To see the other types of publications on this topic, follow the link: Pop Arts / Pop Culture.
Dissertations / Theses on the topic 'Pop Arts / Pop Culture'
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the top 50 dissertations / theses for your research on the topic 'Pop Arts / Pop Culture.'
Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.
You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.
Browse dissertations / theses on a wide variety of disciplines and organise your bibliography correctly.
1
McRae, Madalyn Dawn. "Pop Creatures." BYU ScholarsArchive, 2020. https://scholarsarchive.byu.edu/etd/8752.
Full textAbstract:
This thesis is a short story collection revolving around the central theme of pop culture. The first story, "After the Win," follows the character Cecil, whose wife Rhonda has recently won The Great British Bake Off. Trouble ensues in Cecil and Rhonda's family as Rhonda starts to focus on her post-Bake Off fame instead of her relationships with her husband and daughter. "Making Friends with a Monster" is about Rick, a half-human, half-lake monster living on the shores of Bear Lake. Because of his existence in an in-between place between man and monster, Rick struggles to find companionship in life. That is, until Anna (AKA the Loch Ness Monster) arrives in his lake and presents him with an enticing offer: to return with her to Loch Ness. The story culminates in Rick's decision. The next story, "The Fourth Wall," is the story of Max and Abby, who are close to getting engaged. Max confronts Abby about her family, who she has never told him much about. Finally, she agrees to take him for a visit to meet her parents. As soon as Max arrives, it becomes apparent that Abby's parents believe they are Ricky and Lucy from the beloved sitcom I Love Lucy, and Max is soon sucked in to the illusion. The last story in the collection is "Feelin' Groovy in Point Pleasant, West Virginia,"which is the tale of a Simon and Garfunkel tribute band that encounters the legendary Mothman monster in Point Pleasant, West Virginia, who happens to be an avid Simon and Garfunkel fan.
2
Joseph, Darel. "The Adversity Pop Culture Has Posed." ScholarWorks@UNO, 2014. http://scholarworks.uno.edu/td/1877.
Full textAbstract:
I am a collage artist working with multiple mediums such as paint, photography, video, audio, and performance. As a New Orleans’ native, I have a unique history that is unflattering, for my history echoes that of America’s historical misdeeds. I make sociopolitical art because I am of a historically oppressed people. I make art that celebrates my diverse culture that is a collage of Native American, African, and New Orleans’ French Creole.
3
Oliveira, Silvia de Cassia Rodrigues Damacena de. "A Literatura pop de Roberto Drummond : arte pop, referencialidade e ficção /." São José do Rio Preto : [s.n.], 2008. http://hdl.handle.net/11449/106340.
Full textAbstract:
Orientador: Arnaldo Franco JúniorBanca: Maria Lúcia Outeiro Fernandes
Banca: Luciene Azevedo
Banca: Sérgio Vicente Motta
Banca: Álvaro Luiz Hattnher
Resumo: Literatura pop foi a designação criada por Roberto Drummond para definir um tipo de escritura que buscou romper com o conceito tradicional do fazer literário. Quatro livros fizeram parte deste projeto, o chamado Ciclo da Coca-Cola: A morte de D. J. em Paris (1975), O dia em que Ernest Hemingway morreu crucificado (1978), Sangue de Coca-Cola (1980) e Quando fui morto em Cuba (1982). Neste trabalho, buscamos mostrar a influência da Arte Pop na confecção destas obras, uma vez que o autor nunca negou ter sido este movimento artístico o alicerce de seu projeto, sobretudo em relação aos temas e procedimentos. Entretanto, Roberto Drummond não se limita a eles. Apropria-se de referências insólitas e, por meio delas, explicita as violências impostas à sociedade brasileira da segunda metade do século XX: a da ditadura militar, da indústria cultural e da cultura de massa. Num verdadeiro "jogo-de-armar" novas possibilidades, ele faz com que personalidades do mundo real interajam com personagens ficcionais, incitando o leitor a retomar referências, muitas vezes, perdidas e/ou esquecidas pelo tempo.
Abstract: Pop Literature (literarily, Pop Literature) was the name coined by Roberto Drummond to define one kind of writing that aimed to break up with the traditional concept of literary doing. This project was composed by four books, a serie known as the Coca-Cola Cycle: A morte de D. J. em Paris (1975), O dia em que Ernest Hemingway morreu crucificado (1978), Sangue de Coca-Cola (1980) and Quando fui morto em Cuba (1982). In this study we try to show the Pop Art influence in these works' composition, considering the author never denied this artistic movement had been the foundation of his project, especially referred to themes and procedures. Nevertheless Roberto Drummond doesn't limit himself by them; he owns remarkable references and, through them, explains the violence imposed to the Brazilian society of the second half of Twentieth century: by military dictatorship, cultural industry and mass culture. In actual building blocks of possibilities, he makes real people to interact with fiction characters, encouraging the reader to take references, sometimes lost and/or forgotten through time.
Doutor
4
Oliveira, Silvia de Cassia Rodrigues Damacena de [UNESP]. "A Literatura pop de Roberto Drummond: arte pop, referencialidade e ficção." Universidade Estadual Paulista (UNESP), 2008. http://hdl.handle.net/11449/106340.
Full textAbstract:
Made available in DSpace on 2014-06-11T19:35:38Z (GMT). No. of bitstreams: 0
Previous issue date: 2008-07-04Bitstream added on 2014-06-13T20:46:38Z : No. of bitstreams: 1
oliveira_scrd_dr_sjrp.pdf: 2615783 bytes, checksum: 8046c7f4f86da950ffe53d7b0b6836d6 (MD5)Literatura pop foi a designação criada por Roberto Drummond para definir um tipo de escritura que buscou romper com o conceito tradicional do fazer literário. Quatro livros fizeram parte deste projeto, o chamado Ciclo da Coca-Cola: A morte de D. J. em Paris (1975), O dia em que Ernest Hemingway morreu crucificado (1978), Sangue de Coca-Cola (1980) e Quando fui morto em Cuba (1982). Neste trabalho, buscamos mostrar a influência da Arte Pop na confecção destas obras, uma vez que o autor nunca negou ter sido este movimento artístico o alicerce de seu projeto, sobretudo em relação aos temas e procedimentos. Entretanto, Roberto Drummond não se limita a eles. Apropria-se de referências insólitas e, por meio delas, explicita as violências impostas à sociedade brasileira da segunda metade do século XX: a da ditadura militar, da indústria cultural e da cultura de massa. Num verdadeiro “jogo-de-armar” novas possibilidades, ele faz com que personalidades do mundo real interajam com personagens ficcionais, incitando o leitor a retomar referências, muitas vezes, perdidas e/ou esquecidas pelo tempo.
Pop Literature (literarily, Pop Literature) was the name coined by Roberto Drummond to define one kind of writing that aimed to break up with the traditional concept of literary doing. This project was composed by four books, a serie known as the Coca-Cola Cycle: A morte de D. J. em Paris (1975), O dia em que Ernest Hemingway morreu crucificado (1978), Sangue de Coca-Cola (1980) and Quando fui morto em Cuba (1982). In this study we try to show the Pop Art influence in these works’ composition, considering the author never denied this artistic movement had been the foundation of his project, especially referred to themes and procedures. Nevertheless Roberto Drummond doesn’t limit himself by them; he owns remarkable references and, through them, explains the violence imposed to the Brazilian society of the second half of Twentieth century: by military dictatorship, cultural industry and mass culture. In actual building blocks of possibilities, he makes real people to interact with fiction characters, encouraging the reader to take references, sometimes lost and/or forgotten through time.
5
Georgelas, Althea. "Media to Medium: Representations of Violence, War & Women in Pop Culture." VCU Scholars Compass, 2009. http://scholarscompass.vcu.edu/etd/1822.
Full textAbstract:
My work is inspired by the mass Media and how it affects the world around me. I am interested in how violence, war and women are represented in popular culture and how this has trickled down into social behavior. I also wonder how much entertainment media reflects deep social ideals. I define mass media as the viral proliferation of ideas using television, cinema, video gaming and the Internet. I am concerned about the social and psychological affects of violent media and how it impacts the lives of women and girls. This is of particular interest to me because I am a woman who has grown up in a media-saturated culture. Many aspects of my life and my identity have been shaped through media influence. I frequently use source material collected from the Internet. My method is to choose a specific word or phrase, and then use search engines to retrieve the associated media. By doing this I am assured that, on any given day, the images and videos returned to me are those most disseminated in mass media for that particular subject. Once I have collected this media I regularly use it to create digital collages, multi channel sound compositions and animated video. There are two threads within this process that intersect as I am working through an idea. At times I manipulate media and synthesize new material to represent my own personal vantage point. This allows me to directly comment on popular media and how it affects my life. The other thread in my practice is the subversion of media to challenge its meaning. These two approaches enable me to comment on media using a format of art-making that is similar to mass media itself. By using appropriated images and sound from popular media I am adopting a language that is understood by media makers and consumers alike. Working in this vein allows me to insert my own voice into the ongoing media-driven dialogue and thus help shape its collective consciousness. At the root of this exploration is a deeply unsettling concern for how mass media shapes social behavior in a way that reduces the individual voice and strips its power to resist. Mass media influences culture but it can also represent collective thought and action. There is a relationship that exists between media and how people act in the real world. Media and consumer are caught in a kind of feedback loop and I question how the individual identity fares. How do women survive in a culture where the blending of entertainment and violence so often targets makes them a target? How has violent popular media affected my life and those around me? How can people secure a truly representative voice against the media that oppresses them? I want my art to push these boundaries so that marginalized voices can be heard.
6
Urniežiūtė, Reda. "„POP“ vartotojiška kultūra ir žmogaus kūno interpretacijos." Bachelor's thesis, Lithuanian Academic Libraries Network (LABT), 2014. http://vddb.library.lt/obj/LT-eLABa-0001:E.02~2014~D_20140717_105407-23798.
Full textAbstract:
Vartotojiškoji kultūra per įvairias medijas: TV ir reklamą dažniausiai tiesmukai interpretuoja žmogaus kūną. Grafikos darbų kolekcija „Pop“ interpretuoju šį procesą. Ji pagrįsta koliažo technikos principais ir komponavimu. Šio baigiamojo darbo objektas yra vartotojiška kultūra ir žmogaus kūno interpretacijos. Darbai spausti 2014m. Šiaulių universiteto grafikos centre. Tai septynių darbų ciklas 57,5x44,5cm formatu. Atspaustų spalvotų fonų grafikos darbų kolekcija atlikta tradicine sausos adatos technika. Visa kolekcija sukurta mišrios technikos būdu.Consumer culture usually forthright interprets the human body through a variety of media: TV and advertisement. I interpreted this process with graphic works collection "Pop". It is based on the principles of collage techniques and composition. The theme of this final work is "Consumer culture and interpretations of the human body." The works are pressed in the graphics centre of Siauliai University in 2014. This is a cycle of seven works in format 57.5 x44, 5 cm. The collection of the graphic works is made up in the traditional dry needle technique. The colour backgrounds are printed. The entire collection corresponds to the "mixed technique" description.
7
Wentz, Kaitlyn. "Arts and Culture Influencers: Two Philanthropists' Impact on the Northeast Ohio Region." University of Akron / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=akron1588767185875188.
Full text
8
Amy, Worrall. "Not a Girl, Not yet a Woman. : How do I look at Girls?" Thesis, Konstfack, Keramik & Glas, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:konstfack:diva-6336.
Full textAbstract:
I’m not a girl, not yet a woman, but I do have popular sensibilities. Pop music plucks ideas and symbols from where ever it pleases to create a new narrative. So do I. Reflecting on how I see women and how the gaze of others affects this. By mapping my magpie like collection of images, songs, paintings and films I tell the story of my girl gang. My ceramic sculptures are a physical manifestation of my research into different ways of looking at girls.
9
Hall, Timothy W. "Surface, substance and the status quo pop cultural influences on architectural design /." Cincinnati, Ohio : University of Cincinnati, 2004. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=ucin1085069145.
Full text
10
Brunious, Wendell J. "Maturation of Practices." ScholarWorks@UNO, 2014. http://scholarworks.uno.edu/td/1855.
Full textAbstract:
The disparate concepts of Pop Art and abstract painting heavily influence the scope of my work. Finding a link between these two concepts has been the focal point of my studio practices. The apex of my process is the focus on commercial imagery as abstract form. The merging of these two concepts presents a complex composition of balance, color and information.
This thesis explores the various concepts as well as influences that have propelled the evolution of my work. It chronicles the steps I have taken in my quest to articulate my conceptual ideas. By describing the works and defining their characteristics, this analysis gives further insight to my perception as well as process.
11
Lathrop, Benjamin Alan. "Cult Films and Film Cults: From The Evil Dead to Titanic." Ohio University / OhioLINK, 2004. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1090934488.
Full text
12
Schütz, Marine. "Entre les lignes : dessin, illustration et pratiques graphiques dans le Pop art (1950-1975)." Thesis, Aix-Marseille, 2015. http://www.theses.fr/2015AIXM3104.
Full textAbstract:
Dès l’apparition du Pop art autour de 1962, l’iconographie de l’illustration et de la publicité indique l’émergence d’une véritable esthétique graphique. La rencontre du Pop art et du dessin se révèle particulièrement intéressante car suivre les productions réalisées dans cette discipline éminemment manuelle permet de réexaminer les différentes positions des artistes vis-à-vis de la culture de masse et d’aborder des questions tant matérielles qu’iconographiques. Partant du constat que les formations artistiques sont à l’origine du va-et-vient entre options manuelles et mécaniques dans l’économie du Pop art, le propos débute par l’examen des conditions d’émergence du dessin. L’examen des relations entre dessin et culture de masse ne saurait être complet sans évoquer la réponse d’artistes qui s’engagent dans la recherche d’un dialogue avec un public croissant (par des stratégies de classe, l’iconographie de logos de produits, la prise en compte des possibilités de l’estampe etc.). Non seulement l’œuvre naît du parcours de la main, mais le dessin pop dépasse le seul processus créateur pour exister dans un corpus d’œuvres autonomes, qui s’écarte de tout schéma finaliste. Cette présence souligne ce que peuvent avoir de critique l’image et l’action du corps. De même que Claes Oldenburg et David Hockney opposent une tension manuelle aux expressions mécanisées dans la société – et là réside le double sens de la notion d’engagement autant physique que politique dans le dessin pop –, le réinvestissement du corps sous la forme du portrait et du nu affirme sa solidarité avec les combats pour la libération sexuelle à l’aube des années soixante-dixBy 1962 with the beginning of Pop art, the iconography of illustration and advertising points the development of an art founded on graphics. Interestingly, the relations between Pop art and drawing allow to follow how the handmade practices reassess the artists’ positions towards mass culture and deal with material issues (such as manual involvement) and the meaning of iconography (counter-culture, return of the figure). Starting from the point that artistic pop economy of art owes its back and forth mouvement between manual and mechanical options to its protagonists’ artistic education, this dissertation opens with the study of drawing’s emergence in a pedagogical context. The study of the relations between drawing and mass culture wouldn’t be fully led without assessing the answer of the artists who involve in the claim for a bigger audience (with a class strategy, an iconography full of mass products and the possibilities of prints). Moreover, not only the graphic works stem from the hand, but pop drawing overwhelms the solely issue of creation processes to exist in an autonomous corpus of works, which doesn’t fall into the finalist schema. This presence points how critical may be the body, through drawing, as an image and as an action. Similary to Claes Oldenburg and David Hockney who oppose a manual tension to the social mechanized expressions – and there lay the double sense of the very notion of involvement which is to be understood in Pop art in the same time on a physical and a political level – the reinvolvement of the body by way of portrait or nude shows its solidarity with the fights in the wake of the sixties, fight for sexual liberation, or women rights
13
Jett, Heather N. "Pop Culture and Protofeminism: The Novels of Jacqueline Susann and the Second Wave of the Women's Movement." [Johnson City, Tenn. : East Tennessee State University], 2001. http://etd-submit.etsu.edu/etd/theses/available/etd-0511101-142705/restricted/jett0514.pdf.
Full text
14
Herbert, David. "Last Stand at Big Thunder Mountain." VCU Scholars Compass, 2006. http://scholarscompass.vcu.edu/etd/1049.
Full textAbstract:
I seek to pose questions about what people overlook or don't consider when viewing art in order to interpret what they see. When working on a project, I purposely retain the effect of my hand. The false crudeness is enhanced by my use of seemingly impoverished materials. This is akin to seeing the fishing wire holding up the miniature spaceship as it flies through the sky. This document was created with Microsoft Word XP.
15
Olson, Neleigh. "AMERICAN IDYLL: STORIES." UKnowledge, 2018. https://uknowledge.uky.edu/english_etds/74.
Full textAbstract:
The short stories in American Idyll: Stories experiment with the boundaries of traditional fiction by often drawing on nonfiction forms and styles to explore the roles that pop culture, locality, and cultural narratives play not only in individual lives, but also in broader terms by questioning how these elements contribute to American culture as a living, organic entity.
Often playful in tone and execution, the stories in this collection aim to inhabit a spectrum: from voice-led narratives to historical fiction to textured ethereal interactions with established cultural events and persons and wholly fictional accounts of American pop culture.
16
Gregson, Stephen I. "Narrative, spectacle, performance : a dramaturgical investigation into the relationship between an aesthetic event and the social world in rock and pop culture." Thesis, Brunel University, 2006. http://bura.brunel.ac.uk/handle/2438/365.
Full textAbstract:
On 2 July 2005, the Saturday before a summit of world leaders at Gleaneagles in Scotland, Live8 took place. Organised by Bob Geldof, the event brought together many high profile rock and pop performers to highlight the extreme famine conditions in Africa. Live8, however, was purportedly not in the business of promoting new albums, selling a range of merchandise or even raising charitable funds: indeed, tickets for the Live8 concerts were free. Rather, the event was intended to lead on to a rally in Edinburgh, forty miles from Gleneagles, calling on the summit attendees to cancel debt, double aid packages and remove trade barriers which hinder sustainable development on the African continent. As such, Live8 represents a strategic intent by rock and pop culture to ‘engineer’ a flow from the concert platform into the everyday. Conscious of the issues Live8 raises, this project looks at the different kinds of aesthetic event, from the contingent to the ‘pre-scripted’, which have over time become a feature of rock and pop culture. Through three distinctive case studies, whose subjects encompass both performers and their fan culture, concepts of narrative, spectacle and performance are discussed in order to understand, from a dramaturgical perspective, how rock and pop culture deals with representational schisms, particularly where the social world is implicated, and the role an aesthetic event (often a rock or pop concert) plays in the course of redress. Eschewing the limitations of musicology and media studies, which have often beset earlier investigations into rock and pop culture, this project’s overarching objective is to offer innovative thinking about the evolving state of the relationship it can, and does, facilitate between the ‘staged’ and the everyday.
17
Rice, Bryan Thomas. "Delinquencies." Scholar Commons, 2011. http://scholarcommons.usf.edu/etd/3309.
Full textAbstract:
Delinquencies brings together forty-eight poems that reflect some of the aesthetic, philosophical and cultural interests I've attended over the last five years or so--namely, ideas related to failure and abhorrent behavior.
18
Teixeira, Marcos Caetano. "O mangá como tradição e contemporaneidade: o caso de Mushishi." Universidade Federal de Juiz de Fora (UFJF), 2017. https://repositorio.ufjf.br/jspui/handle/ufjf/6101.
Full textAbstract:
Submitted by Geandra Rodrigues (geandrar@gmail.com) on 2018-01-17T18:25:46Z
No. of bitstreams: 1
marcoscaetanoteixeira.pdf: 6702751 bytes, checksum: 0e32e195643676e30b4b3b8a183ba0ff (MD5)Approved for entry into archive by Adriana Oliveira (adriana.oliveira@ufjf.edu.br) on 2018-01-23T14:16:33Z (GMT) No. of bitstreams: 1 marcoscaetanoteixeira.pdf: 6702751 bytes, checksum: 0e32e195643676e30b4b3b8a183ba0ff (MD5)
Made available in DSpace on 2018-01-23T14:16:33Z (GMT). No. of bitstreams: 1 marcoscaetanoteixeira.pdf: 6702751 bytes, checksum: 0e32e195643676e30b4b3b8a183ba0ff (MD5) Previous issue date: 2017-09-28
A pesquisa aqui apresentada tem como objetivo a análise do mangá Mushishi, de Yuki Urushibara (1999-2008), no que se refere à tradição e a contemporaneidade enquanto representação de uma história e de um povo. Para chegar a tais objetivos, um levantamento histórico baseado na evolução do Japão pós-guerra e sua conquista mundial através do entretenimento pela cultura pop inicia o pensamento, tendo por base do contexto de contemporaneidade de Agamben (2009) seguido, posteriormente, por uma análise comparativa entre os quadrinhos ocidentais e os mangás japoneses, visando estabelecer uma base que mostre a troca de influências entre ambos, o que também leva a ilustrar as questões referentes ao mercado e aos princípios de aceitação de mídia pelo consumidor. A análise no que se refere aos pontos de identidade e lugar do ser social é feita a partir das teorias de Nietzche (1983-2011) e Rolnik (1993), os quais colocam em questão o ser humano enquanto agente social e ator de seu próprio mundo, bem como a aplicação dos conceitos de catarse e reconhecimento de si de Aristóteles (2008), o que, após aplicado à obra em questão, revela como os mangás, exemplificados por Mushishi, podem se mostrar retratos fiéis de um povo ou de uma época.
The research presented here aims to analyze the manga Mushishi, by Yuki Urushibara (1999-2008), in regard to tradition and contemporaneity as a representation of a history and a people. To reach such goals, a historical survey based on the evolution of postwar Japan and its worldwide conquest through pop culture entertainment initiates thought, based on the contemporaneous context of Agamben (2009) followed later by an analysis comparative analysis between western comics and Japanese manga, in order to establish a basis for the exchange of influences between the two, which also leads to illustrate market issues and the principles of consumer acceptance of media. The analysis regarding the points of identity and place of the social being is made from the theories of Nietzche (1983-2011) and Rolnik (1993), which put in question the human being as social agent and actor of his own world, as well as the application of the concepts of catharsis and self-recognition of Aristotle (2008), which, after applied to the work in question, reveals how the manga, exemplified by Mushishi, can be faithful portraits of a people or a time.
19
Hirata, Tatiane. "Mangá : do Japão ao mundo pela prática midiática do scanlation." Universidade Federal de Mato Grosso, 2012. http://ri.ufmt.br/handle/1/550.
Full textAbstract:
Submitted by Valquíria Barbieri (kikibarbi@hotmail.com) on 2017-11-08T20:56:59Z
No. of bitstreams: 1
DISS_2012_Tatiane Hirata.pdf: 4994391 bytes, checksum: e488576c3f57263ac5e4845b7091553c (MD5)Approved for entry into archive by Jordan (jordanbiblio@gmail.com) on 2017-12-15T13:44:11Z (GMT) No. of bitstreams: 1 DISS_2012_Tatiane Hirata.pdf: 4994391 bytes, checksum: e488576c3f57263ac5e4845b7091553c (MD5)
Made available in DSpace on 2017-12-15T13:44:11Z (GMT). No. of bitstreams: 1 DISS_2012_Tatiane Hirata.pdf: 4994391 bytes, checksum: e488576c3f57263ac5e4845b7091553c (MD5) Previous issue date: 2012-02-29
CAPES
A união entre o vitalismo do cotidiano e as práticas colaborativas da cibercultura deu origem à prática midiática do scanlation, empreendida pelos fãs de mangás, as histórias em quadrinhos japonesas. O scanlation, junção dos termos em inglês scan e translation, é o processo de digitalizar mangás impressos com o intuito de traduzi-los do japonês para outro idioma, para então distribui-los gratuitamente através da internet, sem a permissão dos detentores de direitos autorais. Dispostos a fugir da subjetividade capitalista, os participantes dessa atividade buscam subverter o modo tradicional do consumo de mangá. Reunidos sob a prática do scanlation os fãs espalhados pelo mundo reinventam os processos de re-produção, circulação e consumo de mangá neste período marcado pelos processos de convergência midiática e demandas por formas sempre renovadas de rituais de sociabilidade no anonimato urbano.
The union between vitalism of daily life and collaborative practices of ciberculture gave rise to the media practice of scanlation, an activity undertaken by fans of manga, the Japanese comics. Scanlation, contraction of words scan and translation, is the process of scanning printed mangas in order to translate them from Japanese into another language, and distributing them free of charge through internet without permission from the copyright holders. Willing to escape from capitalist subjectivity scanlation members try to subvert the traditional way of consuming manga. Gathered under the media practice of scanlation, fans around the world reinvent the process of reproduction, circulation and manga consuming in this period characterized by the process of mediatic convergence and requests for ever renewed form of rituals of sociability in urban anonymity.
20
Erickson, Michael Douglas. "LETS MAKE IT OUTBACK TONIGHT." VCU Scholars Compass, 2007. http://scholarscompass.vcu.edu/etd/787.
Full textAbstract:
When I was younger, shortly after my father died, my mother bought me a t-shirt that I loved and wore till it was worn out. On the shirt there was an image of a man, strapped into an electric chair, holding pieces of bread in each hand. A sign above him read, "Making the best of a bad situation." That statement became a mantra I held onto in the early years after my father's death. It still guides my personal philosophy---humor is key to survival. Particularly a type of humor that celebrates the fact that "shit happens", while highlighting and delighting in the irrational: who is the doomed man going to give the toast to once he is dead?
21
Fredwest, Janice M. "Popular Library: Rethinking the Cultural Relevancy of the American Public Library." University of Cincinnati / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1277140389.
Full text
22
Garbett, Gary. "Insequential Sequence." VCU Scholars Compass, 2010. http://scholarscompass.vcu.edu/etd/2277.
Full textAbstract:
Since childhood, my passion to create has driven me to search for the simplest truths within the world I live in. Throwbacks of pop culture have always decorated my life and their influences are directly reflected in my work. The nightly news, advertisements, pulp magazines, film, and music all play an extremely important role in my work as each influence becomes a layer of spirit and emotion in my mixed media paintings and photography. It’s those ordinary and mundane gifts that I find in each normal day that spill the truth and the essence of my life into my art. Popular culture has always filled my life with vivacity, passion, and a yearning for creativity. Admittedly, I’ve long been an artist that gets lost in the contemporary message of my work. I do after all own it and somewhere in my creative mind the process of creation and the object as art become my unified gospel in a sacred delivery and message. I absorb my surroundings, dissect it, rearrange it, and spit it back out to the world as a reinterpretation of the original, and on occasion transform it into something totally original within itself.
23
Carlotti, Tatiana Cristina. "Caminhos da vertigem: rupturas do eu no happening PanAmérica." Pontifícia Universidade Católica de São Paulo, 2014. https://tede2.pucsp.br/handle/handle/14737.
Full textAbstract:
Made available in DSpace on 2016-04-28T19:58:53Z (GMT). No. of bitstreams: 1
Tatiana Cristina Carlotti.pdf: 1157665 bytes, checksum: 305f1656edb420864db43432d71df225 (MD5)
Previous issue date: 2014-08-04Coordenação de Aperfeiçoamento de Pessoal de Nível Superior
The present dissertation aims to analyze the narrator/character disembodiment and the body presence in the narrative construction in José Agrippino de Paula s PanAmérica. The body into which the subject inserts himself acquires an enormous proportion throughout the work: the body of anonymous heroes, hundreds of them fragmented, creased and dulled in the asphyxiating tubes of the cultural machine; the individualized body, the source of pleasure, beauty, warmth and proximity; the narrative body converted into happening by the operative movement of the chaotic writing strengths. It is in this vertiginous and raving context that the narrator tries to restate his own existence towards the illogicalness of a world and also of a narrative laid in ruins. In our walk through the work, whose explosives are switched on at each scenic unity, we have attempted to ascertain how the narrator and the characters disembodiment along the work and the construction of a strongly erotic narrative were used to build a sensory happening, determined to constitute a possible anthropophagic answer to the ideological dichotomies which marked the 1960s in Brazil
Este trabalho tem por objetivo analisar a despersonificação do narrador personagem e a presença do corpo na construção da narrativa em PanAmérica, de José Agrippino de Paula. O corpo em que se insere o sujeito adquire grande proporção no espaço da obra: seja o corpo dos heróis anônimos, centenas deles estilhaçados, amassados e embotados nos tubos asfixiantes da máquina cultural; seja o corpo individualizado, fonte de prazer, de beleza, de calor e proximidade; seja o corpo da narrativa convertida em happening pelo movimento operativo das forças de uma escrita caótica. É nesse contexto vertiginoso e delirante, que o narrador tenta reafirmar sua própria existência ante a ilogicidade de um mundo - e de uma narrativa - em franco desfacelamento. Em nosso caminhar pela obra, cujos explosivos são acionados a cada unidade cênica, procuramos verificar como a despersonificação do narrador e dos personagens ao longo da obra, e a construção de uma narrativa fortemente erótica, foram utilizados para a edificação de um happening sensorial, destinado a se constituir em possível resposta antropofágica às dicotomias ideológicas que marcaram o Brasil dos anos 60
24
Walker, Tonya. "Rich attractive people doing attractive things in attractive places : a monologue from Hell /." VCU Scholars Compass, 2006. http://scholarscompass.vcu.edu/etd/992.
Full textAbstract:
Rich, Attractive People in Attractive Places Doing Attractive Things is a fictional memoir of a dead Manhattan socialite from the 1950's named Sunny Marcus. The novel is Sunny's monologue from Hell and features many well-known figures from American pop culture including Truman Capote, Ernest Hemingway, Clark Gable, William Powell and Babe Paley. It traces the upward trajectory of Sunny's life from a modest childhood in 1920's Los Angeles to the heights of social success in the unforgiving world of Café Society to her murder.
25
Jackson, Rebecca. "The Glitch Aesthetic." Digital Archive @ GSU, 2011. http://digitalarchive.gsu.edu/communication_theses/80.
Full textAbstract:
The miscommunication between sender and receiver during transcoding indexes specific historical moments similarly to analog film's indexical trace. Iconography and glitch art begin to establish glitch's deictic index. The glitch aesthetic exposes societal paranoia by illustrating dependence on the digital and fear of system failure. With the advent of video sharing sites like Youtube and popular cyberfilms, the glitch aesthetic has evolved into a pop culture artifact.
26
Whipkey, Robert Scott. "Query: how does the never to be differ from what never was?" VCU Scholars Compass, 2013. http://scholarscompass.vcu.edu/etd/3081.
Full textAbstract:
The feeling of a narcotic cannot be put to words, just as the sensation one receives from her or his favorite artwork is impossible to record. Equally, both these delicacies of modern existence must be sought out. The user/viewer only gets a tiny taste and must therefore keep coming back for more. Utopia may be an unrealistic construction of culture, but I would posit the idea the both narcotics and art strive to give us just that – however tiny a taste. This paper addresses the intersections of visual art, drugs, anti-hero worship and contemporary representations of Romanticism throughout the American body politic.
27
Vicet, Marie. "Les artistes contemporains et le clip vidéo : de la naissance de MTV à l’apparition de YouTube (1981-2005)." Thesis, Paris 10, 2017. http://www.theses.fr/2017PA100010.
Full textAbstract:
Avec l’apparition des chaînes musicales au début des années 1980, l’industrie musicale investit massivement dans la production de clips vidéo. Pour répondre à la forte demande de clips, de nombreux réalisateurs venant aussi bien de la télévision, de la publicité, que du cinéma mirent tous leur talent au service de ce nouveau format télévisuel. C’est dans ce contexte que différents artistes visuels furent également sollicités ou proposèrent leur service pour réaliser différents clips. Au début des années 1980, le clip apparut à certains artistes comme le format idéal pour diffuser leurs images à la télévision. Il leur permettait par sa diffusion à la télévision de toucher un plus large public que celui des musées ou des galeries d’art. Pour d’autres, le clip fut un format d’expérimentation mais aussi un prolongement possible pour leur pratique artistique. Ainsi cette étude se propose d’analyser une partie de la production de certains artistes plasticiens souvent ignorée par les historiens de l’art et les critiques. À travers leurs travaux artistiques, certains artistes construisirent au contraire une critique et interrogèrent le format tout en remettant en question la pop culture diffusée à la télévision. Si la création de MTV fut une date fondatrice dans l’histoire du clip vidéo, vingt-cinq ans plus tard, l’avènement de YouTube et des sites de partage de vidéos dès 2005 marqua un grand changement dans la production mais aussi dans la consommation de clips vidéo. Nous verrons que cela entraina de nouveaux usages pour les utilisateurs pour les artistes qui s’emparèrent des contenus disponibles pour les détournerWith the advent of music channels in the early 1980s, the music industry invested heavily in the production of music videos. To meet the high demand of music video, many filmmakers from television industry, advertising, cinema put their talents in this new TV format service. It is in this context that different visual artists were also requested and proposed their services to direct different music videos. In the early 1980s, the clip appeared some artists as the ideal format to distribute their images on television. It allowed them by its broadcast on television to reach a wider audience than museums or art galleries. For others, the clip was an experimental format, but also a potential extension to their artistic practice. So this study will analyze some of the production of certain visuals artists often ignored by art historians and critics. Through their artworks, some artists built instead a critique and questioned the format while challenging pop culture broadcast on television. If the creation of MTV was a funding event in the history of the music video, twenty-five years later, the advent of YouTube and in 2005 marked a big change in production but also in consumption of music videos. We will see that it led to new uses for Internet users and for artists who took possession available content to divert it
28
Stepanek, Ellyn M. "Pop-culture artifacts." Cleveland, Ohio : Cleveland State University, 2008. http://rave.ohiolink.edu/etdc/view?acc_num=csu1209741511.
Full textAbstract:
Thesis (M.A.)--Cleveland State University, 2008.Abstract. Title from PDF t.p. (viewed on July 11, 2008). Includes bibliographical references (p. 43-44). Available online via the OhioLINK ETD Center. Also available in print.
29
Johansson, Oskar. "If I had a voice I'd sing: the relation between the forest and the identity in music videos by Fever ray and Iamamiwhoami." Thesis, Malmö högskola, Fakulteten för kultur och samhälle (KS), 2011. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-23632.
Full textAbstract:
Syftet med uppsatsen är att undersöka hur skogen kan användas för att gestalta en bild avidentiteten. För att göra det analyseras musikvideor av Fever Ray och Iamamiwhoami.Gestaltningen består av två noveller. I dessa undersöks relationen till skogen på ettmer individuellt plan. Metoden är mer sökande än teoretiserande. Uppsatsen analyserarmusikvideor ur ett genusperspektiv, som bilder och metaforer. Teoretiker som används ärbland annat Jean Baudrillard, Timothy Morton och Judith Butler. Från deras teorier undersöksvilka värderingar och antaganden som kan sägas ligga till grund för representationen avidentiteten och skogen. Resultatet är bilden av en värld som är splittrad och ovillig att kommatill konkreta ståndpunkter. Å ena sidan visar musikvideorna individer som arbetar medkulturellt betingade bilder av genus och skogen och försöker göra dem till sina egna. Å andrasidan syns en vilja att röra sig bort från dem. Likaså porträtterar gestaltningen personer somkämpar för att komma tillrätta med sin plats i den givna ordningen men aldrig riktigt lyckas.The purpose of this essay is to investigate how the forest can be used to mirror the identity. Indoing so, music videos by Fever Ray and Iamamiwhoami are being analyzed. The portrayalconsists of two short stories. In these, the relation to the forest is investigated on a moreindividual level. The method is more searching than theorizing. The essay analyzes musicvideos, with a gender perspective, as images and metaphors. Theorists used are amongothers Jean Baudrillard, Timothy Morton and Judith Butler. From their theories the thesisinvestigates the values and assumptions that can be said to constitute the representation of theforest and the identity in the videos. The result is the image of a fragmented world, unwillingto come to concrete conclusions. On one hand the music videos show individuals who workswith the overtaking of given cultural images of the forest and gender. On the other hand a willto reject the same images can be seen. Likewise, the portrayal shows individuals who struggleto come to terms with their place in the given order but never really succeeds.
30
Ferdfelt, Henrik. "Pop /." Stockholm : School of Business, Stockholm University, 2006. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-1349.
Full text
31
Chambers, Cynthia R., and K. Buttolf. "The POP Arts Experience." Digital Commons @ East Tennessee State University, 2017. https://dc.etsu.edu/etsu-works/3887.
Full text
32
Dzuverovic, Lina. "Pop art tendencies in self-managed socialism : pop reactions and counter-cultural pop in Yugoslavia in 1960s and 1970s." Thesis, Royal College of Art, 2017. http://researchonline.rca.ac.uk/2850/.
Full textAbstract:
This thesis explores forms of Pop Art on the territory of the former Yugoslavia in the 1960s and 1970s, seeking to identify its local variants. Yugoslavia, a single party state, built on the legacy of the anti-fascist Partisan struggle, principles of solidarity, egalitarianism, self-management and a strong sense of internationalism due to its founding role in the Non-Aligned Movement, was, at the same time, a country immersed in what has been termed 'utopian consumerism'. The thesis examines how Yugoslav artists during this period dealt with the burgeoning consumer society and media boom, kitsch and the Westernization of Yugoslav culture, phenomena which were ideologically at odds with the country’s own socialist principles. Starting from an analysis of the role of the artist in post-war Yugoslav system of self-management, the thesis proposes that Pop in Yugoslavia can be read as a critical site of articulation and negotiation of that role. Yugoslavia’s founding principles, formed as a legacy of the People’s Liberation Struggle (1941 – 1945), were based upon self-management and the introduction of social property, with art being a democratizing force with a central emancipatory role in the building of the new socialist state. But socialist modernism gradually relegated culture to a more illustrative role, as a form of ‘soft power’ for the Socialist Federal Republic of Yugoslavia. The thesis proposes a reading of artists’ diverse engagements with popular culture and materials as varied expressions of resistance to the severing of links with Yugoslavia’s founding principles. My original contribution to knowledge lies in the identification of two strands of Pop in the country–‘Yugoslav Pop Reactions’ and ‘Yugoslav Countercultural Pop’ which each turned to popular culture and cheap everyday materials as an alternative channel through which to respond to socialist modernism. My claim is that the two positions represent two diametrically opposed responses to the disenchantment with socialist modernism and artists’ roles in society – both using the language of Pop Art but representing two different conceptual positions. The thesis is structured around three core questions. Firstly it asks whether it is possible to retrospectively apply the category of Pop Art to artworks which never originally claimed this term. Secondly it examines ways in which Pop tendencies altered the position of Yugoslav female artists, who, marginalised in a heavily male-dominated environment, looked to Pop as an enabling force, allowing new working methods and‘giving licence’ to new types of practices. The third question is concerned with the relationship between power, politics and Pop Art in Yugoslavia, asking to what extent Yugoslav Pop was a form ofpolitical practice, and to what extent is it was a local adaptation of international currents and themes. This thesis is associated with Tate’s multiannual research into ‘global pop’, which culminated in the exhibition ‘The World Goes Pop’ (September 2015 – January 2016, Tate Modern) through a Collaborative Doctoral Award (AHRC). This involved an advisory role in the exhibition research on the territory of the former Yugoslavia, identifying artists and artworks for potential inclusion in the exhibition. The methodology of the thesis was in part shaped by this context, beginning with close studies of artworks, their critical reception, and the study of their context–the sites of production and exhibition in the country at the time. Whilst both local and international literature on Yugoslav art history, global Pop Art as well as Yugoslav material culture and political context has been important, the core research involved oral histories, and visits to artists’ studios, museum collections, depots and archives in search of original artworks. The thesis draws on approximately twenty interviews with artists, curators, art historians and other art workers who were active in 1960s and 1970s, combined with the above-mentioned scholarship.
33
Chambers, Cynthia R. "POP Arts: Inclusive Performance Arts Programming." Digital Commons @ East Tennessee State University, 2013. https://dc.etsu.edu/etsu-works/3868.
Full text
34
Lessa, Laís Quintella Malta. "Pop art e propaganda: uma relação interdisciplinar." Universidade Presbiteriana Mackenzie, 2009. http://tede.mackenzie.br/jspui/handle/tede/2726.
Full textAbstract:
Made available in DSpace on 2016-04-18T21:31:57Z (GMT). No. of bitstreams: 4
Lais Quintella Malta Lessa1.pdf: 2945936 bytes, checksum: d3e25073feff799a26416c65c5cabb2c (MD5)
Lais Quintella Malta Lessa2.pdf: 2673951 bytes, checksum: 5e8127363a4427999714a6d6021cfb71 (MD5)
Lais Quintella Malta Lessa3.pdf: 2562198 bytes, checksum: a033cb82025efa8a63f7c56b684b3543 (MD5)
Lais Quintella Malta Lessa4.pdf: 2789595 bytes, checksum: 0ae4ab36c01f425d2f3567ae6677a6a3 (MD5)
Previous issue date: 2009-02-03Fundo Mackenzie de Pesquisa
Through an interdisciplinary analysis between art and publicity, this study seeks to establish the relationship amid the propaganda spread in the post-war period in the United States and the Pop Art Movement. Focusing the changes that have occurred in the season with these two issues will prove that what happened with the Movement Pop and advertising, may be established as a homogenous relationship, in which symbols, icons and popular myths were portrayed in ways similar to works by artists and advertising of the period studied. This uniformity will be revealed through a semiotic analysis of advertisements and works of the movement, to develop critical values that might widen the scope of professional actuation of communication, and allow the knowledge and approach the subject, in reflection of their creations committed to the social and economic juncture of the season.
Por meio de uma análise interdisciplinar entre arte e publicidade, o presente estudo busca estabelecer a relação em meio à propaganda veiculada no período do pós-guerra nos Estados Unidos e o Movimento Pop Art. Evidenciar as transformações ocorridas na época com essas duas temáticas irá comprovar que o ocorrido com o Movimento Pop e a publicidade, pode ser estabelecido como uma relação homogênea, na qual símbolos, mitos e ícones populares eram retratados de maneiras similares em trabalhos de artistas e publicitários do período estudado. Esta homogeneidade será revelada por meio de uma análise semiótica entre anúncios publicitários e obras do movimento, no sentido de desenvolver criticamente valores que possam ampliar as possibilidades de atuação dos profissionais da comunicação, assim como permitir o conhecimento e a abordagem do tema, na reflexão de suas criações comprometidas com a conjuntura social e econômica da época.
35
Chambers, Cynthia R., and T. Takenaka. "POP Arts: An Inclusive Performance Arts Program." Digital Commons @ East Tennessee State University, 2012. https://dc.etsu.edu/etsu-works/3875.
Full text
36
Chambers, Cynthia R., and K. Buttolph. "POP Arts: An Inclusive Performance Arts Experience." Digital Commons @ East Tennessee State University, 2012. https://dc.etsu.edu/etsu-works/3877.
Full text
37
Ballico, Christina. "Bury me deep in isolation: A cultural examination of a peripheral music industry and scene." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2013. https://ro.ecu.edu.au/theses/682.
Full textAbstract:
Since 1998, Perth bands have had a strong presence within the Australian music scene. Primarily, each year between 1998 and 2009, songs by indie pop/rock acts from Perth have charted within national broadcaster triple j’s Hottest 100 countdown. Many of the albums from which these songs have been taken have sold in excess of 35,000 copies, and a number of successful and recognised Perth bands have toured with the nation’s largest music festival, the Big Day Out as well as their own high profile national tours. At the same time, Perth’s local indie pop/rock music industry has undergone tremendous growth and development, becoming more integrated into this nationally focused industry while also making significant inroads internationally. This research comprises 40 in-depth qualitative research interviews with 48 musicians and key industry players from Perth’s indie pop/rock music industry and scene. It presents a socio-culturally based examination to explore its evolution over the past decade. This is presented through an examination of the personal experiences of those involved in development of the local industry and who experienced, or witnessed an increase in success and recognition of Perth bands in national, and at times international, contexts. Broadly, this research explores the repercussions the shift in attitude toward Perth’s indie pop/rock music industry and scene as being worthy of national attention and recognition. In particular, it discusses the implications this has on the functioning of this industry as well as the careers of those within it. Further, this study examines what it means to be a musician and/ or music industry member in and from Perth along with the attitudes toward supporting local music product locally and its attempts to connect with audiences beyond the state. Within this, an examination of the influence of the city’s geographical isolation on the functioning of the local industry and on the ability for musicians to connect with audiences beyond the state is presented alongside an exploration of the role of social networks and the structure of the community of practice evident in this local industry. Additionally, the notions of creativity and creative process, core-periphery, and place and space are examined in relation to the functioning of this industry in business and creative contexts. Underwriting this is an examination of the shifts in the national and international music industries and associated music culture. These shifts all at once influenced the validity for Perth music to enter the national market and impacted upon the ongoing integration of this local industry within the national and international markets.
38
Lesniewski, Justin M. "Medination pop culture and the classroom /." Connect to this title online, 2008. http://etd.lib.clemson.edu/documents/1211389373/.
Full text
39
Szemere, Anna. "Pop culture, politics, and social transition /." Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC IP addresses, 1998. http://wwwlib.umi.com/cr/ucsd/fullcit?p9820881.
Full text
40
Chambers, Cynthia R. "POP Arts Enhances Skills, Creates Community." Digital Commons @ East Tennessee State University, 2011. https://dc.etsu.edu/etsu-works/3849.
Full text
41
Balster, Lori Maria Tarkany. "Cassie Dates Melvin: Or, How Two People Struggle to Save Their Town Despite a Few Small Obstacles Such as Killer Philodendrons (an Excerpt from Book Two in a Series)." University of Dayton / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=dayton1280259112.
Full text
42
Eklind, Anton, and Tjong Richard Jake Gracia. "Understanding Pop-culture Tourism : Analysis of incentives for travel behaviour and participation of pop-culture tourism products." Thesis, Södertörns högskola, Institutionen för naturvetenskap, miljö och teknik, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:sh:diva-30849.
Full textAbstract:
This study aims to explain the incentives and travel patterns for people who have consumed popculture tourism. Pop-culture refers to popular products such as video-games, comic-books, literature, film and t.v-shows. Pop-culture tourism refers to destinations and attractions based on popular culture products such as conventions, events, exhibitions, theme parks and destinations. This study takes on a qualitative approach in order to do so. The results were then analyzed through four different theories; Bourdieu’s theory on different capitals, his theory on habitus, his theory on fields and Lundberg & Lexhagen’s figure: Pop-culture Tourism: A Research Model. The results showed that the respondents social upbringing and (social) media consumption plays a central role in order for individuals to consume and partake in pop-culture tourism. Results did also show that cultural capital and social capitals was prominent for individuals who consume and partake in popculture tourism.Denna studie har som syfte att belysa individers motiv och val att besöka pop-kultursrelaterade attraktioner och destinationer. Pop-kultur i denna uppsats syftar till populära produkter såsom tvspel, serietidningar, litteratur, film och tv-serier. Pop-kultursturism syftar till destinationer och attraktioner som är baserade på de sistnämnda vilket kan vara konventioner, event, utställningar, temaparker eller destinationer. Till denna studie har en kvalitativ ansats tillämpats för att besvara uppsatsens syfte och frågeställningar genom att utföra semi-strukturerade intervjuer. Intervjuerna analyserades sedan genom fyra olika teorier; Bourdieu’s teorier om kapital, fält och habitus samt Lundberg och Lexhagens modell “Pop-culture Tourism: A Research model”. Resultaten visade att exponering av pop-kultur i respondenternas uppväxt, sociala umgängen och (sociala) mediekonsumtion spelade en central roll i konsumtionen och deltagandet av pop-kultursturism. Resultaten visade även att kulturellt kapital (ett intresse av en viss pop-kulturell produkt) och socialt kapital (individens habitus) var betydande för individer som deltar i pop-kultursturism.
43
Klein, Gabriele. "Electronic Vibration : Pop Kultur Theorie /." Wiesbaden : VS Verl. für Sozialwissenschaften, 2004. http://catalogue.bnf.fr/ark:/12148/cb410656790.
Full text
44
Peterson, Gilbert Oliver. "Pop art redefined : British pop arts of the 1960s : towards a social and institutional history." Thesis, University of Southampton, 2015. https://eprints.soton.ac.uk/385575/.
Full textAbstract:
This thesis uses new histories of exhibitions, cultural institutions, individuals and artworks to problematize and reconfigure current conceptions of British Pop art, arguing for the deployment of the term ‘British Pop arts’, as opposed to ‘British Pop Art’, to reflect the varied usage of the artistic practice across Britain during the 1960s. The central conclusion of this historical account is the recognition of a wider Pop arts network, albeit formed of disparate and often conflictual subjectivities, which coalesced around a particular cultural discourse and attendant institutions. The celebrated Royal College of Art ‘Pop artists’ are located within a network of ‘Pop art producers’; a new historical descriptor which encompasses a wider array of largely overlooked artists whose practices are positioned within a particular visual art discourse. The ‘Northern neo-realist’ Pop arts practised in Liverpool, the ‘Jazz art’ of Mal Dean and the ‘Fine Artz’ of The Fine Artz Associates all represent examples of an alternative, often oppositional, Pop arts, many of which actively resisted the assumed dominance of RCA Pop art and the spectacular cultures of ‘Swinging London’. The hegemonic discourse theory of Ernesto Laclau and Chantal Mouffe, the historical sociology of culture propounded by Raymond Williams and certain aspects of Bruno Latour’s Actor Network Theory are employed in this account. Such an approach generates a discursive, materialist and networked re-reading of the political economy of the British cultural field during 1960s, locating ‘Pop art producers’ and ‘Pop arts’ within contemporaneous hegemonic discourses, socio-economic structures and institutional narratives. An extensive analysis of archives, oral histories, interviews, artworks, policy documents and critical publications suggests that British Pop art producers were often reliant upon a shared structure of new, state-orchestrated yet commercially-funded exhibitions; sites predicated upon particular social, political and economic discourses pertinent to the 1960s. For many Pop art producers, this period also saw the development of a vibrant counternetwork of artist-led, informal exhibitions in non-art spaces such as nightclubs, cinemas, and car salesrooms which actively challenged such ‘official’ institutions. However, the ‘unofficial’ and unrecognised art world status of these exhibitions together with the informality of their contemporaneous historical recording has resulted in a lack of contemporary historicization, an omission this institutional history of British Pop arts seeks to amend.
45
Kim, Leejin. "Analysis and Construction of Engaging Facial Forms and Expressions: Interdisciplinary Approaches from Art, Anatomy, Engineering, Cultural Studies, and Psychology." VCU Scholars Compass, 2013. http://scholarscompass.vcu.edu/etd/567.
Full textAbstract:
The topic of this dissertation is the anatomical, psychological, and cultural examination of a human face in order to effectively construct an anatomy-driven 3D virtual face customization and action model. In order to gain a broad perspective of all aspects of a face, theories and methodology from the fields of art, engineering, anatomy, psychology, and cultural studies have been analyzed and implemented. The computer generated facial customization and action model were designed based on the collected data. Using this customization system, culturally-specific attractive face in Korean popular culture, “kot-mi-nam (flower-like beautiful guy),” was modeled and analyzed as a case study. The “kot-mi-nam” phenomenon is overviewed in textual, visual, and contextual aspects, which reveals the gender- and sexuality-fluidity of its masculinity. The analysis and the actual development of the model organically co-construct each other requiring an interwoven process. Chapter 1 introduces anatomical studies of a human face, psychological theories of face recognition and an attractive face, and state-of-the-art face construction projects in the various fields. Chapter 2 and 3 present the Bezier curve-based 3D facial customization (BCFC) and Multi-layered Facial Action Model (MFAF) based on the analysis of human anatomy, to achieve a cost-effective yet realistic quality of facial animation without using 3D scanned data. In the experiments, results for the facial customization for gender, race, fat, and age showed that BCFC achieved enhanced performance of 25.20% compared to existing program Facegen , and 44.12% compared to Facial Studio. The experimental results also proved the realistic quality and effectiveness of MFAM compared with blend shape technique by enhancing 2.87% and 0.03% of facial area for happiness and anger expressions per second, respectively. In Chapter 4, according to the analysis based on BCFC, the 3D face of an average kot-mi-nam is close to gender neutral (male: 50.38%, female: 49.62%), and Caucasian (66.42-66.40%). Culturally-specific images can be misinterpreted in different cultures, due to their different languages, histories, and contexts. This research demonstrates that facial images can be affected by the cultural tastes of the makers and can also be interpreted differently by viewers in different cultures.
46
Dallacheisa, Tony G. "Pop Goes The Story: A Collection." Ohio : Ohio University, 2008. http://www.ohiolink.edu/etd/view.cgi?ohiou1212417587.
Full text
47
Carmo, João Paulo de Oliveira. "Pokémon : transmidiação, cultura pop e participação coletiva em torno da série japonesa." Universidade Federal de Mato Grosso, 2016. http://ri.ufmt.br/handle/1/616.
Full textAbstract:
Submitted by Jordan (jordanbiblio@gmail.com) on 2018-04-04T12:46:59Z
No. of bitstreams: 1
DISS_2016_João Paulo de Oliveira Carmo.pdf: 13010911 bytes, checksum: 3c04417fd4935d6e2825a86f737705a9 (MD5)Approved for entry into archive by Jordan (jordanbiblio@gmail.com) on 2018-04-04T12:49:46Z (GMT) No. of bitstreams: 1 DISS_2016_João Paulo de Oliveira Carmo.pdf: 13010911 bytes, checksum: 3c04417fd4935d6e2825a86f737705a9 (MD5)
Made available in DSpace on 2018-04-04T12:49:46Z (GMT). No. of bitstreams: 1 DISS_2016_João Paulo de Oliveira Carmo.pdf: 13010911 bytes, checksum: 3c04417fd4935d6e2825a86f737705a9 (MD5) Previous issue date: 2016-03-03
CAPES
Pokémon é uma série japonesa de entretenimento que, desde sua criação, destacou-se pela expansão transmidiática de sua narrativa para diferentes plataformas, como o videogame, a televisão, as histórias em quadrinhos e o cinema. Perante a dinâmica internacional de mercado no contexto da globalização, a franquia cruzou fronteiras e conquistou fãs no mundo inteiro, dando origem à chamada Pokémania ou Febre Pokémon durante a década de 1990. Após quase vinte anos, Pokémon tem demonstrado a sua contemporaneidade e a capacidade de dialogar com o seu público consumidor em um contexto marcado pela livre circulação de informações e conteúdo, amparada pela atual acessibilidade tecnológica. Tratando-se de sua longevidade no cenário da cultura pop mundial, partimos da premissa que o caráter comunicativo instigado pelo próprio enredo original de Pokémon representa um dos principais elementos responsáveis por seu sucesso, criando comunidades que se articulam internacionalmente na troca e no compartilhamento de informações e experiências provenientes da vivência de cada membro em meio ao universo fictício da série.
.
48
Hall, James. "DIVINING THE DIVINE: POP MYTHOLOGY AND ITS WORTH." Master's thesis, Orlando, Fla. : University of Central Florida, 2010. http://purl.fcla.edu/fcla/etd/CFE0003103.
Full text
49
Christakis, Nicolas. "Pop-music : lieu d'identité et moyen d'expression collective." Paris 10, 1986. http://www.theses.fr/1986PA100193.
Full textAbstract:
La pop-music se présente habituellement comme une expression des préoccupations et des désirs de la jeunesse moderne, expression qui apparait liée à la "prise de conscience" et aux contre cultures naissant au début des années 60. Elle véhiculerait alors des valeurs telles que l'union, l’égalité, le partage, la libération et la révolte. Aujourd’hui nous observons la coexistence de plusieurs styles musicaux au sein de la pop-music (funk, disco, hard, new-wave etc. . . ) la pop s'est diversifiée tant dans sa forme que dans son contenu. L’adhésion à la pop-music, son écoute, implique la préférence marquée pour un style musical ainsi que le rejet d'autres styles. Ceci nous amené à envisager l'écoute musicale pop comme un phénomène d'appartenance à un public. Nous définissons ce dernier comme l'ensemble des auditeurs d'un même style musical à l'intérieur de la pop-music. Nous remarquons par ailleurs que, très souvent, l'appartenance musicale des auditeurs, ainsi que leur "vision du monde", sont rendues visibles par le look qui exprime ainsi la spécificité de leur identité sociale. Ce travail se présente comme un effort de compréhension de la formation d'une identité par le truchement de l'adhésion musicale. Nous tentons de mettre en évidence la façon dont la pop constitue un lieu où se rencontrent et s'articulent le vécu psycho-émotionnel propre à l'écoute musicale et l'union dans le groupe. Elle permet aussi selon nous l'organisation et l'actualisation des systèmes de valeurs, d'attitudes et de choix idéologiques des membres de ces publics. Ces derniers peuvent être considères comme des catégories sociales et ou subculturelles à part entière. Ce sont des groupes psychologiques. Leurs existences et fonctionnement peuvent être définis comme un processus d'identification: formation et intériorisation des catégories sociales contribuant à la définition de soi. Les membres des publics se positionnent et positionnent les autres en fonction de l'écoute musicale. L’adhésion à un style musical se trouve donc liée à la formation d'une identité sociale. Cette multiplicité des styles, des positions idéologiques, pose cependant le problème de la pertinence d'une idéologie unificatrice, a priori associée au contenu et à la nature même de la pop-musicPop music usually appears to be an expression of contemporary youth desires and preoccupations, spreading values such as unity, sharing, freedom, revolt and even rebellion (ideology of the sixties). But today's pop music is diversified. We observe many musical styles with important differences regarding form and content (funk, disco, hard, new wave. . . ). Adhesion to pop music involves special preference for one style and rejection of others: the listener is a member of a public. Besides, musical membership is manifested in the appearance ("look") which expresses the specific social identity. We propose the study of the formation of social identity by means of musical adhesion. Pop music is a place where emotional experience of listening meets social bound and group union. It also permits organization and actualization of the patterns of attitudes, values and ideological choices of the publics' members’ publics are social and or subcultural categories, psychological groups whose existence and functioning are an identification process: formation and internalization of self-defining social categorizations. The members of pop music public’s occupies a socially significant position and attribute a position to others through categorization and differentiation in function of musical membership. There is much to say about coexistence of multiplicity of styles and the unifying, nonsocial ideological kernel usually attached to pop music: listening to music and belonging to a public provide equilibrium between utopia and (social) adaptation
50
McLaughlin, Noel. "Pop and the periphery : nationality, culture and Irish popular music." Thesis, Ulster University, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.326322.
Full textAbstract:
This thesis seeks to consider the relationship between 'rock' and 'Irishness' • between transnational pop and the nation-state • challenging the 'orthodox' view that Irish rock embodies uniquely Irish characteristics. It is about Irish popular music and identity and is primarily concerned with the relationship between culture and meaning. It argues that the study of popular music as 'text' is important to the more general study of culture (even though the notion of text in popular music is problematic). The thesis seeks to explore how meaning is made in popular music culture across a shifting and unstable textual matrix. Authenticity is a central concept here and I examine discourses of Irish authenticity and essentialism and their relationship to authenticity in rock. The study of Irish rock is, I argue, important to wider debates about identity and globalisation, especially in debates about the relationship between national music cultures and an increasingly globalised market. I undertake an exploration of the concept of cultural hybridity and assess both its strengths and its limitations to tbe study of popular music and debates about national identity. Hybridity, I argue, is important in that it helps break down the essentialising force of both the main discourses of authenticity outlined, becoming useful in moving beyond discourses of cultural purity. Howeve~ hybridity discourse also has problems and frequently there is a Jack of discrimination between different types of hybrid text which may result ina simple celebration of hybrids and hybridity. Thus, the complex relationship between popular music, the articulation of identity in pop songs (and across pop's mobile textuality) and in discourse about pop is overlooked. In this way, the thesis argues that the study of popular music culture in specific contexts may reveal the limitations of existing cultural studies work on hybridity, textuality and meaning. This is part of a broader project of arguing for more detailed consideration of music, meaning and pleasure in regional and peripheral national contexts.