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Journal articles on the topic 'Bohemian Rhapsody'

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Published: 24 April 2022

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1

Ritchie, J. M., and K. Cornwell. "Bohemian Rhapsody." Manufacturing Engineer 70, no. 8 (1991): 22. http://dx.doi.org/10.1049/me:19910175.

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2

Muñoz Sobrino, Mónica, and Carmen Pereira Domínguez. "Bohemian Rhapsody." Padres y Maestros / Journal of Parents and Teachers, no. 379 (September 17, 2019): 52–55. http://dx.doi.org/10.14422/pym.i379.y2019.009.

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Es el momento en que la banda Queen inicia su intervención en el memorable concierto de rock Live Aid para combatir el hambre en Etiopía, celebrado el 13 de julio de 1985, en el estadio Wembley de Londres; recital considerado como el mejor hasta la fecha y la actuación de Queen, con un Mercury glorioso, ante un espléndido escenario, calificada como la actuación más brillante de la historia del rock. Un flashback nos remonta a los orígenes del grupo y nos guía por la trayectoria vital de su líder, Freddie Mercury.Como dicen los protagonistas, Queen es un grupo de inadaptados que toca para inadaptados. Pero también es la familia que apoya incondicionalmente, sin juzgar, y que alienta la creatividad liberadora de sus miembros. A través de la música de Queen reviviremos las luces y las sombras de las décadas de 1970 y 1980, y entenderemos las circunstancias sociales que fraguaron el “mejor grupo británico de todos los tiempos” (título otorgado tras un sondeo realizado por la emisora BBC Radio 2 en 2007). (*) Recomendación bibliográfica: A. Casas. (2018). Freddie Mercury. Una biografía. Barcelona: Penguin Random House Editorial.
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3

Elizabeth Fodaski. "Bohemian Rhapsody." American Book Review 31, no. 3 (2010): 12–13. http://dx.doi.org/10.1353/abr.0.0099.

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4

Bleumer, Hartmut. "Bohemian Rhapsody." Zeitschrift für Literaturwissenschaft und Linguistik 46, no. 2 (June 2016): 253–69. http://dx.doi.org/10.1007/s41244-016-0016-4.

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5

BRAAE, NICK. "Sonic Patterns and Compositional Strategies in Queen's ‘Bohemian Rhapsody’." Twentieth-Century Music 12, no. 2 (August 26, 2015): 173–96. http://dx.doi.org/10.1017/s147857221500002x.

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AbstractQueen's ‘Bohemian Rhapsody’ (1975) has been the subject of many academic analyses; the song has not been considered, however, in the context of Queen's wider output. This article examines ‘Bohemian Rhapsody’ in relation to Queen's idiolect as identified from the group's songs written between 1973 and 1975. ‘Idiolect’ refers to the common musical details of an artist's output or segment of their output. I subdivide the category of an idiolect to include sonic patterns and compositional strategies. The former accounts for patterns that are consistent in their presentation across songs, the latter accounts for patterns that differ in their presentation across songs. The formal and harmonic structures of ‘Bohemian Rhapsody’ reflect the group's common compositional strategies; the song's textural arrangements highlight Queen's sonic patterns. ‘Bohemian Rhapsody’ occupies a unique place in Queen's output, as the first song to present all the major elements of the group's idiolect.
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6

Mori, Lucia, and Gennaro De Libero. "‘Bohemian Rhapsody’ of MR1T cells." Nature Immunology 21, no. 2 (January 20, 2020): 108–10. http://dx.doi.org/10.1038/s41590-019-0588-6.

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7

Rowan, L. "GEOPHYSICS: Bohemian Rhapsody in the Crust." Science 299, no. 5606 (January 24, 2003): 475d—475. http://dx.doi.org/10.1126/science.299.5606.475d.

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8

Franklin, Simon. "The Igor Tale : A Bohemian Rhapsody?" Kritika: Explorations in Russian and Eurasian History 6, no. 4 (2005): 833–44. http://dx.doi.org/10.1353/kri.2005.0052.

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9

O'Hagan, Michael Paul, Jean-Louis Mergny, and Zoë Ann Ella Waller. "G-quadruplexes in Prague: A Bohemian Rhapsody." Biochimie 147 (April 2018): 170–80. http://dx.doi.org/10.1016/j.biochi.2018.02.004.

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10

Marschall Eirence, Metekohy. "Halliday’s Language Metafunction on Queen’s “Bohemian Rhapsody”." Prologue: Journal on Language and Literature 7, no. 1 (March 30, 2021): 40–48. http://dx.doi.org/10.36277/jurnalprologue.v7i1.67.

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This paper discusses the use of Language Metafunction in the song “Bohemian Rhapsody”. This research aims to identify the ideology of the song as portrayed through the words and actions of the protagonist in this song. This research focused on every single word in the lyric. The study used qualitative and descriptive methods. The data collection was obtained from genius.com. The data was analyzed by using Language Metafunction theory by Halliday’s Ideational, Interpersonal, and Textual Meaning. The results of the research show that three dominant processes of language can be found are Relational Process, Material Process, and Mental Process; with the last mentioned being the dominant one. Also, by analyzing the lyric, it can be concluded that the ideology of the song is the songwriter believes that all things that happened in the past are in the past.
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11

Sin, Won-seon. "Korean Emotion Code of < Bohemian Rhapsody >." Journal of Gamsung 18 (March 30, 2019): 89–120. http://dx.doi.org/10.37996/jog.18.4.

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12

Maliszewski, Paul, and Thomas Frank. "The Flight of the Creative Class: A Bohemian Rhapsody." Baffler 17 (June 2006): 92–95. http://dx.doi.org/10.1162/bflr.2006.17.92.

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13

Herawati, Tuti, and Purwarno Purwarno. "SELF-CONFIDENCE IN ANTHONY McCARTEN’S MOVIE SCRIPT BOHEMIAN RHAPSODY." JOURNAL OF LANGUAGE 3, no. 2 (November 29, 2021): 124–34. http://dx.doi.org/10.30743/jol.v3i2.4483.

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This research was aimed at conducting analysis on self-confidence in Anthony McCarten’s movie script, Bohemian Rhapsody. The self-confidence was analysed by using the theory proposed by Lindenfield (1994) who states that self-confidence consists of self-confidence born and inner self-confidence. Self-confidence born allows someone to show confidence in what he will do. This confidence can make someone believe in himself to achieve what he wants. In confidence born, he claims that a person must develop skills such as communication, assertiveness and feeling control. Inner self-confidence is self-confidence that gives to the individual’s feelings and suppositions that the individual is in good condition. There are three main characteristics that are distinctive to people who have a healthy inner self-confidence. The three characteristics are self-love, self-understanding, and positive thinking. This research used descriptive qualitative method because the discussion was descriptively accomplished. The descriptive qualitative method was applied to explain the self-confidence to get success from the quotations in the movie script. The result result shows that self-confidence born and inner self-confidence vividly played important role to make the protagonist’s success come true.
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14

Lee, Sojin, and Sungkyoo Hong. "Reproduction of Aura by the Screening of the Film Bohemian Rhapsody." Korean Society of Culture and Convergence 41, no. 5 (October 30, 2019): 175–96. http://dx.doi.org/10.33645/cnc.2019.10.41.5.175.

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15

Petrova, N. Yu. "Linguistic and Cognitive Properties of the Process of Perspectivization in Contemporary Lyrics (On the Example of “Bohemian Rhapsody”)." Critique and Semiotics 37, no. 2 (2019): 249–61. http://dx.doi.org/10.25205/2307-1737-2019-2-249-261.

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The present paper is a continuation of the study of linguistic and cognitive properties of perspectivization treated as an inseparable part of the process of constructing of meaning in text and discourse. The author shows typological proximity of such terms as “perspectivization”, “image of the author” and “author’s intentionality”. The lyrics of the cult Bohemian Rhapsody serves an example of the effectiveness of the theory of pespectivization in tackling the problems of text polyphony and linguistic ambiguity.
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16

Andrews, Hannah. "Reading the Biopic through Persona: A Comparison between "Bohemian Rhapsody" and "Rocketman"." Comparative Cinema 9, no. 16 (July 15, 2021): 10–30. http://dx.doi.org/10.31009/cc.2021.v9.i16.02.

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Personas are the public expressions of a private identity, the performance of personality in the social world. They are particularly visible and familiar in the world of celebrity, where entertainers regularly adopt an alter-ego for performance. This has intriguing consequences for biographical representations of performers. Biopic actors are obliged to duplicate the public-facing persona, which is an already-known, semi-fictional construction, and the private individual beneath. The narrative of the biopic must account for this relationship between the persona and the person who authors it. This article explores this process in two high-profile rock biopics, Bohemian Rhapsody (2018) and Rocketman (2019), comparing their different approaches to reproducing and exploring the persona of their subjects in performance, style and mise en scène.
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17

Winahyu, Sri Kusuma. "Author’s inner Conflict in the Songs “Love of My Life” and “Bohemian Rhapsody”." International Journal of English Literature and Social Sciences 4, no. 3 (2019): 805–12. http://dx.doi.org/10.22161/ijels.4.3.35.

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18

Giżycki, Marcin. "Król(owa) kampu." Kwartalnik Filmowy, no. 107 (December 31, 2019): 237–41. http://dx.doi.org/10.36744/kf.178.

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Tekst jest spojrzeniem na fenomen grupy Queen przez pryzmat filmu Bohemian Rhapsody oraz wystawy Notes on Fashion w Metropolitan Museum w Nowym Jorku, inspirowanej sławnym tekstem Susan Sontag Notes on Camp z 1964 r. Autor dowodzi, że film Bryana Singera, chociaż dość powierzchowny, odnosi sukces w jednym aspekcie: dobrze ukazuje dochodzenie wokalisty zespołu Freddiego Mercury’ego i reszty grupy Queen do show-biznesowego kampu. Giżycki stawia przy tym tezę, że Mercury, który jeszcze jako Farrokh Bulsara studiował w Ealing Art College w Londynie w latach 60., musiał znać tekst Sontag i kształtował swoją strategię wizerunkową według jego tez.
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19

Blair, Alison. "Is this the real life? Is this just fantasy? Rocketman (2019) and Bohemian Rhapsody (2018)." Perfect Beat 20, no. 1 (July 3, 2020): 92–98. http://dx.doi.org/10.1558/prbt.39752.

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20

Fernandes, Ítalo, and Ricardo Desidério da Silva. "FREDDIE MERCURY E A AIDS." Diversidade e Educação 9, no. 1 (July 30, 2021): 257–71. http://dx.doi.org/10.14295/de.v9i1.12924.

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“Bohemian Rhapsody” é uma cinebiografia de Freddie Mercury, lançada no Brasil, em novembro de 2018. Essa produção pode ser analisada enquanto produto histórico, possibilitando discussões acerca de suas vivências nas relações com a Síndrome da Imunodeficiência Adquirida (AIDS). Freddie, conviveu com o Vírus da Imunodeficiência Humana (HIV) e morreu em 1991, vítima de uma broncopneumonia depois de interromper seu tratamento. Para desvelar o mundo-vida de Freddie Mercury, elegeu-se a metodologia qualitativa na perspectiva da Educação Audiovisual da Sexualidade. Como forma complementar dessa proposta alternativa metodológica, as análises foram ancoradas na fenomenologia. Nas décadas que sucederam a descoberta do vírus, as pessoas com HIV eram estigmatizadas e marginalizadas, motivo que o levou a esconder sua sorologia. Hoje, na contemporaneidade, observamos que as vivências sexuais de homens com HIV/AIDS que fazem sexo com homens, permanece pautada em tabus, estereótipos e desinformação, causando nessa população, desconforto e negação para viver sua sexualidade.
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21

Smith, Justin. "Absence and Presence: Top of the Pops and the Demand for Music Videos in the 1960s." Journal of British Cinema and Television 16, no. 4 (October 2019): 492–544. http://dx.doi.org/10.3366/jbctv.2019.0497.

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While there is a surprising critical consensus underpinning the myth that British music video began in the mid-1970s with Queen's video for ‘Bohemian Rhapsody’, few scholars have pursued John Mundy's (1999) lead in locating its origins a decade earlier. Although the relationship between film and the popular song has a much longer history, this article seeks to establish that the international success of British beat groups in the first half of the 1960s encouraged television broadcasters to target the youth audience with new shows that presented their idols performing their latest hits (which normally meant miming to recorded playback). In the UK, from 1964, the BBC's Top of the Pops created an enduring format specifically harnessed to popular music chart rankings. This format created a demand for the top British artists' regular studio presence which their busy touring schedules could seldom accommodate; American artists achieving British pop chart success rarely appeared on the show in person. These frequent absences, then, coupled with the desire by broadcasters elsewhere in Europe and America to present popular British acts, created a demand for pre-recorded or filmed inserts to be produced and shown in lieu of the artists themselves appearing. Drawing on records held at the BBC's Written Archives and elsewhere, and interviews with a number of 1960s music video directors, this article evidences TV's demand-driver and illustrates how the ‘pop promo’, in the hands of some, became a creative enterprise which exceeded television's requirement to cover for an artist's studio absence.
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22

Gee, Henry. "Backwards Bohemian Rhapsody." Nature, April 29, 1999. http://dx.doi.org/10.1038/news990429-2.

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23

Torrego, Alfons, Virginia Pajares, Fabien Maldonado, and Jürgen Hetzel. "Transbronchial Cryobiopsy Bohemian Rhapsody." Archivos de Bronconeumología, August 2021. http://dx.doi.org/10.1016/j.arbres.2021.08.004.

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24

Risqullah, Zaki. "DEPRESSION IN FREDDIE MERCURY’S SONG LYRICS: “BOHEMIAN RHAPSODY”, “SOMEBODY TO LOVE” AND “LOVE OF MY LIFE”." Dinamika : Jurnal Sastra dan Budaya 6, no. 2 (May 10, 2019). http://dx.doi.org/10.25139/dinamika.v6i2.1619.

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This research deals with Depression in Freddie Mercury’s song lyrics. It is focused on the symptoms of depression implied in the song lyrics entitled “Bohemian Rhapsody”, “Love of My Life”, and “Somebody to Love”. The objectives of the study are to find out the poetic devices in Freddie Mercury’s song lyrics entitled “Bohemian Rhapsody”, “Love of My Life”, and “Somebody to Love” and to describe the depression symptoms portrayed in Freddie Mercury’s song lyrics entitled “Bohemian Rhapsody”, “Love of My Life”, and “Somebody to Love”. The theories used to analyse the data are Aaron T. Beck’s depression and William Wordsworth’s theory of poetry. Pragmatic approach and qualitative research design were applied in conducting the study. The techniques of data collection and analysis covered close reading and content analysis. Findings show that “Bohemian Rhapsody” makes use of hyperbole, metonymy, situational irony, antithesis, repetition, and allusion as poetic devices. The depression symptoms undergone by the speaker of the song lyrics entitled “Bohemian Rhapsody” cover Low Self-Evaluation., Loss of Emotional Attachments, and Negative Feelings toward Self. The second song lyrics entitled “Someone to Love” employ repetition, hyperbole, and personification. The speaker of the song lyrics suffers from Reduction in Gratification. The song lyrics entitled “Love of My Life” make use of hyperbole, repetition, personification, and symbol as the poetic devices. The character ‘I’, in the song lyrics, suffer from Dejected Mood.
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25

McCleerey, Mark. "Bohemian Normativity: Bohemian Rhapsody and the New Heteronormal." Film Criticism 43, no. 3 (May 7, 2019). http://dx.doi.org/10.3998/fc.13761232.0043.310.

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26

McKinnon, Scott. "Bohemian Rhapsody and the tale of the tragic queen." History Australia, August 19, 2019, 1–2. http://dx.doi.org/10.1080/14490854.2019.1636688.

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27

Ferreira, Sónia de Almeida, Sara Santos, and Pedro Manuel do Espírito Santo. "Bohemian Rhapsody: efeitos da atribuição de prémios cinematográficos no envolvimento no Facebook." AVANCA | CINEMA, May 11, 2020. http://dx.doi.org/10.37390/ac.v0i0.68.

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Nowadays, the importance of social media in the various sectors of our society is unquestionable. Furthermore, the investment that the cinematographic industry has been making in the use of new digital platforms that promote communication with the public is also undeniable. The trend is the cinema converge with the Internet, so it is imperative that the cinematographic industry creates an online content production system continuously and updated before, during and after the film’s debut in theatres. This empirical study aims to highlight the effects of the awarding of the best film and best actor in the 76th Golden Globe Award for the movie Bohemian Rhapsody. In this way, it was analysed the engagement of web users with the Facebook page before and after the attribution of the prizes to the film object of this analysis. The results show that as we move further from the release date of the movie, there will be a trend towards more “likes”, but less “shares” and “comments” by users that follows the movie page. Nevertheless, this trend changed in order to the Bohemian Rhapsody victory in the Golden Globes. Therefore, it is concluded that the awarding of premiums to the films modifies the engagement of the users in that pages of social media.
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28

Rangiwai, Byron. "The spectacle of the queer “Other”: Māori gay(zing) at the 41st Sydney Gay and Lesbian Mardi Gras 2019." Te Kaharoa 12, no. 1 (January 30, 2019). http://dx.doi.org/10.24135/tekaharoa.v12i1.267.

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This article will explore some of my observations of the 41st Sydney Gay and Lesbian Mardi Gras 2019. I travelled to Sydney on Thursday 28 February. Rather appropriately, I selected the 2018 biographical film, Bohemian Rhapsody, as inflight entertainment, all the while contemplating what sequin-encrusted experiences I might encounter during my stay in Sydney. I had booked accommodation at the Pullman Sydney Hyde Park Hotel months in advance. Like every other surface in and around Oxford Street, the hotel had been queered-up with rainbows and a life-sized bejewelled unicorn in the foyer. While eating breakfast on Friday morning, the shimmering disco balls and background dance music seemed to be inviting me to shimmy my way to the egg station. Staff and guests alike, including entire families, were buzzing about the upcoming climax to a month-long festival of all things gay featuring over 190 floats, 12,500 participants, and thousands upon thousands of spectators from Australia and around the world (Sydney Gay and Lesbian Mardi Gras Limited, 2019a).
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29

Brami, Thomas. "The studio and the song: synergy and self-mythology in Bohemian Rhapsody (2018) and Mary Poppins Returns (2019)." Historical Journal of Film, Radio and Television, December 28, 2021, 1–21. http://dx.doi.org/10.1080/01439685.2021.2020424.

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