DOCSLIB.ORG

Explorações Iniciais Das Práticas Comunicacionais Electro -Goth Na Internet Revista FAMECOS: Mídia, Cultura E Tecnologia, Núm

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Explorações Iniciais Das Práticas Comunicacionais Electro -Goth Na Internet Revista FAMECOS: Mídia, Cultura E Tecnologia, Núm Revista FAMECOS: mídia, cultura e tecnologia ISSN: 1415-0549 [email protected] Pontifícia Universidade Católica do Rio Grande do Sul Brasil Amaral, Adriana Cybersubculturas e cybercenas: explorações iniciais das práticas comunicacionais electro -goth na Internet Revista FAMECOS: mídia, cultura e tecnologia, núm. 33, agosto, 2007, pp. 21-28 Pontifícia Universidade Católica do Rio Grande do Sul Porto Alegre, Brasil Disponível em: http://www.redalyc.org/articulo.oa?id=495550189003 Como citar este artigo Número completo Sistema de Informação Científica Mais artigos Rede de Revistas Científicas da América Latina, Caribe , Espanha e Portugal Home da revista no Redalyc Projeto acadêmico sem fins lucrativos desenvolvido no âmbito da iniciativa Acesso Aberto CULTURA VIRTUAL Cybersubculturas e cybercenas: explorações iniciais das práticas comunicacionais electro-goth na Internet RESUMO análise das práticas sociais e de consumo em O presente artigo problematiza os conceitos de cena torno da música tem sido objeto de pesquisas (Straw, 1997, 2006) e de cybersubcultura (Bell, 2000 A no campo dos estudos culturais, da antropolo- e Caspary & Manzenreiter, 2003) em sua pertinência gia, sociologia, e da comunicação desde o século XX. para o estudo dos processos e práticas sociais de A partir da disseminação das tecnologias de comu- comunicação, produção e divulgação/distribuição nicação é notória a problematização de conceitos de informações no contexto da cibercultura. A partir como subcultura, cena, movimento e mesmo de co- das teorias da cibercultura e dos estudos pós-sub- munidade1 em um contexto diferente do qual eles culturais britânicos propusemos a discussão dos con- foram originalmente formulados, uma vez que tais ceitos em relação a algumas práticas concretas de práticas necessitam ser compreendidas no âmbito comunicação e sociabilidade da subcultura “electro- das formações sociais fluidas e complexas que se goth/industrial” na Internet. apresentam desde a teatralidade urbana dos clubs, das lojas de discos, da mídia especializada, até o PALAVRAS-CHAVE ciberespaço, nos quais a sociabilidade urbana apre- • cybersubcultura senta uma riqueza de fenômenos empíricos. As ali- • cena anças formadas por afinidades de gosto que transi- • internet tam por entre as ruas na vida offline, parecem se auto-apresentar e se autopromover2 com ainda mais ABSTRACT força na vida online. Em trabalhos anteriores, apon- The present paper discusses the concepts of scene (Straw, tamos como essas subculturas estão inseridas no 1997, 2006) and cybersubculture(Bell, 2000 e Caspary & contexto da cibercultura, a partir da subcultura cy- Manzenreiter, 2003) and it´s importance to the studies of berpunk (Amaral, 2005a), mapeando os seus desdo- processes and cultural practices of communication, pro- bramentos nas figuras dos hackers e rivetheads3 duction and publicizing/distribution of information in- (Amaral, 2005b). No presente artigo, partimos da side cyberculture´s context. Having cyberculture´s theo- problematização do conceito de “cena” apresentada ries and british post-subcultures studies as a theoretical por Straw (1997 [1991], 2006) e da noção de cyber- framework, we propose the discussion of these two con- subcultura (Bell, 2000, Caspary & Manzenreiter, 2003) cepts, relating them to some empirical practices of com- para propor uma análise introdutória – cujo objetivo munication and sociability of the so-called “electro-goth/ maior é um mapeamento e tipologia das cenas inse- industrial” subculture on the Internet. ridas nessa subcultura através da etnografia virtual (Hine, 2000) - das práticas sociais e comunicacionais KEY WORDS da “cybercena” electro-goth/industrial na Internet. • cybersubculture Nosso foco é o papel da auto-apresentação e auto- • scene promoção dessa subcultura particular que, através • internet dos múltiplos usos da Internet, conferem ao online mais um espaço social, um local de trocas, críticas, discussões ou mera demarcação de pertencimento dos elementos constituintes de uma possível “cyber- cena”. Seria possível então que as redes de relacio- namento do ciberespaço re-elaborem as hierarquias dos participantes em uma cybersubcultura? De que forma a fala dos participantes faz eco aos conceitos? Repensando o espaço das “cenas” e as relações subculturais com as tecnologias As tensões e críticas no que diz respeito ao legado dos estudos subculturais britânicos da década de têm ocupado espaço nas discussões dos chamados estudos pós-subculturais dos anos 90.4 A partir do esforço revisionista dos pós-subculturalistas Adriana Amaral proliferam novas terminologias (canais, subca- UTP nais; redes temporárias de subcorrentes, cenas; Revista FAMECOS • Porto Alegre • nº 33 • agosto de 2007 • quadrimestral 21 Adriana Amaral • 21–28 comunidades emocionais; culturas club; estilos Já em um artigo mais recente, Straw (2006) redis- de vida; neotribos), em substituição ao conceito cute essa concepção, afirmando que as cenas são de subcultura, cujo valor heurístico – alega-se – vividas enquanto efervescência10 que proporciona prá- solapa diante das mutáveis sensibilidades e múl- ticas e espaços organizados, sejam eles a favor ou tiplas estratificações e interações das culturas contra as mudanças. Percebe-se então que o conceito juvenis do pós-punk (Freire Filho, 2005, p. 141). de cena, embora elástico, ainda guarda alguma rela- ção com a noção de espaço dentro dos centros urba- Tais terminologias fornecem pistas valiosas para nos. Mas e quando as noções geográficas, sociais e cultu- o entendimento dos estudos pós-subculturais, mas rais de espaço se alteram em função do ciberespaço? De não cremos que substituam o conceito de subcultu- que maneira o conceito de cena acompanha ou não tais ra. Compreendemos a utilização dessas terminolo- rupturas? A partir de uma primeira inserção ao cam- gias enquanto parte do próprio léxico da gramática po, observamos que essa concepção ligada ao espa- subcultural. Interessamo-nos por descrevê-las no con- ço e às práticas, por um lado se mantém tanto dis- texto da comunicação mediada por computador, e de cursivamente (na fala dos participantes e no discurso que formas as transformações terminológicas podem das mídias jornalísticas especializadas) quanto nas apontar para mudanças ou não nas práticas sociais dos trocas offline (no espaço dos clubs, lojas de roupas/ seus participantes. Enfatizamos a utilização indistinta discos, etc) ou online (nos websites, fóruns, e-zines, do conceito de cena e sua migração para o ciber- blogs, Orkut, discussões via MSN, etc e, no próprio espaço. Segundo Will Straw (2006), o termo cena MySpace). Salientamos novamente que nossa análi- tem sido usado para designar fenômenos e locais se centra-se no electro-goth/industrial, uma vez que tão distintos quanto bares, movimentos musicais, globais ou locais, entre outros. Cena parece, por as cenas são as apropriações locais dos gêneros11 e exemplo, caber na flexibilidade de exemplos como a têm características próprias, sem dúvida. Na cena psychobilly ou às movimentações subculturais lo- verdade, hoje, eu acho que não dá mais pra calizadas ( “a cena carioca”) ou globais.5 falar nem mesmo na cena de uma cidade como um todo – mas sim nas cenas diversas do Rio Scene will describe unities of highly variable sca- (de house, de D&B, de electro); de SP, etc...mas le and levels of abstraction. “Scene” is used to seria leviano eu traçar aqui as diferenças, rapi- circumscribe highly local clusters of activity and damente. Tem mesmo que analisar caso a caso – to give unity to practices dispersed throughout como algumas cenas são mais fortes ou volá- the world. It functions to designate face-to-face teis, quais os hábitos e valores de cada um dos sociability and as a lazy synonym for globalized grupos, etc (SÁ, 2006, online).12 virtual communities of taste (Straw, 2006, p. 6). A cena “acontece” ou é construída, a partir do Percebemos essa utilização intensa de “cena” mes- espaço onde ocorrem as trocas, hábitos e práticas mo na fala dos seus participantes: “É comum per- sócio-comunicacionais, tanto em nível macro (glo- guntarmos como é a cena em um determinado lu- bal) como em nível micro (local). É pertinente falar- gar” (WTek, músico e produtor de eventos mos então, em cenas, uma vez que, elas ocorrem ou electro-goth/industrial).6 Quando questionado pela de forma simultânea ou de forma alternada. Anali- revista belga Side-Line, Andy LaPlegua, vocalista da samos a virtualização das cenas – os espaços de banda de electro-industrial Combichrist7 explica que trocas dentro do ciberespaço – enquanto um fator os títulos dos seus EPs - “With success comes bitching” dependente do crescimento e da consolidação, tanto (Com o sucesso chegam as reclamações) e “What the dos estilos e subestilos musicais quanto das próprias fuck is wrong with you people? (Que raios está errado subculturas. com vocês?) - remetem ironicamente às próprias ne- As diferentes cenas parecem ser mais um entre os gociações entre os participantes da cena electro-goth: tantos elementos e terminologias da complexa gramá- “It’s basically about this scene8 in general. People tica subcultural, não sendo uma substituta conceitual don’t like to see other people make it. People would da mesma. O uso do termo subcultura aqui pode rather bitch and complain”9 Em relação específica à apresentar uma determinada ambigüidade, contudo questão da cena musical, Straw (1997) destaca a im- tendemos a concordar parcialmente com a revisão do portância da comunicação na construção de práticas mesmo feita pelos estudiosos
Load more

Recommended publications
  • Zfwtvol. 9 No. 3 (2017) 269-288
    ZfWT Vol. 9 No. 3 (2017) 269-288 FEMINIST READING OF GOTHIC SUBCULTURE: EMPOWERMENT, LIBERATION, REAPPROPRIATION Mikhail PUSHKIN∗ Abstract: Shifting in and out of public eye ever since its original appearance in the 1980ies, Gothic subculture, music and aesthetics in their impressive variety have become a prominent established element in global media, art and culture. However, understanding of their relation to female gender and expression of femininity remains ambiguous, strongly influenced by stereotypes. Current research critically analyses various distinct types of Gothic subculture from feminist angle, and positively identifies its environment as female-friendly and empowering despite and even with the help of its strongly sexualized aesthetics. Although visually geared towards the male gaze, Gothic subcultural environment enables women to harness, rather than repress the power of attraction generated by such aesthetics. Key words: Subculture, Feminism, Gothic. INTRODUCTION Without a doubt, Gothic subculture is a much-tattered subject, being at the centre of both popular mass media with its gossip, consumerism and commercialization, as well as academia with diverse papers debasing, pigeonholing and even defending the subculture. Furthermore, even within the defined, feminist, angle, a thorough analysis of Gothic subculture would require a volume of doctoral dissertation to give the topic justice. This leaves one in a position of either summarizing and reiterating earlier research (a useful endeavour, however, bringing no fresh insight), or striving for a kind of fresh look made possible by the ever-changing eclectic ambivalent nature of the subculture. Current research takes the middle ground approach: touching upon earlier research only where relevant, providing a very general, yet necessary outlook on the contemporary Gothic subculture in its diversity, so as to elucidate its more relevant elements whilst focusing on the ways in which it empowers women.
    [Show full text]
  • DP025A - Fasion Design the Brief
    DP025A - Fasion Design The Brief Brief Details For a haute couture house, produce a full colour advertisement poster, sticker set, swing tag etc that promotes a fashion brand. The promo material is to include a female and male figure rendered in an appropriate style, using appropriate colour illustration materials and techniques. The finished package should be thorough, wide ranging and professional. Additional Considerations The primary purpose of the male/female illustration is to drawn people in (fashion) proportion and realistically apply clothing. Typography on the poster should support the fashion range and the tags/stickers should also do this. Paul Yeatman - Student Number 00043916T DP025A - Fasion Design Client Summary Company Overview Givenchy was chosen as a client as their Fall 2012 range featured designs that incorporated a lot of black and reds. Target Market Wearers of Haute Coutier fashion. People who like to wear stylish clothing. The Autumn 2013 ready to wear range has a gothic bent - lots of capes, black jackets and leggings/pants, boots and shirts. A splash of red has been added to selected styles to break up the black and to add additional interest to the designs. Paul Yeatman - Student Number 00043916T DP025A - Fasion Design Mood Board Researching The Competition/Gothic Clothing Vendors Gothic fashion typically falls into two categories. Day to day clothing which includes t shirt and variations on the cargo pant and more styles clothing such as frock coats, jackets, pants and heavy boots. The more fashionable pieces look much better than the main streamed gothic clothing, though they may not be every day wear.
    [Show full text]
  • Lavoce's Directory
    July 31, 2015 To Whom It May Concern: Promote Your Business with Lavoce’s Directory! Welcome to the preliminary edition of Lavoce’s Directory! Lavoce: We Are People Too, Inc. (Lavoce) is proud to present the first international directory for Goths, tattoo artists, sKateboarders, and others who live alternative lifestyles, or anyone whose clothing is outside the norm. This directory has more categories than any other online Goth directory. This is the most comprehensive directory available because being Goth affects all aspects of life. Our commitment is driven by the need to help Goths, and others who looK outside the norm, to feel safe to be themselves in their day-to-day jobs. This directory is the first and only directory of employers who hire people from alternative lifestyles. It has the potential to connect those who feel alone in this world to established organizations and areas of the world where Goths feel more accepted. It will build sustaining partnerships with existing organizations and revitalize the community by helping new organizations grow. Lavoce will also support Goth jobseeKers to promote job sKills training and worKplace etiquette. If you are seeing this, then you are an employer that seems open to hiring people from alternative lifestyles. I am writing to encourage your company to come forward as an openminded employer. The entries in this directory are gray because they have only been proposed but have not yet been confirmed or paid. I have included your company’s link in the first edition of this directory, but will need further information from you going forward.
    [Show full text]
  • Goth Beauty, Style and Sexuality: Neo-Traditional Femininity in Twenty-First Century Subcultural Magazines
    Citation: Nally, Claire (2018) Goth Beauty, Style and Sexuality: Neo-Traditional Femininity in Twenty-First Century Subcultural Magazines. Gothic Studies, 20 (1-2). pp. 1-28. ISSN 1362- 7937 Published by: Manchester University Press URL: https://doi.org/10.7227/GS.0024 <https://doi.org/10.7227/GS.0024> This version was downloaded from Northumbria Research Link: http://nrl.northumbria.ac.uk/28540/ Northumbria University has developed Northumbria Research Link (NRL) to enable users to access the University’s research output. Copyright © and moral rights for items on NRL are retained by the individual author(s) and/or other copyright owners. Single copies of full items can be reproduced, displayed or performed, and given to third parties in any format or medium for personal research or study, educational, or not-for-profit purposes without prior permission or charge, provided the authors, title and full bibliographic details are given, as well as a hyperlink and/or URL to the original metadata page. The content must not be changed in any way. Full items must not be sold commercially in any format or medium without formal permission of the copyright holder. The full policy is available online: http://nrl.northumbria.ac.uk/policies.html This document may differ from the final, published version of the research and has been made available online in accordance with publisher policies. To read and/or cite from the published version of the research, please visit the publisher’s website (a subscription may be required.) Gothic Studies For Review
    [Show full text]
  • Newfolk Ndif: the Cybergoth in Science Fiction Culture
    Newfolk NDiF: The Cybergoth in Science Fiction Culture New Directions in Folklore 3 (formerly the Impromptu Journal) May-July 1999 Newfolk :: NDF :: Archive :: Issue 3 :: Page 1 :: Page 2 The Goth Explosion in Science Fiction Culture Camille Bacon-Smith, Ph.D. This is an excerpt from the book Science Fiction Culture, Philadelphia, University of Pennsylvania Press, 2000. When people want to know why I would write a book about science fiction culture (fandom), the first question they usually ask is, "What makes fandom different from any other group?" As if difference was the only criterion for interesting. My answer, by contrast, is, "Nothing makes it different. That is the point." The larger mechanics of mainstream American culture play out in a relatively small, defined setting. So we can let go of the fantasy we used to hold that studying small villages in low- technology settings give us insights into a computer-driven, high speed, population dense techno-culture. We can find groups of ourselves small enough to study right here. And the mechanics of power and status, of change and conflict, will often play themselves out in speeded-up time that we can watch; we can figure out the dynamics in small. And it turns out those observations in small apply well to the larger society. Like the rest of the culture in which it resides, fandom has experience the women's movement and the backlash, and the rise of lesbian and gay self determination. And, in the late eighties and early nineties, fandom experienced the invasion of the goths.
    [Show full text]
  • Chapter Two Types, Stereotypes and Hate Crimes
    PEOPLE’S DEMOCRATIC REPUBLIC OF ALGERIA MINISTRY OF HIGHER EDUCATION AND SCIENTIFIC RESEARCH UNIVERISTY OF TLEMCEN FACULTY OF LETTERS AND LANGUAGES DEPARTMENT OF ENGLISH GOTHIC WORLD BETWEEN REALITY AND MYTH Extended Essay Submitted to the Department of English as a Partial Fulfillment of the Requirements for the Master’s Degree in Literature and Civilisation Presented by: Supervised by: Miss. Soumia BOUMECHRA Dr. Yahia ZEGHOUDI Board of Examiners: Pr. Amine BELMEKKI President University of Tlemcen Dr. Yahia ZEGHOUDI Supervisor University of Tlemcen Dr. Abdelkader BENSAFA Examiner University of Tlemcen Academic Year: 2015-2016 DEDICATION To my angels, my mother and my grandma, who really supports me along the journey. To my brother and little Sister. To my soulmates, Fatima and Manel. ACKNOWLEDGMENTS First of all, I thank Allah for blessing, protecting, and guiding me to proceed successfully. I would like to express my gratitude to my supervisor Dr. Yahia ZEGHOUDI who kindly guided me to complete my memoire. Very special thanks to the chairman examiner Pr. Amine BELMEKKI and the examiner Dr. Abdelkader BENSAFA for devoting their precious time to read and evaluate my work. Sincere thanks to all my teachers, and my classmates for their moral support through the past few years. Without forgetting my dearest friends, Manel and Témocha to whom I am indebted for providing me with insightful advice, moral support, and for continuously encouraging me and pushing me to my limits to complete this work. Finally, my deepest gratitude and thanks go to my Mother Sabiha, Grandma Aicha, my brother Mossaab and sister Meryem and all who helped me during my hard times.
    [Show full text]
  • Atmosheres, Death, and Aesthetics of Goth
    The Journal of Kitsch, Camp and Mas Culture The Journal of Kitsch, Camp and Mass Culture Volume 2 / 2018 GONE BUT NOT FORGOTTEN: ATMOSHERES, DEATH, AND AESTHETICS OF GOTH Ashley Watkins University of St Andrews, [email protected] Gone but not Forgotten: Atmospheres, Death, and the Aesthetics of Goth GONE BUT NOT FORGOTTEN: ATMOSHERES, DEATH, AND AESTHETICS OF GOTH Ashley Watkins 1. Introduction1 Recently made available in English, Gernot Böhme’s work on atmospheres provides a strong foundation upon which to reframe classic questions in aesthetics and gain insight into the aes- thetics of the everyday that is fighting its way to the forefront of aesthetic research. By recon- ceptualizing familiar ideas and rendering explicit what previously existed in the background of aesthetic thought, Böhme’s work puts aside the art/non-art distinction in favour of a unify- ing picture of aesthetic production and reception in all areas of life, revealing the vast extent and importance of aesthetic work and aesthetic consumption. The concept of atmosphere in aesthetics lends itself to wide and varied application, and its success in providing insight into such fields as architecture, scenography, advertising, and product design serves as much as a test of its merits as does more traditional philosophical analysis. With that in mind I would like to offer here not a traditional defence of the view or a response to its critics, but rather an exploration of an area ripe for illumination via atmospheres: the Goth subculture. Gernot Böhme’s concept of atmospheres in aesthetics sheds considerable light on the subculture and its emergence in late 1970s England.
    [Show full text]
  • 1 Goth Fashion: from Batcave to Darkwave and Beyond by Ryan V. S
    © Ryan V. Stewart, 2018–present | CC BY-NC-ND 4.0 ARTpublika Magazine: Volume V Submission (Ryan V. Stewart) | 1 ​ Goth Fashion: From Batcave to Darkwave and Beyond By Ryan V. Stewart “Goth”: A phrase which, for many of us, conjures up stereotypical images of pitch black-clad and pale figures, of eerily quiet teenagers seemingly dressed for Halloween year-round; and, perhaps for the more historically-inclined among us, a collection of Germanic tribes whose clashes with the Roman Empire represent some of the most crucial turning points in history. Of course, the former—the cliched idea of teens or young adults who take part in a dreary ​ and doom-laden clique, more likely frequenters of rain-drenched cemeteries, or abandoned and ​ cobwebbed Victorian manors, than varsity athletes or high-rolling yuppies—does have some ​ merit to it: They say that stereotypes are based on at least a kernel of truth, after all. But as much as “goth” is a recognizable term throughout most of the Western world—where counterculture has been, and continues to be, a visible aspect of our ​ societies—it’s also one which, as we near the 2020s, is fairly dated: Though rooted in the late © Ryan V. Stewart, 2018–present | CC BY-NC-ND 4.0 ARTpublika Magazine: Volume V Submission (Ryan V. Stewart) | 2 ​ 70s British punk scene, especially the post-punk movement and the overarching art punk tendency, and taking influence from glam, and, to a lesser extent, New Wave, goth as a distinguishable, musically-oriented subculture really emerged in the 1980s, and its linchpin genre, gothic rock, flourished throughout that decade, quickly expanding to America and then to other countries.
    [Show full text]
  • My Life As a Goth of Colour
    BEAUTY MY LIFE AS A GOTH OF COLOUR Beauty director Anita Bhagwandas is part of a subculture that revels in paleness – she recounts her emotional journal of self-acceptance PHOTOGRAPHY: REPUBLIC OF PHOTOGRAPHY p until fairly recently my in a £1 black pencil eyeliner and wear my The outsider Twitter bio read ‘brown mother’s blackberry-coloured Bourjois If I’d felt like a sub-par goth at home in goth’. Not hugely lipstick (whenever she wasn’t looking). But Newport, university in Cardiff challenged my professional, I know. But my dark skin almost seemed to absorb the U identity to my darkest core. At the freshers’ incredibly telling. Those smudgy black rings around my eyes, so fair, I signed up to GRIMsoc (Goth Rock two social constructs of I started wearing foundation that was Industrial Metal society) and met amazing- race and subculture two shades lighter in an attempt to looking cyber-goths and goth punks were how I’d always chosen to define create a contrast. In reality, I just looked through to trad goths and elegant gothic myself to the outside world; less of a bold like a greying corpse, in a way that would Lolitas. But the one thing they all had in statement but more of an explanation – make even Dracula recoil. common was their paleness. My immediate ‘This is why I like coffins and am obsessed Over the years, I spent countless hours instinct, despite being resplendent in 30inch with Halloween, but why I’m not blindingly staring at the pictures of my porcelain wide-legged black jeans and a plethora of pale.’ Because the goth scene, to most, heroes (everyone from Tairrie B from My skull-shaped adornments, was that I wasn’t evokes images of ghostly pale skin and Ruin to Jessicka from Jack Off Jill) on my goth enough to join these beautiful long dark hair; think Morticia Addams, bedroom wall, trying to recreate their goth creatures.
    [Show full text]
  • Call for Papers on Subcultures for Popcaanz (Popular Culture Association of Australia and New Zealand), July 3 - 5, 2019, Melbourne, Australia
    H-PCAACA Call for Papers on Subcultures for PopCAANZ (Popular Culture Association of Australia and New Zealand), July 3 - 5, 2019, Melbourne, Australia Discussion published by Kathryn A. Hardy Bernal on Tuesday, September 25, 2018 Call for papers for presentation on subcultures at the 10th Anniversary of the Annual International PopCAANZ Conference to be held at RMIT University, Melbourne, Australia, July 3 - 5, 2019. Submission deadline for abstract proposal submissions: March 31, 2019. The Popular Culture Association of Australia and New Zealand (PopCAANZ) is devoted to the scholarly understanding of everyday cultures. It is concerned with the study of the social practices and the cultural meanings that are produced and are circulated through the processes and practices of everyday life, as a product of consumption, an intellectual object of inquiry, and as an integral component of the dynamic forces that shape societies. Academics, professionals, cultural practitioners and those with a scholarly interest in subcultures are invited to send a 150 word abstract and 100 word bio to the area chair, Kathryn A. Hardy Bernal, at [email protected] by March 31, 2019. Examples of Fields of Interest: Subcultural Theory, Post-subcultural Theory, Subcultures and Gender Studies, Subcultures and Girls’ Studies, Subcultures and Queer Studies, Subcultures and Cultural Studies, Subcultures and Asian Studies, Fashion Subcultures, Music Subcultures, Street Fashions and Subcultures, Alternative Cultures, Youth Cultures, Counter Cultures (and more), including literature, film, and television, etc., which analyse subcultural studies. Examples of Subcultural Genres: Anarcho-Punk, Beatniks, Bikers, Black Metal, Bohemians, Bōsōzōku, Cosplay, Crusty Punk, Cybergoth, Cyberpunk, Emo, Ganguro, Glam, Goth, Gothic Lolita, Grunge, Hardcore Punk, Hip Hop, Hippies, Hipsters, Lolita, Metal, Mods, Mori Girls, New Romanticism, Pin-up, Psychobilly, Punk, Riot Grrrls, Rockabilly, Rockers, Rude Boys, Shironuri, Skaters, Skinheads, Steampunk, Straight Edge, Surfers, Teddies (and more).
    [Show full text]
  • 1 Cyberpunk Fashion: Future-Shocked Looks from Fiction
    © Ryan V. Stewart, 2018–present | CC BY-NC-ND 4.0 ARTpublika Magazine: Volume V Submission (Ryan V. Stewart) | 1 ​ Cyberpunk Fashion: Future-Shocked Looks From Fiction, Film, and More By Ryan V. Stewart NOTE: Skip to the seventh paragraph of this article to read about cyberpunk fashion. The previous paragraphs provide some background on the genre, as well as its “look” and other qualities. Science fiction is, by its nature, a very broad genre. Beyond the fact that sci-fi—whether ​ written fiction, films, video games, or other forms of creative media—is generally characterized ​ by speculative scenarios involving significant future discoveries or developments, scientific innovations, or technological changes, the genre can, has been, and continues to be taken in new directions. Variations on sci-fi have, over time, lead to numerous subgenres, presenting readers, viewers, and gamers with scenarios in which themes and motifs can differ greatly, casts of characters can consist of any sort of being imaginable—from human to alien to cyborg to ​ creatures scarcely conceivable—and settings can range from near-future and Earth-based locales ​ to outposts at the edge of space and end of time, to even virtual worlds. One particular subgenre of sci-fi has stood out from the rest for both its innovative nature—pushing the boundaries of the genre on several important fronts—and its unique and ​ ​ visually striking aesthetic presentation: Cyberpunk, as it is called, is either a portmanteau of ​ ​ “cybernetics” and “punk” or “cyberspace” and “punk,”
    [Show full text]
  • ACTA UNIVERSITATIS UPSALIENSIS Studia Historica Upsaliensia 263
    ACTA UNIVERSITATIS UPSALIENSIS Studia Historica Upsaliensia 263 Utgivna av Historiska institutionen vid Uppsala universitet genom Margaret Hunt och Maria Ågren Omslagsbild: Juletreet/The Christmas Tree, Theodor Kittelsen Foto: Used with permission from Grev Wedels Plass Auksjoner AS Omslagslayout: Camilla Eriksson Christopher Thompson Norges Våpen Cultural Memory and Uses of History in Norwegian Black Metal Dissertation presented at Uppsala University to be publicly examined in Humanities Theater, Engelska parken, room 22-0008, Uppsala, Friday, 18 January 2019 at 13:15 for the degree of Doctor of Philosophy. The examination will be conducted in English. Faculty examiner: Benjamin Martin (Institutionen för idé- och lärdomshistoria). Abstract Thompson, C. 2018. Norges Våpen. Cultural Memory and Uses of History in Norwegian Black Metal. Studia Historica Upsaliensia 263. 221 pp. Uppsala: Acta Universitatis Upsaliensis. ISBN 978-91-513-0505-9. This dissertation examines uses of history and expressions of cultural memory in Norwegian black metal. Formed in the late 1980s and early 1990s, Norwegian black metal seemed at odds with many of the stereotypes of Norway. The genre is an extreme style of heavy metal music that has been associated with burning churches, desecrating graves, and committing murders. Yet, Norway is often perceived as wealthy with sublime natural beauty and high levels of equality. Since the late 1990s, Norwegian black metal has increasingly received positive recognition and support from Norwegian government agencies and cultural institutions who have deemed this style of music a cultural product of Norway. In exploring the relationship between Norwegian black metal and Norway, two primary questions are asked: what makes Norwegian black metal ‘Norwegian’ and what are its influences? To answer these questions, a theoretical approach based on Astrid Erll’s cultural memory complex is used.
    [Show full text]