, and express them in a variety of ways in order to promote economic development and accelerate social and indigenous progress. Media globalization and social change accelerate the flow of information and mutual intrusions of all kinds of cultures, which results in the assimilation of culture and its values and beliefs. The majority of people in society accept mass culture under the banner of pop culture. Cultural identity is a concept that exists in today’s globalized world but may have drastic change in recent decades. Considering all these facts, youth and cultural identity are inextricably linked. In the present era, the youth represent the main idea of cultural identity as they are frequently accepting new values and cultural patterns. Modern culture is a component of social development, and the impact of globalization and the development of the information society have given social capital a new direction. The effect of changing faces of people, especially the youth, is well marked in their expression as a popular culture. Popular culture is a kind of popularized culture among the masses, which is an outcome of media and social interactions. The representation of high culture and mass culture gives a new style to the traditional concept and is represented as a popular culture in the present scenario. The youth are very prone to change and symbolize popular culture. This is largely accepted by the majority of society’s members. The current study looked at the impact of traditional and modern factors on the emergence of cultural identity in the younger generation. The current study examines the growth and development of a new culture in society based on experience and perception that strengthens the youth group’s identity. The methodology used in the study was primary.
19
Junior, Jeder. "Música popular massiva e gêneros musicais: produção e consumo da canção na mídia". Comunicação Mídia e Consumo 3, n.º 7 (23 de septiembre de 2008): 31–47. http://dx.doi.org/10.18568/cmc.v3i7.69.
Texto completoResumen
Este artigo parte do pressuposto de que a análise midiática da música popular massiva é uma contribuição importante para a compreensão do papel que as canções ocupam na cultura e comunicação contemporâneas. Nesse sentido, acredita-se que as dimensões plásticas e materiais da música massiva, como a performance, a voz, o corpo e o ritmo, estão diretamente ligadas às definições de canção popular massiva e gêneros musicais, bem como às estratégias de produção de sentido desses formatos. Desse modo, a canção é considerada ponto de partida para a abordagem dos aspectos sociais e culturais inscritos nas condições de consumo da música popular massiva como fenômeno comunicacional.
Palavras-chave: Música popular massiva; gêneros musicais; canção popular massiva.
ABSTRACT
This article presents the idea that analytical methods developed within the notion of popular music within mass culture are an important contribution for the comprehension of the role that popular music pays in our dayly lives. The proposed methodology seeks to valorize plastic aspects of popular music, as well its media aspects. Our work will draw upon notions of performance, voice, body and rhythm and their links with the notions of popular music and musical genres. Then, popular music is a starting point for the comprehension of social and cultural aspects present in the realms of production and consumption of popular music.
Keywords: Popular music within mass culture; musical genres; popular song within mass culture.
20
Hadi, Sumasno y Sulisno Sulisno. "Popular Banjar Song: Study on Music Form and Media Culture". Harmonia: Journal of Arts Research and Education 21, n.º 1 (7 de junio de 2021): 168–77. http://dx.doi.org/10.15294/harmonia.v21i1.29349.
Texto completoResumen
Technological developments in society and their social practices contribute to the popularity of folk songs. In this regard, this study aims: (1) to analyze the form of popular Banjar song music, and (2) to analyze the discourse and culture-media context that underpins the popularity of the Banjar song. This research was conducted using qualitative methods with data collection strategies including observation, document studies, questionnaires, and interviews. In the aspect of content, analysis of the form of music is carried out in stages: (1) notating the popular Banjar song document; (2) analyzing the form/structure of the music; (3) presenting the elements of the music form, and (3) making conclusions. Meanwhile, in studying the culture-media discourse on popular Banjar songs, it is carried out using the Pierre Bourdieu’s social practice approach which focuses on the concepts of habitus, capital, and the cultural field. Based on the analysis that has been carried out, it is known that popular Banjar songs have basic forms with three variations, namely the form of one part (A), two parts (AB), and three parts (ABC). However, it shows that most of the songs that exist are in the form of two parts, with a tendency to use major tonality. This finding confirms that the popular Banjar song is a product of mass culture, namely artworks produced from the popular culture ecosystem. In this study, it is also found that social and symbolic capital in the popularity of the Banjar song becomes a social practice that takes place in the cultural field of the people of South Kalimantan. The cultural field is a social space for cultural agents to actualize the popularity of the Banjar song.
21
Baigozhina, D. O., N. I. Klushina y S. Sh Takhan. "Mediatization of Culture in the Discourse of Modern Kazakh Media". Russian Journal of Linguistics 23, n.º 3 (15 de diciembre de 2019): 784–801. http://dx.doi.org/10.22363/2312-9182-2019-23-3-784-801.
Texto completoResumen
The concept of mediatization in modern social sciences leads to a new understanding of the role of media in society and culture. Within the framework of this concept, media appears not as an intermediary between society, its culture and socially significant information, but as a structural element of society and culture itself (T. Adorno, M. Castells, N. Couldry, S. Hjarvard, F. Krotz, S. Livingstone, W. Lippmann, N. Luhmann, 1. McLuhan, P. Lazarsfeld, R. Merton, K. Popper, S. Zizek). The relevance of our study is due to the urgent need to investigate the effects of mediatization associated with its increasingly global nature. We hypothesise that in the process of mediatization of culture in the space of any national media discourse a new type of culture is created - media culture. The aim of this study is to show the formation of media culture on the example of the Russian language media discourse in Kazakhstan. The research is based on the linguistic concept of precedence (Yu.N. Karaulov, V.G. Kostomarov, D.B. Gudkov, V.V. Krasnykh) and the modern understanding of the typology of culture in Russian philosophy (N.B. Kirillova, V.V. Mironov and etc.). The study pursues the following goals: to identify precedent phenomena, which we define as minimized texts of culture, in the headers of the most widely circulated Russian language publications in Kazakhstan; to analyse precedent onyms associated with the classical (elitist) or mass culture; to consider phraseological units as markers of popular culture. On the basis of the analysis of precedents and phraseological units used in the dominant positions of the Russian language media discourse in Kazakhstan, we conclude that media culture is formed in the process of mediatization of elite, mass and folk culture through precedents and phraseological units. Media culture is a special, integral type of modern culture that combines elements of all types of cultures (elite, mass and folk) and is replicated through mass media in society. It consolidates society on the basis of general media knowledge.
22
Wulandari, Ismadiah. "Reterritorialization In a Fandom of Popular Korean Culture: Identity Reproduction To a Korean Wave". JSSH (Jurnal Sains Sosial dan Humaniora) 4, n.º 2 (22 de diciembre de 2020): 167. http://dx.doi.org/10.30595/jssh.v4i2.7404.
Texto completoResumen
Information technology and the role of the media encourage the emergence of cultures that are loved by many people around the world. Culture becomes a popular culture because of the contribution of mass media or new media. Korean culture is one of popular culture in Indonesia today. Various behaviors of Indonesian people mimic the culture in Korea, from the style of dress, lifestyle, hairstyle to even the style of speech sometimes imitating the cultural habits.In a world that has deteritorialized, new meanings shown locally because the existence of territorial not stay in one location. Deterritorialization contain reterritorialization with the relocation of meaning in different spaces and places than before. Through literature review and observation, the research aims to understanding formation identity process of Korean fandom (Korean wave) and its relevance to the reterritorialization’s context of Korean fandom (Korean wave) in Lampung. The relocation of ke-Korea-an combined with territoriality requirement as part of the adaptation to location. This results in a number of locality such as the creation of local environment in Lampung. A scheme that can be displayed from this case is the negotiation of identity through the re-territorialization, cultural borrowing, fictive kinship as results of social boundaries from community with the production locality.
23
Lemon, Jennifer. "Popular culture and the 'crisis of masculinity'". Communicare: Journal for Communication Studies in Africa 11, n.º 2 (7 de noviembre de 2022): 5–20. http://dx.doi.org/10.36615/jcsa.v11i2.1976.
Texto completoResumen
The eighties and nineties have wit nessed a renewed and unpre cedented Interest in men and mas culinity due to the emergence of the alleged contemporary 'crisis of masculinity'. This has been most preva lent in popular culture representations, which appear on the sur face to offer the modern man a whole range of 'new' roles and rela tionships, freeing him from patria chal entrapment and the dicates and demands of the traditional male sex role. The New Man Is Imaged as soft, sensitive, expressive and un afraid to show his emotions. New erotosized Images have made their appearance, and men are Imaged as sex objects in a way that only women were represented In the past. However, the question arises as to what these Images mean, and whether or not they represent any change In the patriarchal status quo In Western societies. In this article an attempt is made to deconstruct some of the new notions of masculinity in the light of the contempo rary 'crisis of masculinity', and the new popular culture representations of men In the mass media.
24
Mahfiana, Layyin. "Media Sebagai Pelestari Budaya Patriarkhi". Musãwa Jurnal Studi Gender dan Islam 5, n.º 4 (29 de octubre de 2007): 483. http://dx.doi.org/10.14421/musawa.2007.54.483-495.
Texto completoResumen
There are two main arguments advanced in this article. Firstly, regarding the image of women perpetuated lry mass media, and secondly why media is not showing gender sensitivity when developing women images. In general mass media portray women in one amongst these five images: women image as a frame, as a column, as an available 'bed', as a saucer and an image of friendship. These images are developed and became popular within a patriarchal culture because men define women as such, and women have no power to disagree. The author proposes that today's women readers must apply more critical view in reading and analyzing the content of mass media, especially with regard to women's images.
25
Aranda-Juárez, Daniel. "Educación mediática y aprendizaje significativo: una relación beneficiosa". Comunicar 9, n.º 18 (1 de marzo de 2002): 111–16. http://dx.doi.org/10.3916/c18-2002-17.
Texto completoResumen
This article is a reflection on the symbolic relationship between media education and educational reform. We must discover how students create meaning from multiple forms of experience to arrive at significant knowledge. Because this reason, pop culture –mass culture– has to be introduce in schools not as an enemy subject but as a representative way of thinking. La cultura popular, aquélla que dicen de masas, debe entrar en las escuelas como representante de una manera de pensar, ver y enfrentarse al mundo a partir de la cual construir nuevos conocimientos. El aprendizaje significativo necesita del reconocimiento de la cultura de las mayorías como verdadera cultura y, de esta manera, enfrentarse al estudio y enseñanza de la televisión fuera de las meras propuestas vacunadoras o tecnológicas.
26
Fox, Roy E. "Beating the Moon: A Reflection on Media and Literacy". Language Arts 76, n.º 6 (1 de julio de 1999): 479–82. http://dx.doi.org/10.58680/la199956.
Texto completoResumen
Reflects on the influence of popular culture and mass media on young people, and argues for a broader notion of literacy that includes verbal and visual literacy as well as all manner of other “texts,” because the teaching of literacy has exploded right along with satellite technology and microchips.
27
Schultze, Quentin J. "Civil Sin: Evil and Purgation in the Media". Theology Today 50, n.º 2 (julio de 1993): 229–42. http://dx.doi.org/10.1177/004057369305000207.
Texto completoResumen
“Today, we can say unequivocally that there are two major types of theology: (1) academic theology, which concerns itself with critically relating the meanings of sacred texts and traditions to a religious community, and (2) popular theology, which uncritically establishes, maintains, and changes the mythological assumptions of a people, especially through the mass media. Both theologies have cosmological implications and are shaped by anthropological assumptions. … It is increasingly clear in the modem world that popular theology has far more direct and immediate influence than academic theology on culture and society.”
28
Weihong, Ma. "Cultural attributes of Russian rock: elitist or mass culture?" World of Russian-speaking countries 2, n.º 8 (2021): 105–17. http://dx.doi.org/10.20323/2658-7866-2021-2-8-105-117.
Texto completoResumen
The article deals with identifying Russian rock culture as elitist or mass culture. The author characterizes the concepts of elitist and mass culture, explaining the difference between them, and examines the characteristics of Russian rock culture on the basis of this analysis. The author concludes that Russian rock culture is a kind of reconciliation of elite and mass culture: in the second half of the XX century the complexity of the Soviet political system and ideology determined the destiny and cultural attributes of Russian rock, making it a complex, multifaceted and eclectic phenomenon. Forced to survive, rock bands had to incorporate elements of popular music into their works and use mass media to attract the public. Having joined the ranks of commercial performances, rock 'n' roll gained more popularity, and gradually there appeared some signs of the rock culture decline. In the end, however, rock culture did not transform into mass culture, and Russian rock musicians and rock poets continued to play their music in search of a new cultural niche for themselves to express their critical attitude to reality, their denial and opposition to the processes of industrialization and urbanization, returning to the history and culture of the nation, paying attention to philosophical and religious issues and to the depth and completeness of poetic content, reconstructing Russian cultural memory, reflecting on the environmental situation in the modern world. Rock culture is still a culture of resistance, but as society continues to change, the form and content of resistance is also constantly changing, and it is because of this that rock culture has acquired a kind of humanistic foundation that is much deeper than that of popular culture, so ignoring the difference between rock culture and popular culture destroys the innate spirit and the essence of rock culture itself.
29
Small, Contessa. "Children’s Fan-Play, Folklore and Participatory Culture". Ethnologies 38, n.º 1-2 (20 de octubre de 2017): 255–89. http://dx.doi.org/10.7202/1041596ar.
Texto completoResumen
The study of children’s play activities has not only been historically trivialized, but numerous widely held misconceptions about kids, their play, folklore and popular culture continue to persist today despite evidence to the contrary. For example, some adults believe that mass media and popular culture has contributed to the decline of kids’ traditional play activities, while others argue that traditional play objects are being replaced by “media culture artifacts”; however, the child-centred fan-play research I present in this paper reveals that popular culture encourages and activates children’s traditional and creative competences, rather than destroy them. The Harry Potter “phenomenon”, as a contested site where youth struggle for visibility and power, serves as the case study for this paper. Based on ethnographic observation of several local events, surveys, and interviews with child and teenage fans of Harry Potter, I examine several emergent, participatory, fan-play activities (including costuming, role-playing, make-believe and spells) and discuss the many ways children manipulate, appropriate, adapt and combine popular culture and folklore, using both creativity and tradition as expression of their lives, identities and power struggles. I conclude by discussing the heart of contemporary children’s culture and play – the conservative/creative nature of children, hybrid play forms and the activation of traditional and creative competencies in the face of popular culture influences.
30
Grishaeva, Ekaterina. "Religion in the Mediatized Public Spaces in Scandinavian Countries: Between Secular Neutrality and Nationalism". Sotsiologicheskoe Obozrenie / Russian Sociological Review 18, n.º 4 (2019): 299–319. http://dx.doi.org/10.17323/1728-192x-2019-4-299-319.
Texto completoResumen
The following article presents a systematic review of the studies of religion in the mediatized public sphere of Scandinavian countries. The mediatized public sphere is tackled as constituted by interrelated media spaces, those of mass media, the Internet, and religious media and media of popular culture which are specifically organized public spaces, each of which varies in their degree of openness to different publics. A review of the empirical research reveals the specificity of the public (re)presentations of religion in each media space. In the Scandinavian mass media, religious issues are covered within the political frame, and “banalized” (Hjavard, 2013), while religious organizations have few opportunities to influence the representation of religious content. Due to its’ non-strict “entrance fee” and the spread of horizontal links, religious issues are articulated by agents though different ideologies on the Internet. Religious media space is an environment where religious organizations seek to maintain an institutional version of the religious narrative. In the media of popular culture, religious themes as a part of popular culture are interpreted aesthetically, and thus, makes this space a repository of religious meanings and identities that can be used in the course of political and public discussions about religion. The variety of media spaces enables the public circulation of diverse representations of religion, and allows various groups to discuss their ideological articulations of religion. However, this results in the polarization of public debates about religion and the fragmentation of the audience. The proposed model of the media spheres’ division into political spaces can be used as a framework for the analysis of the (re)presentation of religion in the Russian media.
31
Nam, Nguyen Thanh. "Ethnic minority community access to popular culture in the context of tourism (case of Thai ethnic group in Lac Village, Mai Chau, Hoa Binh, Vietnam)". Review of Nationalities 9, n.º 1 (1 de diciembre de 2019): 275–83. http://dx.doi.org/10.2478/pn-2019-0021.
Texto completoResumen
AbstractTourism is a growing service economic sector that creates jobs for many communities in the world. Ethnic minority communities in many countries are also now taking part in tourism activities. Vietnam is a country with great potentials for natural landscapes, historical values, indigenous culture of ethnic groups with habits and lifestyles, rich culinary culture of regions. It is the basis for development of tourism. Through tourism, tourists will understand the daily life of indigenous peoples, but at the same time people in these ethnic minority communities will have the opportunity to access popular cultural phenomena. This thesis discusses the ethnic minority communities’ access to popular culture through tourism such as mass media, popular culinary culture or mass tourism. The case study was conducted in a village of ethnic minorities in Hoa Binh province, North Vietnam which has been undergoing changes under the impact of tourism in recent years.
32
TREND, DAVID. "Merchants of Death: Media Violence and American Empire". Harvard Educational Review 73, n.º 3 (1 de septiembre de 2003): 285–308. http://dx.doi.org/10.17763/haer.73.3.p3666k82135627qm.
Texto completoResumen
In this article, David Trend illuminates the centrality of violent narratives in U.S. popular culture. He describes the ubiquity of violent imagery and the popular discourse it has generated. Trend argues that research on media violence has created a large academic subculture that has done little to advance our understanding of who is watching violent media and why. He draws on multidisciplinary sources and calls for scholars to collaborate across fields to reframe the discussion. He concludes that the mass production of violent media may be wasting an enormous resource that might otherwise be used for tremendous public good.
33
Waheed, Hisham Abdulsattar y Anan Alkass Yousif. "Popular Culture as a Creation of Art in Frank O'Hara Selected Poems". Al-Adab Journal 2, n.º 142 (15 de septiembre de 2022): 27–36. http://dx.doi.org/10.31973/aj.v2i142.2405.
Texto completoResumen
While the significance of Abstract Expressionism in Frank O’Hara’s poetry has been widely discussed in academic researches, this paper aims at exploring the role of popular culture in his poetry and the significance of Pop Art in shaping his poetic production. The paper argues that O’Hara’s employment of topics, consumer and mundane objects, and images taken from popular culture and mass media was the very means to create an unorthodox art. Such an art challenged and opposed the American elitism of high culture and good taste, the very standards by which the artistic value of a piece of art was measured.
34
Kępiński, Marcin. "Bigger, Stronger, Faster, czyli amerykański sen nie jest dla każdego, a sport to jedno wielkie oszustwo". Kultura i Społeczeństwo 61, n.º 2 (24 de abril de 2017): 103–24. http://dx.doi.org/10.35757/kis.2017.61.2.6.
Texto completoResumen
The author analyses the 2009 documentary film Bigger, Stronger, Faster, which investigates the nature of American pop culture and sports. Writing from the perspective of cultural anthropology and sociology, he considers how ideas about the body and physicality are programmed by popular media culture and famous sports figures and celebrities, who are treated as models of masculinity and mass media heroes. He also raises the issue of the influence of illegal pharmaceutical doping on contemporary American sports. All these subjects serve to describe the form and functioning of America’s contemporary collective identity and the connection between the authorities, television, sports entertainment, and politics. The United States described in the documentary is a real and existing utopia, which Americans and other people have dreamt and still dream about, and which everyone believes in—not only the recipients of popular media culture and sports entertainment.
35
Whatley, Edward. "Book Review: Pop Culture in Asia and Oceania". Reference & User Services Quarterly 56, n.º 3 (3 de abril de 2017): 219. http://dx.doi.org/10.5860/rusq.56n3.219a.
Texto completoResumen
Pop Culture in Asia and Oceania provides readers with a broad but surprisingly detailed overview of popular culture in Asia (excluding the Middle East), Australia, and New Zealand. Though the geographic focus of coverage may be somewhat narrow, the forms of pop culture covered in the single volume are quite varied and reveal a rich cultural tapestry that may be unfamiliar to many Western readers. Pop culture is of course intended for mass consumption, and the mediums and entertainments covered in Pop Culture in Asia and Oceania reflect that intent. They include: popular music, books and contemporary literature, film, television, radio, Internet and social media, sports, video games, fashion, and couture.
36
Shin, SooJung. "A Study on the Music Activities of ‘Hanseong Kwonbeon’ Gisaeng through Mass Media". Korean Society of Gyobang and Culture 3, n.º 2 (31 de diciembre de 2022): 67–84. http://dx.doi.org/10.58936/gcr.2023.12.3.2.67.
Texto completoResumen
The purpose of this study is to examine the music activities of ‘Hanseong Kwonbeon(漢城券番)’ gisaeng(妓生) through mass media. Through previous studies on the Kwonbeon and gisaeng of the modern era, this study examine the history of Hanseong Kwonbeon and the role of gisaeng in inheriting traditional culture and forming popular culture through their activities in two fields: radio broadcasting at the Gyeongseong Broadcasting Station and SP Record.
Hanseong Kwonbeon gisaengs were active not only on stage and in theaters but also through new mass media of the modern era such as broadcasting and records. The radio broadcasts of the Gyeongseong Broadcasting Station clearly confirmed the name of Hanseong Kwonbeon from 1926 to 1931, and the activities of about 40 gisaengs were revealed. Hanseong Kwonbeon gisaengs excelled in the genres of Japga and Gasas. In terms of inclusion in the SP Record, the activities of two gisaengs, Gil Jin-hong and Baek Mo-ran, were remarkable. Gil Jin-hong and Baek Mo-ran were active in both the Broadcasting Station and the Record, which is noteworthy.
In the early 20th century, gisaengs were female artists who devoted themselves to various genres of music activities and were also undisputed entertainers who received the popularity of the public. Although many studies have been conducted on gisaengs, I hope that further research will be conducted from various perspectives, including their roles as female artists, entertainers, and as a subject of popular culture.
37
Werber, Niels, Daniel Stein, Jörg Döring, Veronika Albrecht-Birkner, Carolin Gerlitz, Thomas Hecken, Johannes Paßmann, Jörgen Schäfer, Cornelius Schubert y Jochen Venus. "Getting Noticed by Many: On the Transformations of the Popular". Arts 12, n.º 1 (17 de febrero de 2023): 39. http://dx.doi.org/10.3390/arts12010039.
Texto completoResumen
This article argues that the transformations of the popular, which began in Europe around 1800 and introduced the powerful distinction between low culture and high culture, have established a competitive distinction between the popular and the non-popular that has become dominant over the course of the 20th century. As a result, the popular is no longer either the culture of the ‘lower classes’ or the inclusion of the ‘people’ in the service of higher goals. The popular today is hardly the object of desired transgressions (Leslie Fiedler’s “cross the border, close the gap”) or an expression of felt or feared “massification” or “flattening”. Rather, being popular now means getting noticed by many. Popularity is measured as well as staged, as rankings and charts provide information on what is popular while vying for popularity themselves. These quantifying formats do not speak to the quality or originality of the popular, only to its evident success across different scales of evaluation. People do not buy good products, they buy popular ones; they do not listen to the best music, but to popular music; they do not share, like, or retweet important, but popular news. Even the ‘unpopular’ can be popular: a despised politician, a hated jingle, an unpopular measure. The popular modifies whatever it affords with attention. Its quantitatively and hierarchically comparative terms (‘bestseller,’ ‘outperformer,’ ‘high score,’ ‘viral’) generate valences that do not inhere in the objects themselves. Conversely, the non-popular, which does not find any measurable resonance in these terms, risks being dismissed as irrelevant or worthless simply because it does not appear in any rankings or ratings. This can be observed particularly with artefacts whose relevance as part of high culture may be taken for granted even when they do not achieve mass resonance. The purpose of this article is to outline a theory of the popular that does justice to these developments by identifying two decisive transformations: 1. the popularization of quantifying methods to measure attention in popular culture around 1950; 2. the popularization of the internet around 2000, whereby the question of what can and cannot become popular is partially removed from the gatekeepers of the established mass media, educational institutions, and cultural elites and is increasingly decided via social media.
38
Van Esch, Patrick. "Religion in Mass Media Social Marketing Campaigns: A Paradox". International Journal of Business and Management 10, n.º 11 (26 de octubre de 2015): 55. http://dx.doi.org/10.5539/ijbm.v10n11p55.
Texto completoResumen
<p>Religion and mass media social marketing (MMSM) are considered major influencing factors within popular culture. Unfortunately, both researchers and practitioners of MMSM campaigns either lack religious intellect or intentionally mitigate against its logical use whilst on the other hand; empirical research into healthy behaviours indicates an efficacy between religion and desired behaviours/outcomes, however; these elements receive minimal attention from health campaign researchers and practitioners. Remarkably, other social marketing research has used different models/theories of behaviour change, some acknowledge the ‘religion’ concept and its application, yet they fail to recognise and address it as a variable during the data analysis phase. As a result, discussions about the possible intersect and/or inter-relationship of religion and MMSM is often disputed, intentionally abandoned and generally not well informed.</p>
39
Ferris, Julie E. "Parallel Discourses and “Appropriate” Bodies: Media Constructions of Anorexia and Obesity in the Cases of Tracey Gold and Carnie Wilson". Journal of Communication Inquiry 27, n.º 3 (julio de 2003): 256–73. http://dx.doi.org/10.1177/0196859903252848.
Texto completoResumen
Mass media images of gender, beauty, and women have been at the heart of many feminist arguments about the need for change in our understanding of gender and the role it plays in our day-to-day existence. The role of a body, much like the role of a woman, is also negotiated between the pages and airwaves of a popular culture that precariously favors particular excessive behaviors and norms. A textual analysis of the popular press discourse surrounding two bodies, prominently defined in popular culture, demonstrates specific rhetorical strategies at work in the construction of the “appropriate” cultural body. This article explores how these two bodies are positioned at the border of cultural intelligibility and how these bodies, acting as discourse themselves, speak to culture and reify their positions on the margins.
40
Nabila, Nabilatum Masruroh. "MEDIA SOSIAL DALAM LANSKAP MASYARAKAT INDUSTRI DAN KAITANNYA DENGAN BUDAYA POPULER". Publiciana 15, n.º 01 (18 de julio de 2022): 28–37. http://dx.doi.org/10.36563/publiciana.v15i01.376.
Texto completoResumen
ABSTRAK
Media Sosial saat ini menjadi suatu hal yang telah biasa dikonsumsi masyarakat sebagai salah satu bentuk dari perkembangan zaman. Dari perkembangan dan banyaknya masyarakat yang memakai media sosial di kehidupan sehari-hari mengakibatkan banyaknya bentuk dari perubahan sosial yang terjadi di berbagai bidang kehidupan yang dimana salah satunya menujunya budaya masyarakat yang dahulunya bersifat sangat menjunjung budaya adiluhung kini berubah perlahan menjadi budaya populer. Budaya Populer ini memang merupakan salah satu bentuk perubahan sosial yang dimana media sosial menjadi salah satu faktor yang sangat mempengaruhi terjadinya perubahan itu. Kemudian Revolusi dari masa ke masa semakin bertambah memberikan banyak pengaruhnya. Masyarakat saat ini yaitu masyarakat industri tak lepas dengan bagaimana perkembangan media sosial, yang dimana pastinya dengan segala bentuk kecanggihan karena perkembangannya menjadikan masyarakat industri pasti memanfaatkan dengan baik dari bagaimana cara media sosial bekerja serta menghasilkan berbagai kebutuhan baik sifatnya material atau sebagainya oleh masyarakat industri. Maka dari itu artikel ini akan mengupas bagaimana media sosial baik cara bekerja, peranan dan pengaruhnya dalam lanskap masyarakat industri saat ini dan juga akan membahas mengenai bagaimana media sosial dan masyarakat industri membawa perubahan kedalam budaya adiluhung yang perlahan memudar yang kini di gantikan dengan budaya yang bisa dikatakan lebih populer. Metode yang digunakan untuk penelitian kali ini yaitu deskriftif kualitatif dengan tujuan yaitu bisa menjadi informasi seputar topik yang bisa menjadi bahan untuk memperbanyak pengetahuan ect.
Kata Kunci : Media Sosial, Masyarakat Industri dan Budaya Populer
ABSTRACT
Social media has now become something that is commonly consumed by the public as a form of the development of the times. From the development and the number of people who use social media in their daily life, it has resulted in many forms of social changes that occur in various fields of life, one of which is leading to the culture of the people who used to be very respectful of the noble culture, now slowly turning into popular culture. Popular culture is indeed a form of social change where social media is one of the factors that greatly influences the occurrence of that change. Then the Revolution from time to time increasingly gave a lot of influence. Today's society, namely the industrial community, cannot be separated from how social media develops, which of course with all forms of sophistication because its development makes the industrial community definitely make good use of how social media works and produces various needs, both material and so on by the industrial community. Therefore, this article will explore how social media works, its role and influence in today's industrial society landscape and will also discuss how social media and industrial society bring about change into a noble culture that is slowly fading which is now being replaced by a culture that can said to be more popular. The method used for this research is descriptive qualitative with the aim that it can be information about topics that can be used as material to increase knowledge and ect.
Keywords: Social Media, Industrial Society and Popular Culture
41
Yiwen, Sun y Ding Houbing. "Integration of piano art into popular culture of China and the mass media: a historical aspect". OOO "Zhurnal "Voprosy Istorii" 2023, n.º 12-1 (1 de diciembre de 2023): 244–49. http://dx.doi.org/10.31166/voprosyistorii202312statyi20.
Texto completoResumen
The article is devoted to the study of the directions of integration of elements of Chinese mass culture and the practice of piano art. The main conclusions made in the manuscript can be used to improve the curriculum for teaching piano in music schools in China.
42
Mr. Parth Joshi. "Literature and Popularity: Shakespeare as a Mediator between the ‘Class’ and the ‘Mass’". Creative Launcher 4, n.º 4 (31 de octubre de 2019): 47–51. http://dx.doi.org/10.53032/tcl.2019.4.4.08.
Texto completoResumen
Shakespeare has enjoyed immense popularity and recognition among ‘elite’ critics like Ben Jonson in his own time, and Dr Samuel Johnson, Coleridge, Matthew Arnold, T S Eliot among others, till Harold Bloom in the 21st century, not to mention the enormous body of film adaptations, translations, music adaptations and various other mass-media through which he still dominates the ‘popular culture’. This is the reason why his case becomes a curious one as far as literature and popularity are concerned. The new century has brought a whole host of new technological artefacts within hand’s reach of all but the poorest denizens of the city street – the cell phone, the iPad, and attendant applications that help us navigate the city and connect and network cyber and physical spaces. These technologies are creating new cultures, material and aesthetic, cyber and physical space-making of new kinds that do not simply alter older traditions but transmogrify them into new shapes and flows. This paper aims at studying how we define the popular aspect of literature. How have erudite and popular cultures been studied in the 20th and 21st centuries? Where does Shakespeare stand in the debate?
43
Ciudad-González, Agustín. "Estereotipos y valores en la prensa juvenil". Comunicar 9, n.º 18 (1 de marzo de 2002): 169–74. http://dx.doi.org/10.3916/c18-2002-27.
Texto completoResumen
We remark daily the great importance that the teenager’s magazines have between ours pupils (girls but also boys). These magazines, inside the audiovisual mass media, produce an authentic parallel curriculum, true textbook, really different (and opposed) to the official curriculum ingenuously developed by professors, like the occult curriculum subliminally unrolled at the school. This one must acknowledge the legitimacy of popular culture if doesn’t want to stay marginal respect the stream of powerful socialization’s mediums. Las revistas juveniles tienen una notable incidencia entre las chicas y chicos. La cultura audiovisual de masas constituye un auténtico currículum paralelo, distinto e incluso a veces contradictorio a la enseñanza oficial, e incluso al currículum que transcurre oculto y que subliminalmente está presente en la educación. El autor propone reconocer la legitimidad de esta cultura popular de las publicaciones juveniles, para no ignorar la realidad de la calle y darle un verdadero tratamiento educativo.
44
Döring, Jörg, Niels Werber, Veronika Albrecht-Birkner, Carolin Gerlitz, Thomas Hecken, Johannes Paßmann, Jörgen Schäfer, Cornelius Schubert, Daniel Stein y Jochen Venus. "Was bei vielen Beachtung findet: Zu den Transformationen des Populären". Kulturwissenschaftliche Zeitschrift 6, n.º 2 (1 de julio de 2022): 1–24. http://dx.doi.org/10.2478/kwg-2021-0027.
Texto completoResumen
Abstract Being popular means getting noticed by many. Popularity is measured as well as staged. Rankings and charts provide information on what is popular while vying for popularity themselves. They do not speak to the quality or originality of the popular, only to its evident success across different scales of evaluation. People do not buy good products, they buy popular ones; they do not listen to the best music, but to popular music; they do not share, like or retweet important, but popular news. Even the ‘unpopular’ can be popular: a despised politician, a hated jingle, an unpopular measure. The popular modifies whatever it affords with attention. Its quantitatively and hierarchically comparative terms (‘bestseller’, ‘outperformer’, ‘high score’, ‘viral’) generate valences that do not inhere in the objects themselves. Conversely, the non-popular, which does not find any measurable resonance in these terms, risks being dismissed as irrelevant or worthless simply because it does not appear in any rankings or ratings. This can also be observed particularly with artefacts whose relevance as part of high culture could be taken for granted even when they do not achieve mass resonance. Our paper proposes the following central hypothesis: The transformations of the popular, which began in Europe around 1800 and introduced the powerful distinction between low culture and high culture, establish a competitive distinction between the popular and the non-popular becoming dominant over the course of the 20th century. As a result, the popular is no longer either culture of the ‘lower classes’ or the inclusion of the ‘people’ in the service of higher goals. The popular today is hardly the object of desired transgressions (Leslie Fiedler’s “cross the border, close the gap”) or an expression of felt or feared “massification” or “flattening”. The dissemination of the popular is no longer a normative project. It has, in fact, become an inescapable condition of cultural self-understanding in the globalised present. The purpose of our research is to devise a theory of the popular that does justice to this fact. Our research outline identifies two decisive transformations that have led to this condition: 1. the popularization of quantifying methods to measure attention in popular culture around 1950; 2. the popularization of the Internet around 2000, whereby the question of what can and cannot become popular is partially removed from the gatekeepers of the established mass media, educational institutions and cultural elites and is increasingly decided via social media.
45
Dai, Ruoxuan. "Analysis of Fan Culture and its Formation Mechanism in the Age of Mass Media". BCP Education & Psychology 7 (7 de noviembre de 2022): 138–44. http://dx.doi.org/10.54691/bcpep.v7i.2626.
Texto completoResumen
With the development of Internet media technology, fans are playing a more and more important role, and their behavior has an important impact on society, which is a social and cultural force that cannot be ignored. The development of film and television industry and the spread of IP dramas are inseparable from the promotion of fans. Fans' culture is constantly moving from the small crowd to the public, from being misunderstood to understanding. Today, fan culture has become a cultural phenomenon that can't be ignored, and the existence of fan groups has attracted more and more attention and discussion from all walks of life. The continuous development of new media technology and Internet technology has changed the power structure of the audience to obtain and disseminate information, and promoted the empowerment of groups on the basis of self-empowerment, thus promoting the empowerment of society and organizations. The formation of fan culture is also bound to be inseparable from the interaction between individual fans and culture. From emotion to identity to active participation, this series of interaction processes completed the evolution from individual to fan. On this basis, it further extends the process of how the fan culture, which was originally a minority culture, merged into popular culture. This paper also further reflects on whether fan culture is a form of "carnival".
46
Repertório, Teatro &. Dança. "MELODRAMA ATUAL: MEDIAÇÃO ENTRE TRADICIONAL E MASSIVO [Paulo Merisio]". REPERTÓRIO, n.º 15 (7 de julio de 2010): 52. http://dx.doi.org/10.9771/r.v0i15.5212.
Texto completoResumen
<div>Este artigo resulta da investigação da potencialidade do melodrama – modalidade dramatúrgica emblemática do repertório circense-teatral – como instância mediadora entre a tradição popular e algumas manifestações associadas à indústria cultural e à cultura de massas. Seguindo as pistas de estudos como os de Martin-Barbero (1997), Huppes (2000) e Xavier (2003), pretende-se compreender um pouco mais movimentos recentes de inserção do melodrama em outros meios. Para tanto, é importante perceber em que veículos o melodrama se inseriu e de que forma se dá sua leitura.<br><br /></div><div><div>This paper is the result of an investigation of the potential of melodrama – the emblematic dramaturgical genre of the circus-theater repertoire – as a mediator between tradition and some popular events associated with the culture industry and mass culture. By following the clues from studies such as Martin-Barbero (1997), Huppes (2000) and Xavier (2003), it seeks to understand more recent efforts of insertion of melodrama in other media. In order to do so, it is important to realize how melodrama is interpreted and into what media it has permeated.</div></div>
47
Jung, Hyeri. "Agenda-setting in the realm of popular culture: The case of the Korean Wave in East Asia". Global Media and Communication 15, n.º 3 (18 de septiembre de 2019): 361–77. http://dx.doi.org/10.1177/1742766519872782.
Texto completoResumen
The spread of South Korean popular culture across the globe, known as the Korean Wave, has signalled a significant challenge towards the traditional one-way flow of media culture. This study applies agenda-setting effect, which has been largely applied to political communication, to the domain of mass-produced popular culture. It explores how Korean media’s news coverage of the popularity of Korean TV drama in China influences not only the first and second agenda-setting effect but also Koreans’ perception of Chinese audiences. The findings suggest that the Korean Wave could serve as a form of reversed cultural diplomacy by promoting soft power in East Asia.
48
Trisnayanti, Fajar Ayu, I. Nyoman Ruja, I. Dewa Putu Eskasasnanda y Sukamto Sukamto. "Ketertarikan remaja penggemar budaya populer Korea di Kota Malang". Jurnal Integrasi dan Harmoni Inovatif Ilmu-Ilmu Sosial (JIHI3S) 2, n.º 4 (20 de abril de 2022): 333–40. http://dx.doi.org/10.17977/um063v2i4p333-340.
Texto completoResumen
This study aims to describe the interest of teenagers who are fans of Korean popular culture in Malang City. The approach and type of research used in this research is qualitative descriptive. The results showed that: first, the characteristics of teenagers who are fans of Korean popular culture in Malang City are dominated by women. The average age of fans in their late teens is 18-22 years. Fans mostly follow fan communities or dance cover groups. The free time that fans have will be spent enjoying Korean shows. Fans of Korean popular culture must also have a smartphone, laptop, and money to buy internet quota. The costs spent reach Rp. 50,000 to Rp. 200,000.00 per month. Second, the background of fans who are interested in Korean popular culture is from peer solicitation, the influence of mass media, and a sense of loneliness. Third, the behavior of fans, namely seeking information, especially about favorite movies, dramas, or music, imagining Korean artists as ideal figures, imitating their appearance styles, collecting knick-knacks, and fans are usually interested in learning to speak and write in Korean. Fourth, the meaning of popular culture for fans is as entertainment, to channel hobbies in the field of modern dance, and to make many friends.
Penelitian ini bertujuan mendeskripsikan ketertarikan remaja penggemar budaya populer Korea di Kota Malang. Pendekatan dan jenis penelitian yang digunakan dalam penelitian ini adalah kualitatif deskriptif. Hasil penelitian menunjukkan bahwa: pertama, karakteristik remaja penggemar budaya populer Korea di Kota Malang didominasi oleh perempuan. Usia penggemar rata-rata pada usia remaja akhir yaitu 18-22 tahun. Para penggemar kebanyakan mengikuti komunitas penggemar atau grup dance cover. Waktu luang yang dimiliki penggemar akan dihabiskan untuk menikmati tayangan Korea. Penggemar budaya populer Korea juga pasti memiliki smartphone, laptop dan uang untuk membeli kuota internet. Biaya yang dihabiskan mencapai Rp. 50.000,00 sampai Rp. 200.000,00 perbulan. Kedua, latar belakang penggemar tertarik budaya populer Korea adalah dari ajakan teman sebaya, pengaruh media massa serta rasa kesepian. Ketiga, perilaku para penggemar yaitu mencari informasi terutama tentang film, drama atau musik yang digemari, membayangkan artis Korea sebagai sosok idaman, menirukan gaya penampilan, mengumpulkan pernak pernik, serta penggemar biasanya tertarik belajar berbicara dan menulis dengan bahasa Korea. Keempat, makna budaya populer bagi penggemar adalah sebagai hiburan, menyalurkan hobi di bidang tarian modern serta untuk mendapat banyak teman.
49
Souza, Giselle Gomes y Severino Alves Lucena. "E a gente ama esses bracinhos oferecidos: Folkcomunicação política na Campanha de vacinação contra a COVID-19 em Recife- PE." Revista Internacional de Folkcomunicação 19, n.º 42 (2 de julio de 2021): 114. http://dx.doi.org/10.5212/rif.v.19.i42.0006.
Texto completoResumen
O presente trabalho busca apontar o uso de estratégia folkcomunicacional política usando apropriação das mídias digitais pelos grupos populares, colocando em foco os processos informais de comunicação. O objetivo é verificar como a Prefeitura da Cidade do Recife utiliza a rede social para a interação com os leitores- internautas sobre o avanço com a vacinação contra a COVID-19 da população recifense. É na apropriação de elementos da cultura folk de massas que localizamos a utilização das redes sociais como veículo da folkcomunicação política pela Prefeitura da Cidade do Recife.
Folkcomunicação política; Pandemia; Mídia.
The present work seeks to point out forms of Folk political communication using appropriation of digital media by popular groups, focusing on informal communication processes. The objective is to verify how the City of Recife uses the social network to interact with readers-internet users on the progress with the vaccination against COVID-19 of the population of Recife. It is in the appropriation of elements of folk culture by mass culture that we find the use of social networks as a vehicle for political folk communication by the City of Recife.
Folk political communication; pandemic; media.
El presente trabajo busca señalar formas de comunicación política popular. utilizando la apropiación de los medios digitales por parte de los grupos populares, centrándose en los procesos de comunicación informal. El objetivo es verificar cómo la Ciudad de Recife utiliza la red social para interactuar con los lectores-internautas sobre el avance de la vacunación contra COVID-19 de la población de Recife. Es en la apropiación de elementos de la cultura popular por parte de la cultura de masas que encontramos el uso de las redes sociales como vehículo de comunicación política popular por parte de la Ciudad de Recife.
Folkcomunicación política; pandemia; medios de comunicación.
50
Artz, Lee. "Neoliberalism and Capital Accumulation: Media Framing of Resistance and the Global Culture of Fear". Perspectives on Global Development and Technology 16, n.º 1-3 (7 de abril de 2017): 105–30. http://dx.doi.org/10.1163/15691497-12341423.
Texto completoResumen
As neoliberal globalization dramatically increases global inequality, popular resistance erupts in most every nation. Transnational leaders, nation-state politicians, and their accommodating media often frame resistance to fit the rubric of terrorism in an attempt to win mass consent for coercion against rebellious groups. This article presents the example of the Tuareg independence movement in Northern Mali as a case study of how commercial media framing contributes to a culture of fear and thereby legitimizes military intervention against democratic social movements.