Gender Politics and MTV: Voicing the DifferenceTemple University Press, 1990 - 258 páginas |
Índice
| 3 | |
| 13 | |
| 27 | |
| 43 | |
CONDITIONS OF CULTURAL STRUGGLE | 55 |
FIVE | 73 |
SEVEN FANDOM LIVED EXPERIENCE | 149 |
13 | 175 |
NOTES | 225 |
27 | 244 |
INDEX | 249 |
55 | 250 |
Otras ediciones - Ver todo
Gender Politics and MTV: Voicing the Difference Lisa A. Lewis No hay ninguna vista previa disponible - 1990 |
Gender Politics and MTV: Voicing the Difference Lisa A. Lewis No hay ninguna vista previa disponible - 1991 |
Términos y frases comunes
Aaron activity album Angela McRobbie appears arena artists authorship band Benatar boys cable career channel clothing collaborative commercial concert context create Cyndi Lauper dance demographic desire Desperately Seeking Susan devaluation discovery signs dress experience fandom fantasy female address female adolescence female audiences female fans female musicians female representation femininity film Finalist gender inequality girlfriend Girls Just Want historical identification Ike Turner industry interpretation leisure London look Madonna male address male-adolescent discourse Material Girl McRobbie mode movie MTV's musi music video musicianship narrative Papa Don't Preach participation Pat Benatar performance photographs Pittman play pop music popular culture practice promotion radio record company Roberta rock and roll rock discourse rock music role Rolling Stone scene sexual singing Sire Records social song song's songwriter stars street style imitation symbolic television texts textual address Tina Turner tion viewers visual wanna-be WASEC women York youth
Pasajes populares
Página 99 - Cyndi is not just a pretty face onstage, a pretty voice on record. She's an experienced actress as well. ... Cyndi plays an unusually large creative role in the conceptualizing and staging of the video itself, from start to finish ... says Cyndi ... 'I know what I want and don't want - 1 don't want to be portrayed as just another sex symbol.
Página 152 - ... office or experience the quasi fame of popularity. After that came marriage — most likely to one of the crew-cut boys you'd made out with — then isolation and invisibility. Part of the appeal of the male star — whether it was James Dean or Elvis Presley or Paul McCartney — was that you would never marry him; the romance would never end in the tedium of marriage. Many girls expressed their adulation in conventional, monogamous terms, for example, picking their favorite Beatle and writing...
Página 227 - Dimbleby (1988) 132 hegemony * A concept developed by Gramsci in the 1930s and taken up in cultural studies, where it refers principally to the ability in certain historical periods of the dominant classes to exercise social and cultural leadership, and by these means rather than by direct coercion of subordinate classes - to maintain their power over the economic, political and cultural direction of the nation.
Página 72 - A counter argument — that the numbers are not too high — makes an opposite case: but inevitably, it also reproduces the given terms of the argument. It accepts the premise that the argument is 'about numbers'. Opposing arguments are easy to mount. Changing the terms of an argument is exceedingly difficult, since the dominant definition of the problem acquires, by repetition, and by the weight and credibility of those who propose or subscribe it, the warrant of 'common sense'.
Página 58 - It was important to a man's prestige that his wife could entertain his guests with music, and of course a musical education for his daughter served as a good investment for an advantageous marriage
Página 198 - Scott [a department store] installed a wax figure of a suffragist in one of its windows, a herald of the coming convention of the Woman's Party in that city. At about the same time, Wanamaker's set a precedent by permitting all female employees to march in suffrage parades during working hours. In 1912 suffragists chose Macy's in New York as the headquarters for suffragette supplies, including marching gowns, bonnets, and hatpins (Leach 1984, PP- 33 Culture critics have been reluctant to consider...
Página 118 - ... with her many girlfriends celebrates a girl leisure practice which is usually ridiculed in the public media. The bouncing Lauper then leads her band of girlfriends through New York City streets in a frenzied snake dance, a carnivalesque display that turns women's experience of the street upsidedown. Their arms reaching out for more and more space, the women push through a group of male construction workers who function as symbols of female harassment on the street. The image of men cowering in...
Página 198 - Like the phenomena which they examine, the analyses themselves are founded on a number of unspoken oppositions: conformity and resistance, harmony and rupture, passivity and activity, consumption and appropriation, femininity and masculinity.
Página 215 - ... Resource Center, organized in protest of "pornographic" rock music lyrics, includes Susan Baker, wife of Treasury Secretary James Baker; Tipper Gore, wife of Senator Albert Gore (D-Tenn.); and Ethelynn Stuckey, wife of Williamson Stuckey, a former representative from Florida. Hoping eventually to see the enactment of a system for rating records similar to the one used for rating movies, the Center won a lesser concession in August 1985 when 19 top record companies agreed to start printing warnings...
Página 78 - ... Ike Turner. The biographical information functions to turn the lyrics of her songs into autobiographical statements. Stanzas of "What's Love Got To Do With It?" may not have been written by Turner, but her authorial voice is created as a consequence of the fan's attempt to reconcile the text with the extratextual information about the singer's personal history: It may seem to you, that I'm acting confused when you're close to me. If I tend to look dazed, I read it someplace, I've got cause to...
Referencias a este libro
Black Noise: Rap Music and Black Culture in Contemporary America Tricia Rose No hay ninguna vista previa disponible - 1994 |