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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Página 49
... late relco that provides a useful criteria for its overall stance : Pop art , in its original form , was a polemic against elite views of art in which uniqueness is a metaphor of the aristocratic , and contemplation the only proper ...
... late relco that provides a useful criteria for its overall stance : Pop art , in its original form , was a polemic against elite views of art in which uniqueness is a metaphor of the aristocratic , and contemplation the only proper ...
Página 152
... late 1960s underground scene . More specifically , the most famous cut , " Walk on the Wild Side , " eventually became the definitive glitter rock anthem of 1973 - a million - selling single that reached number 16 on the U.S. charts and ...
... late 1960s underground scene . More specifically , the most famous cut , " Walk on the Wild Side , " eventually became the definitive glitter rock anthem of 1973 - a million - selling single that reached number 16 on the U.S. charts and ...
Página 158
... late 1972 , Max's Kansas City , where all forms of misfits were held in high esteem . As Jon Savage points out , " The Dolls were sharing space with the tail end of the sixties Warhol scene which had been the venue for drag queens ...
... late 1972 , Max's Kansas City , where all forms of misfits were held in high esteem . As Jon Savage points out , " The Dolls were sharing space with the tail end of the sixties Warhol scene which had been the venue for drag queens ...
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 |
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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