Bibliographies thématiques / Tastemaking

Littérature scientifique sur le sujet « Tastemaking »

Auteur : Grafiati
Publié le 26 juillet 2024
Mis à jour le 27 juillet 2024

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Articles de revues sur le sujet "Tastemaking"

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Branciforte, Joshua. « Pope’s Perversity : Tastemaking in Liberal Culture ». Modern Language Quarterly 80, no 3 (1 septembre 2019) : 261–86. http://dx.doi.org/10.1215/00267929-7569611.

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Abstract Alexander Pope envisioned his poetry as conducive to a social order shaped and guided by taste. However, unlike later arbiters of taste who sought to project idealized norms, Pope used techniques that were oppositional, individualized, materialist, and perverse. His aesthetic strategies aimed at achieving homogeneity across diverse populations without normative prescriptions. Pope drew on the skeptical notion of the “ruling passion” to model his understanding of taste as a social process. Construed solely as a model of personality, his theory is frequently dismissed; read as a model for tastemaking, it becomes intelligible. While Pope’s classicizing moral and aesthetic values can seem distant from the assumptions of our late liberal culture, the techniques he uses to “rule” tastes indirectly remain fundamental imperatives in liberal aesthetic culture.
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Blizzard, Mónica García. « Review : Tastemakers and Tastemaking : Mexico and Curated Screen Violence, by Niamh Thornton ». Mexican Studies/Estudios Mexicanos 38, no 1 (2022) : 200–203. http://dx.doi.org/10.1525/msem.2022.38.1.200.

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Schulze, Joshua. « The Oil Paintings in the Department Store : The Robe and Racialized Tastemaking in 1950s Detroit ». American Quarterly 76, no 2 (juin 2024) : 165–87. http://dx.doi.org/10.1353/aq.2024.a929162.

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Abstract: This essay examines the promotion of Twentieth Century–Fox’s production of The Robe (1953)—which exhibited Dean Cornwell’s oil paintings in local department stores in Detroit—in relation to the city’s sociocultural context and racial tensions. It argues that ongoing issues in the city such as property ownership, racialized topographical boundaries, and class aspiration can be traced across Detroit’s film culture in the postwar period, particularly in the burgeoning middlebrow culture of materialistic consumption. The promotional campaign’s use of art exhibitions in department stores represented a significant moment for new ideas about class, culture, and racial identity in the city, contributing to the formation of the white suburban middle class and functioning as an example of racialized tastemaking. Accounts of this postwar cultural shift, particularly as it pertained to film culture, have underemphasized the importance of racial identity and exclusion to such formations. Adopting an interdisciplinary approach that integrates film history, material culture studies, and cultural history, this essay uses the Cornwell exhibition as a case study for understanding the impact of racial tensions on class identity in 1950s Detroit.
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Herron, Adam. « ‘A contemptible movie now showing in Times Square’ : Cultural distinctions, space and taste in the exhibition of Snuff at the National Theatre ». Horror Studies 11, no 2 (1 octobre 2020) : 169–85. http://dx.doi.org/10.1386/host_00017_1.

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This article considers the urban landscape of New York City’s theatre district in the 1970s and how its identity as a contested space provides insight into key cultural shifts, including changes to the regulation of media, variance and convergence between industrial practices in the film industry, and discursive struggles between culture and capital. With many of the city’s luxurious picture palaces converted into movie theatres with cheaper ticket prices and more genre fare in the wake of the Great Depression, critics sought to contain ‘low’ media such as horror and pornography to prevent their spread from grind houses to prestigious milieus. Using the case study of Snuff (The Findlays, 1976) and its run at the National Theatre on 44th Street and Broadway, I argue that dailies and trade publications were more concerned with the choice of exhibition venue than the content of the low-budget exploitation feature from Monarch Releasing Corporation. Consequently, objections to the film were informed by broader contexts of gentrification, tastemaking and cultural distinctions, with hyperbolic images of the imagined audiences for Snuff generated by tastemakers when they were unable to convincingly critique the National itself.
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Barna, Emilia. « “The perfect guide in a crowded musical landscape:” Online music platforms and curatorship ». First Monday 22, no 4 (3 avril 2017). http://dx.doi.org/10.5210/fm.v22i4.6914.

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Curatorship or curation has become a widely used term in music industry and popular music discourse recently, used not only in a museum or exhibition context, but also in connection with music festivals, and increasingly, playlists and other functions related to online music platforms. Through a case study of 22tracks, an online, playlist-based music discovery service currently based in four European cities, I look at the role and position of the music curator, and provide a critical analysis of the dominant discourses around music curation. I place the discourse of music curation into a context of dominant narratives accompanying music as well as digital and online technology, including that of the “long tail” and the “tyranny of choice.” I then proceed to explore the relationship of curation to place, scenes and genres, and conceptualise curatorship as an increasingly professionalised tastemaking and promoting function.
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Thèses sur le sujet "Tastemaking"

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Elliott, Fraser. « The circulation of Chinese cinemas in the UK : studies in taste, tastemaking and film cultures ». Thesis, University of Manchester, 2018. https://www.research.manchester.ac.uk/portal/en/theses/the-circulation-of-chinese-cinemas-in-the-uk-studies-in-taste-tastemaking-and-film-cultures(d4745fd7-a5bb-4168-967e-17c2399df962).html.

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This thesis has two interrelated research objectives. First, to understand the circulation of Chinese cinema in Britain through the cultural authorities and gatekeepers responsible for the canonisation of international film. Second, to use Chinese-language films as case studies through which to deconstruct and better understand the mechanisms that make up British film cultures and their tastemaking practices. English-language Chinese film studies has long been preoccupied with the semantic issue of how to define such a loaded and diverse concept as “Chinese cinema”, with investigations generally focusing on film form and production contexts. This thesis extends these studies to include considerations of the role played by film circulation, to observe how the parameters of these analyses and the films of their focus are defined in the first instance. This thesis traces the lineage of Chinese cinema as it has appeared in Britain's film cultures from 1954 through to 2014 when this project began. Taking emblematic moments of this history as case studies to anchor the investigation, each chapter contextualises the cultures into which Chinese-language films arrived. Using the sociological theories of Pierre Bourdieu and others, these investigations note how, in addition to their negotiation of international trends, domestic skirmishes for cultural authority within Britain have had significant effects on the perceived value of Chinese cinema. This thesis considers the various social, cultural, and class contexts that support Britain's key tastemakers in the circulation of Chinese cinema. It shows not only the ways modes of evaluation and film availability are cultivated through these contexts, but that the activities therein result also from, and curate, assumptions toward Chinese as a cultural, political and ethnic signifier. Those commanding the discourse around Chinese cinema in Britain have done so with conceptions about Chineseness that result from and contribute to domestic conflicts of taste, class and social standing. The inevitable intersections between film tastes and cultural assumptions have worked to curate a parochial definition of Chinese cinema that prioritises certain kinds of films at the expense of others, dependent more on the idiosyncrasies of British film cultures than the activities of Chinese film industries.
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Livres sur le sujet "Tastemaking"

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Thornton, Niamh. Tastemakers and Tastemaking. State University of New York Press, 2021.

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Tastemakers and Tastemaking Hb. State University of New York Press, 2020.

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Chapitres de livres sur le sujet "Tastemaking"

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Woollett, Phil. « Transactions in Taste : An Examination of a Potential Tastemaking Landscape Within Kent’s Blues Club Scene and the Conception of a Local Taste Accent ». Dans Popular Music Scenes, 117–29. Cham : Springer International Publishing, 2023. http://dx.doi.org/10.1007/978-3-031-08615-1_8.

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« Tastemakers and Tastemaking ». Dans Tastemakers and Tastemaking, 1–26. SUNY Press, 2020. http://dx.doi.org/10.1515/9781438481142-003.

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« Front Matter ». Dans Tastemakers and Tastemaking, i—iv. SUNY Press, 2020. http://dx.doi.org/10.1515/9781438481142-fm.

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« Commonplace and Routine ». Dans Tastemakers and Tastemaking, 59–86. SUNY Press, 2020. http://dx.doi.org/10.1515/9781438481142-005.

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« Contents ». Dans Tastemakers and Tastemaking, v—vi. SUNY Press, 2020. http://dx.doi.org/10.1515/9781438481142-toc.

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« Reversioning and Thick Contexts ». Dans Tastemakers and Tastemaking, 87–113. SUNY Press, 2020. http://dx.doi.org/10.1515/9781438481142-006.

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« Curating Cruelty and Criminality ». Dans Tastemakers and Tastemaking, 149–81. SUNY Press, 2020. http://dx.doi.org/10.1515/9781438481142-008.

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« Illustrations ». Dans Tastemakers and Tastemaking, vii. SUNY Press, 2020. http://dx.doi.org/10.1515/9781438481142-001.

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« Filmography ». Dans Tastemakers and Tastemaking, 193–98. SUNY Press, 2020. http://dx.doi.org/10.1515/9781438481142-010.

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« Index ». Dans Tastemakers and Tastemaking, 217–26. SUNY Press, 2020. http://dx.doi.org/10.1515/9781438481142-012.

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Actes de conférences sur le sujet "Tastemaking"

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Lzicar, Robert, et Amanda Unger. « Designer of the Canon : A Case Study of Swiss Graphic Design Historiography and Tastemaking ». Dans 9th Conference of the International Committee for Design History and Design Studies. São Paulo : Editora Edgard Blücher, 2014. http://dx.doi.org/10.5151/despro-icdhs2014-0006.

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