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 |
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Resultados 1-3 de 65
Página 91
... fact , Warhol described Max's as the " ultimate hangout , " attest- ing to the fact that “ everybody went to Max's and everything got homoge- nized there " ( Warhol and Hackett 185-86 ) . While establishing himself at Max's during the ...
... fact , Warhol described Max's as the " ultimate hangout , " attest- ing to the fact that “ everybody went to Max's and everything got homoge- nized there " ( Warhol and Hackett 185-86 ) . While establishing himself at Max's during the ...
Página 106
... fact , not only did Pop " attack " his fans , he also engaged in various forms of self - abuse . At this point even the open- minded John Sinclair claimed that Pop was " too weird , " adding that the Stooges had gone beyond ...
... fact , not only did Pop " attack " his fans , he also engaged in various forms of self - abuse . At this point even the open- minded John Sinclair claimed that Pop was " too weird , " adding that the Stooges had gone beyond ...
Página 193
... fact that their audience ( as a base group ) had never claimed to want more than dissonant pleasure . Indeed , the Dolls had always required that fandom arise through the development of " acquired " tastes , and in the end the dismissal ...
... fact that their audience ( as a base group ) had never claimed to want more than dissonant pleasure . Indeed , the Dolls had always required that fandom arise through the development of " acquired " tastes , and in the end the dismissal ...
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