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Presents MILEY CYRUS Miley Ray Cyrus (born Destiny Hope Cyrus; November 23, 1992) is an American actress and pop singer. She achieved wide fame for her role as Miley Stewart/ Hannah Montana on the Disney Channel sitcom Hannah Montana. Cyrus recorded music for the soundtracks, Hannah Montana (2006) and Hannah Montana 2/Meet Miley Cyrus (2007), released by Walt Disney Records. With the success of the Hannah Montana franchise she established herself as a teen idol. In 2007, Cyrus signed to Hollywood Records to pursue a solo career. She went on the Best of Both Worlds Tour the same year, in which she performed as both herself and in character as Hannah Montana. The tour was eventually turned into a high- grossing concert film entitled Hannah Montana & Miley Cyrus: Best of Both Worlds Concert (2008). In April 2008, Cyrus released her first solo album, Breakout (2008), which was commercially successful. She began to cultivate an adult image in 2009 with the release of The Time of Our Lives (2009), an extended play which presented a more mainstream pop sound, and by filming The Last Song (2010), a coming-of-age drama film. The former included Cyrus's best-selling single, "Party in the U.S.A." (2009). A studio album titled Can't Be Tamed was released in 2010 and presents a new dance-pop sound. The music video and lyrics of the album's lead single, "Can't Be Tamed", portrays a more sexualized image for the entertainer. Cyrus ranked number thirteen on Forbes' 2010 Celebrity 100. Enjoy 99 more music channels @ fantv.bgton.com.

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Reflexões Sobre Subjetividades No Produto Cultural Hannah Montana1
1 Narrativas transmidiáticas: reflexões sobre subjetividades no produto cultural Hannah Montana1 Patricia Bieging2 Raul Inácio Busarello3 Vânia Ribas Ulbricht4 Universidade Federal de Santa Catarina - UFSC Resumo: Considerando que as representações identitárias inscritas nos personagens da mídia têm grande importância na construção dos enredos ficcionais; este artigo realiza um estudo de caso com o objetivo de refletir sobre a construção de subjetividades nas narrativas transmidiáticas dispostas pelo seriado norte-americano Hannah Montana, da Disney Channel. A fundamentação teórica da pesquisa aborda os conceitos relativos à transmidialidade e à construção de subjetividades a partir da cultura da mídia. Palavras-chave: transmidiação; indústria cultural; subjetividade. Introdução A partir do sucesso do seriado Hannah Montana (HM) nas TVs de todo o mundo, as organizações Disney passaram a criar outros universos ficcionais para o produto. Dando sequência ao enredo da TV e mantendo as identidades originais dos personagens, criaram uma extensão da narrativa utilizando outros meios de comunicação, complementando, desta forma, as histórias da série. O seriado, obviamente, não inaugurou esta convergência de mídias com relação aos produtos da indústria cultural. Se pararmos para pensar, esta dinâmica vem se configurando há bastante tempo. Resgatando alguns exemplos, temos as telenovelas que produziam LPs das trilhas sonoras; os filmes que geravam fitas de vídeo cassete para aluguel em vídeo locadoras, álbuns de figurinhas, e tantos outros produtos, pensados como uma alternativa de dar continuidade aos conteúdos em outras plataformas midiáticas. Assim, este artigo se propõe a realizar um estudo sobre esta convergência tecnológica, que faz com que o público consumidor tenha variados pontos de acesso ao 1 Trabalho apresentado no GT Novas Tecnologias, Comunicação e Cultura do Congresso Panamericano de Comunicação 2010, realizado na Universidade Católica de Brasília - UCB.
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CROWN TN SEPT 09 FINAL 10/7/09 10:43 Page 1
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On the Disney Channel's Hannah Mont
Tween Intimacy and the Problem of Public Life in Children’s Media: “Having It All” on the Disney Channel’s Hannah Montana Tyler Bickford Contradictions of public participation pervade the everyday lives of con- temporary children and those around them. In the past two decades, the children’s media and consumer industries have expanded and dramat- ically transformed, especially through the development and consolida- tion of “tweens”—people ages nine to thirteen, not yet “teenagers” but no longer quite “children”—as a key consumer demographic (Cook and Kaiser 2004). Commentators increasingly bemoan the destabilization of age identities, pointing to children’s purportedly more “mature” taste in music, clothes, and media as evidence of a process of “kids getting older younger” (Schor 2004), and to adults’ consumer practices as evidence of their infantilization (Barber 2007). Tween discourses focus especially on girls, for whom the boundary between childhood innocence and adolescent or adult independence is fraught with moral panic around sexuality, which only heightens anxieties about changing age identities. Girls’ consumption and media participation increasingly involve per- formances in the relatively public spaces of social media, mobile media, and the Internet (Banet-Weiser 2011; Bickford, in press; Kearney 2007), so the public sphere of consumption is full of exuberant participation in mass-mediated publics. Beyond literal performances online and on social media, even everyday unmediated consumption—of toys, clothes, food, and entertainment—is fraught with contradictory meanings invoking children’s public image as symbols of domesticity, innocence, and the family and anxiety about children’s intense affiliation with peer com- munities outside the family (Pugh 2009).
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I Wannabe Famous a Wave of Disney-Manufactured Musical Teens Has Captured the Imagination of Millions of Small Girls Worldwide
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Illustration by Martha Rich
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Cyrus Cyrus Gratis Epub, Ebook
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Students to Hold Fundraiser for Rescued Wom.An Blue & Gold Oub
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