Reconstructing Pop/Subculture: Art, Rock, and Andy WarholSAGE Publications, 17 abr 1995 - 240 páginas This exploration of the phenomena of Andy Warhol's influence on glitter rock and pop art reconceptualizes and re-evaluates many of the theoretical claims of subculture theory. Reconstructing Pop//Subculture provides an historical account of the tensions that arose in Western culture during the 1960s and 1970s between various factions which were forced to engage in explicit confrontations//dichotomies. Cagle proposes a theoretical framework that incorporates notions of productivity with reception and re-examines the critical relationships between style, youth culture, incorporation, hegemony and resistance. He focuses on the ways in which fans take up trends presented through the mass media and adopt them through disi |
Dentro del libro
Resultados 1-3 de 35
Página 110
... become famous through theatrical rock and roll , Bowie was consciously harboring ideas that would merge the somewhat loosely defined concepts that had been estab- lished by Warhol , the Factory subculture , Lou Reed and the Velvets ...
... become famous through theatrical rock and roll , Bowie was consciously harboring ideas that would merge the somewhat loosely defined concepts that had been estab- lished by Warhol , the Factory subculture , Lou Reed and the Velvets ...
Página 151
... becomes clear that Mott the Hoople meshed a number of themes that could be easily incorporated into the glitter format ... become a dominant glitter rock band . But even though the band gained a following in 1972 , it could never come to ...
... becomes clear that Mott the Hoople meshed a number of themes that could be easily incorporated into the glitter format ... become a dominant glitter rock band . But even though the band gained a following in 1972 , it could never come to ...
Página 216
... become codified , made comprehensible , rendered at once public property and profitable merchandise . ( Subculture 96 ) Yet , even though glitter rock did provide a commercial interpretation of the Factory's style and attitude , it did ...
... become codified , made comprehensible , rendered at once public property and profitable merchandise . ( Subculture 96 ) Yet , even though glitter rock did provide a commercial interpretation of the Factory's style and attitude , it did ...
Índice
1 | 18 |
Semiology and Ideology | 27 |
The Limits of Subculture Theory | 37 |
Página de créditos | |
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Reconstructing Pop/Subculture: Art, Rock, and Andy Warhol Van M. Cagle No hay ninguna vista previa disponible - 1995 |
Términos y frases comunes
addition aesthetic album Alice Cooper analysis Andy Warhol artists attempt audience avant-garde band band's became began bisexual Bockris Bowie's British youth subcultures camp claims Clarke commercial concerning context created Creem cultural studies David Bowie DeFries developed dominant early Factory studio Factory subculture Factory's films Frith genre glitter fans glitter rock Grossberg Hebdige Hebdige's ideas ideological Iggy Pop incorporation interview Johansen London Lou Reed makeup Malanga manner Max's Melody Maker Morrissey musicians Nico notion out-there paintings performance played pop art Pop's popular culture posed premises produced punk record Reed's Resistance through Rituals result rock and roll rock critics rockers Rolling Stone Roxy Music scene seemed sense sexual social song stage Stooges stylistic subcul subcultural style subculture theory suggested superstar theatrical themes tion tour Velvet Underground visual Warhol and Hackett Warhol's Factory Warhol's pop Warholian York Dolls Ziggy Stardust