Media And Popular Music

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Essay from the year 2015 in the subject Sociology - Media, Art, Music, grade: 1.0, Queen's University Belfast (School of History and Anthropology), course: Social Anthropology, language: English, abstract: Considering the integral role that popular music plays within contemporary culture, its capacity for cultural commentary and even change must not be underestimated.

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For two decades after the mid-1950s, biracial popular music played a fundamental role in progressive social movements on both sides of the Atlantic. Balancing rock's capacity for utopian popular cultural empowerment with its usefulness for the capitalist media industries, Rock 'N' Film explores how the music's contradictory potentials were reproduced in various kinds of cinema, including major studio productions, minor studios' exploitation projects, independent documentaries, and the avant-garde.

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The third edition of Popular Music and Society is fully revised and updated, deftly exploring the study of popular music in the context of wider debates in sociology and media and cultural studies. Astute and accessible, it continues to set the agenda for

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Examining how we interpret Welshness today, this volume brings together fourteen essays that examine the range of representations of Welsh mythology, folklore, and ritual in popular culture. Topics covered include the twentieth-century fantasy fiction of Evangeline Walton, the Welsh presence in the films of Walt Disney, Welshness in folk music, non-animated film and postmodern literature.

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"Yellow Music" is the first history of the emergence of Chinese popular music and urban media culture in early-twentieth-century China. Andrew F. Jones focuses on the affinities between "yellow" or "pornographic" music-as critics derisively referred to the "decadent" fusion of American jazz, Hollywood film music, and Chinese folk forms-and the anticolonial mass music that challenged its commercial and ideological dominance.

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Given the explosion in recent years of scholarship exploring the ways in which disability is manifested and performed in numerous cultural spaces, it's surprising that until now there has never been a single monograph study covering the important intersection of popular music and disability. George McKay's "Shakin' All Over" is a cross-disciplinary examination of the ways in which popular music performers have addressed disability: in their songs, in their live performances, and in various media presentations.

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At the heart of "The Republic of Love" are the voices of three musicians-queer nightclub star Zeki Muren, "arabesk" originator Orhan Gencebay, and pop diva Sezen Aksu-who collectively have dominated mass media in Turkey since the early 1950s. Their fam

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Mobile devices haveevolved to focus onrich media production and consumption. Developers of mobile applications are able to create applications that allow people to play, capture, andshare media in a variety of new ways on mobile devices. The popularity of Android has soared in part because the platform offers developers a rich set of capabilities including access to media capturing and playback functions.

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Boys, Boyz, Bois concerns questions of ethics, gender and race in popular American images, national discourse and cultural production by and about black men. The book proposes an ethics of masculinity, as ethnics refers to a system of morality and valuation and as ethics refers to a care of the self and ethical subject formation. The texts of analysis include recent films by black/African American filmmakers, gangsta rap and hip-hop and black star persona: texts ranging from Blaxploitation and New Black Cinema to contemporary music video to autobiography and the public image of Sidney Poitier.

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This text explores popular music fandom from a cultural studies perspective that incorporates popular music studies, audience research, and media fandom. The essays draw together recent work on fandom in popular music studies and begin a dialogue with the

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In one compact volume, POP DREAMS analyzes the trends, events, and personalities that influenced American culture from 1945 to 1970. The discussion broadens students' understanding of major events in popular culture by putting those events in historical context.

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Copyright governance is in a state of flux because the boundaries between legal and illegal consumption have blurred. Trajce Cvetkovski interrogates the disorganizational effects of piracy and emerging technologies on the political economy of copyright in popular music, film and gaming industries.

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Black Popular Music in Britain since 1945 provides the first broad scholarly discussion of this music since 1990. The book critically examines key moments in the history of Black British popular music from 1940s jazz to 1970s soul and reggae, 1990s Jungle and the sounds of Dubstep and Grime that have echoed through the 2000s. While the book offers a history it also discusses the ways Black musics in Britain have intersected with the politics of race and class, multiculturalism, gender and sexuality, and debates about media and technology.

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Beyond Hate offers a critical ethnography of the virtual communities established and discursive networks activated through the online engagements of white separatists, white nationalists, and white supremacists with various popular cultural texts, including movies, music, television, sport, video games, and kitsch. Outlining the ways in which advocates of white power interpret popular cultural forms, and probing the emergent spaces of white power popular culture, it examines the paradoxical relationship that advocates of white supremacy have with popular culture, as they finding it to be an irresistible and repugnant reflection of social decay rooted in multiculturalism.

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The imagination of the early twenty-first century is catastrophic, with Hollywood blockbusters, novels, computer games, popular music, art and even political speeches all depicting a world consumed by vampires, zombies, meteors, aliens from outer space, disease, crazed terrorists and mad scientists. These frequently gothic descriptions of the apocalypse not only commodify fear itself; they articulate and even help produce imperialism.

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" This is an extraordinary achievement and it will become an absolutely vital and trusted resource for everyone working in the field of popular music studies. Even more broadly, anyone interested in popular music or popular music culture more generally

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