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Journal articles on the topic 'Pop Arts / Pop Culture'

Author: Grafiati

Published: 4 June 2021

Last updated: 30 July 2024

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1

Dye, Wanda. "Pop Regionalism." Architectural Research Quarterly 13, no. 2 (2009): 112–26. http://dx.doi.org/10.1017/s1359135509990200.

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‘As it stands, the concept of popular culture is virtually useless, a melting pot of confused and contradictory meanings capable of misdirecting inquiry up any number of theoretical blind alleys’ […] popular culture is in effect an empty conceptual category, one which can be filled in a wide variety of often conflicting ways, depending on the context of use.Tony Bennett [quoted] and John Storey in Cultural Theory and Popular Culture

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2

Whitney, Elizabeth, and With poetry by Jamie Sorenson. "Pop Culture Princess." Text and Performance Quarterly 26, no. 2 (2006): 199–207. http://dx.doi.org/10.1080/10462930500517873.

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3

Markowitz, Sally, and Cecile Whiting. "A Taste for Pop: Pop Art, Gender, and Consumer Culture." Journal of Aesthetics and Art Criticism 57, no. 1 (1999): 73. http://dx.doi.org/10.2307/432066.

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4

DEMIDOVA, OLGA, and VLADISLAV REZEN’KOV. "CONTEMPORARY POP CULTURE: PHENOMENOLOGY, AXIOLOGY, AESTHETICS." Studia Humanitatis 12, no. 1 (2019): 24–29. http://dx.doi.org/10.15393/j12.art.2019.3363.

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The article discusses pop culture as a modern phenomenon, the authors analyz-ing the notion of pop culture, its connection with «the mass», the axiological sys-tem of the young technological age generation as well as with the technical pro-gress as the basis of the epoch under discussion. Besides, comparing mass culture works (artefacts) with and juxtaposing them to those of classical culture, the au-thors explore pop culture structure and its connection with mass production conditioning the consumer society standards. Among of the foci of attention are the role of cinema in the formation, dev

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5

Foray, Caroline Keisha. "Afrofuturisme et féminisme : culture pop, culture de résistance." Revue Possibles 47, no. 2 (2023): 17–24. http://dx.doi.org/10.62212/revuepossibles.v47i2.726.

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Cet article explore la futurité noire à travers l’Afrofuturisme. En contestant le droit futur d’exister et les conditions d’existence pour les communautés noires, l’article propose des réflexions sur le pouvoir de l’imagination et de la résistance par les arts. Ancré dans les théories critiques et féministes noires, l’article aborde la subversion, la réappropriation et la resignification à travers l’œuvre de Janelle Monáe.

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6

Khalaf, Rami. "Pop Culture Arab World!: Media, Arts, and Lifestyle." Journal of Popular Culture 39, no. 2 (2006): 330–31. http://dx.doi.org/10.1111/j.1540-5931.2006.00243.x.

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7

Kurmanbayeva, Zarina, and Zulfiya Kasimova. "FEATURES OF INTERMEDIALITY IN THE PREPARATION OF A POP ARTIST." Central Asian Journal of Art Studies 8, no. 4 (2024): 209–20. http://dx.doi.org/10.47940/cajas.v8i4.757.

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Abstract. The article examines the main functions of intermediality in the preparation of a pop performer in the context of modern trends in the development of popular music in Kazakhstan. The concept of “intermediality” in popular culture, which correlates with the synthesis of arts, is analyzed in terms of its use in Soviet, Russian and Western European science. Through comparative research, the differences in this concept in different national cultures are revealed. The intermedial approach, which is directly related to the issue of improving the process of training pop vocalists in higher

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8

Stoitchkova, Tatiana. "Similar Links Between Advertising, Pop, and the Arts." Postmodernism Problems 10, no. 2 (2020): 165–76. http://dx.doi.org/10.46324/pmp2002165.

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This paper explores the views of different ideas regarding popular culture and uses them as a framework to compare other ideas regarding images, messages, and emotional approaches in advertising. In addition to identifying areas of interactions between popular culture, advertising, and pop arts, the research exposes some observations in advertising professionals' working theories. We also argue that dialogue among different fields and practitioners provides an opportunity to enhance advertising theory and practice in postmodern culture. To analyze the functioning of advertising in today’s post

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9

Attfield, Nicholas. "From punk into pop (via hardcore): Re-reading the Sub Pop manifesto." Punk & Post-Punk 00, no. 00 (2021): 1–17. http://dx.doi.org/10.1386/punk_00086_1.

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Bruce Pavitt’s music fanzine Sub Pop, the first issue of which appeared in 1980, is often presented as a simple case of independent culture versus the reviled mainstream, with little reference to the actual written and graphic content of its pages. This article challenges and complicates that view with an account of Pavitt’s usage of language and specific genre terms – in particular, his tendency to rebrand punk as (indie) ‘pop’. This he reinforces with all manner of written and visual references to 1950s pre-corporate means of production and consumption. In so doing, I argue, he projects what

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10

Nandakumar, Aparna. "K-pop fandom as ‘sub-visible culture’: Digital work and enjoyment in the precarious present." Studies in South Asian Film & Media 15, no. 1 (2023): 27–42. http://dx.doi.org/10.1386/safm_00068_1.

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In this article, I attempt to understand the global K-pop fandom among young women, from the perspective of non-metropolitan locations like the state of Kerala in southern India. I examine the ‘sub-visible’ nature of K-pop fandom and situate it in relation to existing discourses surrounding visibility in youth subcultures and fan cultures, both in India and the West. I argue that the key to understanding this fandom is in the cultural process of feminization that it produces – a feminization of male K-pop idols through the ‘free labour’ (to use a concept by Tiziana Terranova) that K-pop fans e

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11

Bluestein, Gene. "Folk and Pop in American Culture." Journal of American Culture 13, no. 2 (1990): 21–28. http://dx.doi.org/10.1111/j.1542-734x.1990.1302_21.x.

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12

MARKOWITZ, SALLY. "Book Reviews: Cécile Whiting, A Taste for Pop: Pop Art, Gender, and Consumer Culture." Journal of Aesthetics and Art Criticism 57, no. 1 (1999): 73–74. http://dx.doi.org/10.1111/1540_6245.jaac57.1.0073.

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13

Yulisetiani, Septi. "Baneswa: Innovation of Introductory Media of Javanese Culture for Children Based on Pop-Up Book." Jurnal Javanologi 5, no. 2 (2023): 1088. http://dx.doi.org/10.20961/javanologi.v5i2.67961.

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Javanese culture is very diverse, and local wisdom is important to be preserved. Children are the next generation of the nation who need to know their culture. Implementation of the introduction of culture can be done through learning arts and culture in elementary schools. The introduction of culture to children can be done with certain media that are interesting for children. One of them is in the form of a Pop Up book which is developed according to children's development. This study discusses the development of the Baneswa Pop Up Book which is used as a medium for learning the introduction

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14

Chen, Yilin. "The pop culture expressed inK24: Shakespeare in chaos." Studies in Theatre and Performance 36, no. 2 (2016): 103–17. http://dx.doi.org/10.1080/14682761.2015.1129488.

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15

Neill, Lindsay, and Lavanya Basnet. "Pop art meets pop culture: A semiotic reading of Bephen Bahana’s The Curry Bunch." Australasian Journal of Popular Culture 11, no. 1 (2022): 115–31. http://dx.doi.org/10.1386/ajpc_00054_1.

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Inspired by Barthes’s analysis of a Paris Match cover image, our paper semiotically explores two oil-on-canvas images by New Zealand-born Indian artist Bephen Bahana. Within our exploration, we use constructs of denotation, connotation, myth and archetype to illuminate those images. Our research aim was to find the meaning behind the two portraits’ visual aesthetics. In doing so, we reveal Bahana’s images to be a visual shorthand signifying Indian history and the ways in which American media influence impacts notions of identity. Specifically, our insights reveal the ways in which many contemp

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16

Kim, Suk-Young. "Disastrously Creative: K-pop, Virtual Nation, and the Rebirth of Culture Technology." TDR/The Drama Review 64, no. 1 (2020): 22–35. http://dx.doi.org/10.1162/dram_a_00894.

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Sustained by the triangulated forces of the K-pop industry, South Korean national policy, and the ever-morphing discourse on culture and technology in the postindustrial era, industry leader SM Entertainment's “new culture technology” invites critical scrutiny of neoliberal labor practices in the K-pop industry, the South Korean inflection of the creative economy, and the unique pursuit of cyborgized celebrity culture that emerged as a collaboration between private entertainment companies and the South Korean state.

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17

Cahyo, Septian Dwi. "Postmodern Aspects of Electronic and Multimedia Music." Jurnal Kajian Seni 6, no. 1 (2020): 16. http://dx.doi.org/10.22146/jksks.55035.

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Modernism spirit in the music of doing something new, create innovation and so on now facing an obstacle because material progression in new music become smaller and smaller. Based on this phenomenon, now composers nd other ways to develop their musical landscapes such as breaking the boundaries between music and other arts form until involving Postmodern aesthetic tendencies in their works. Many composers now breaking the boundaries of Modernism myth such as breaking binary opposition between high and pop culture, past and present and make it as another strategy to make music and also to give

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18

Snaevarr, Stefán. "Philosophy and the Interpretation of Pop Culture." Journal of Aesthetic Education 42, no. 4 (2008): 111–15. http://dx.doi.org/10.2307/25160307.

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19

Holmes, Su. "“Reality Goes Pop!”." Television & New Media 5, no. 2 (2004): 147–72. http://dx.doi.org/10.1177/1527476403255833.

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20

Lepecki, André. "Substance-resonance: Mårten Spångberg’s La Substance, but in English." TDR/The Drama Review 58, no. 4 (2014): 158–62. http://dx.doi.org/10.1162/dram_a_00408.

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Swedish choreographer, curator, writer, and performer Mårten Spångberg’s four-hour-plus piece raises issues around the intricate relationships between choreography, dance, affect, objects, critical theory, pop culture, and visual arts.

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21

Ikegami, Hiroko. "Pop as Translation Strategy: Makishi Tsutomu's Political Pop in Okinawa." ARTMargins 7, no. 2 (2018): 42–71. http://dx.doi.org/10.1162/artm_a_00208.

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This essay makes the first sustained study of the Okinawan artist Makishi Tsutomu (1941–2015) who used American Pop Art vocabularies to describe the complex realities of US-occupied Okinawa. Focusing on his 1972 installation Commemorating the Reversion to the Great Empire of Japan, the essay examines the critical ambivalence of Makishi's Political Pop as a translation strategy. Despite his critique of both American and Japanese imperialism, Makishi was aware that Okinawa was inseparably entangled in it, especially in the context of the Vietnam War, which brought violence, but also economic ben

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22

RICE, JONAH LEE. "SpongeBob SquarePants: Pop Culture Tsunami or More?" Journal of Popular Culture 42, no. 6 (2009): 1092–114. http://dx.doi.org/10.1111/j.1540-5931.2009.00724.x.

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23

Reblin, Iuri Andréas. "A contribuição de Rubem Alves para o estudo da teologia na arte sequencial: anotações de um fragmento de mosaico misturadas com biografia." REFLEXUS - Revista Semestral de Teologia e Ciências das Religiões 8, no. 12 (2015): 155. http://dx.doi.org/10.20890/reflexus.v8i12.236.

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Resumo: O estudo apresenta duas ideias cruciais de Rubem Alves para o estudo teológico dos bens artístico-culturais da cultura pop: as estórias como invocações da vida e a teologia como atividade inerente ao ser humano. A primeira ideia remete à centralidade da narrativa no processo de constituição do mundo humano e na manutenção e contínua reinvenção deste, influindo na própria identidade do ser humano, em sua interpretação do mundo e das relações, na partilha de um universo simbólico-cultural, enfim, em sua própria biografia. A segunda ideia remete à atividade teológica enquanto faculdade in

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24

Tong, Darlene. "Contemporary art and fashion: from Pop to Populist." Art Libraries Journal 14, no. 4 (1989): 17–21. http://dx.doi.org/10.1017/s0307472200006477.

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During the 1970s and 1980s, a number of American artists have made use of clothing as an art medium. Their work constitutes a new art movement, drawing on, and straddling divisions between, Pop Art, performing arts, popular culture, and fashion; it merits more thorough and accessible documentation, and there is a need for art libraries to make available the elusive information which does exist.

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25

Frith, Simon. "Euro pop." Cultural Studies 3, no. 2 (1989): 166–72. http://dx.doi.org/10.1080/09502388900490111.

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26

Vesey, Alyxandra. "“A Way to Sell Your Records”: Pop Stardom and the Politics of Drag Professionalization on RuPaul’s Drag Race." Television & New Media 18, no. 7 (2016): 589–604. http://dx.doi.org/10.1177/1527476416680889.

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RuPaul’s Drag Race (Logo TV, 2009–present) tethers drag culture to pop stardom by structuring challenges around host RuPaul’s recording career and eliminations around lip sync contests that promote guest judges’ music. By its fourth season, it began substantially rewarding contestants for using pop music to showcase their own branding and musical skills. By analyzing the program and its surrounding industry discourse, this article identifies a Season 4 infomercial challenge promoting RuPaul’s catalogue as a turning point in the program’s relationship to pop music due to its winner’s ascent as

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27

Rand, Erica. "The Gendered Object. Pat KirkhamA Taste for Pop: Pop Art, Gender, and Consumer Culture. Cécile Whiting." Signs: Journal of Women in Culture and Society 25, no. 1 (1999): 288–90. http://dx.doi.org/10.1086/495435.

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28

Sihra, Lyra. "Using Pop Culture and Visual Arts in Palliative Care Education (407)." Journal of Pain and Symptom Management 43, no. 2 (2012): 370–71. http://dx.doi.org/10.1016/j.jpainsymman.2011.12.097.

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29

McMichael, Polly. "Pop Culture Russia! Media, Arts, and Lifestyle by Birgit Beumers (review)." Slavonic and East European Review 85, no. 4 (2007): 786–87. http://dx.doi.org/10.1353/see.2007.0014.

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30

Wyver, John. "The Filmic Fugue of Ken Russell's Pop Goes the Easel." Journal of British Cinema and Television 12, no. 4 (2015): 438–51. http://dx.doi.org/10.3366/jbctv.2015.0279.

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First broadcast as an episode of BBC Television's Monitor in 1962, Ken Russell's documentary film Pop Goes the Easel profiles four young artists: Pauline Boty, Peter Phillips, Derek Boshier and Peter Blake. With an exuberant and varied approach to filming, Pop Goes the Easel is a rich and revealing document of early Pop Art in London. This article situates the film within the context of television's engagement with the visual arts in the medium's first 25 years. It is argued that part of its significance within the tradition of the visual arts on television is its resistance to the determinati

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31

Song, Yang, and Yuhan Feng. "Doing participatory fandom through trans‑scripting." Media Language and Discourse in Cultural China 13, no. 1 (2022): 28–57. http://dx.doi.org/10.1075/cld.21003.son.

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Abstract This article examines trans-scripting in transnational, multilingual fandom on Sina Weibo, the largest Chinese microblogging site. Taking one of the most popular Korean pop music (K-pop) bands named BTS as a case study, 741 instances of trans-scripting were manually selected from a total of 18,243 comments under the official Weibo account of the largest BTS fan club in China. Combining online observation and corpus-based analysis, our study draws on the notions of engaged audience and affinity space to reveal how multiple patterns of trans-scripting are heavily mobilized by K-pop fans

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32

Neumann, Iver B. "Pop goes religion." European Journal of Cultural Studies 9, no. 1 (2006): 81–100. http://dx.doi.org/10.1177/1367549406060809.

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33

Corn, Wanda M. "From Luminism to Pop." American Art 19, no. 3 (2005): 60–81. http://dx.doi.org/10.1086/500232.

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34

Chamberlain, Colby. "An Addendum to Pop." American Art 37, no. 3 (2023): 29–33. http://dx.doi.org/10.1086/727545.

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35

Foletti, Ivan, Zuzana Frantová, and Adrien Palladino. "Premodern Popular Culture: Between Democratization and Marginalization." Eikon / Imago 11 (March 1, 2022): 1–8. http://dx.doi.org/10.5209/eiko.80906.

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Leader article of Pre-Modern “Pop Cultures”? Images and Objects Around the Mediterranean (350-1918 CE). The aim of this monography is to analyze, from the most significant images and objects, to the traditions that have accompanied us to this day.

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36

Bilgi, Irem. "Lowbrow Art Movement as a Subculture Art and its Effects on Visual Design." New Trends and Issues Proceedings on Humanities and Social Sciences 4, no. 11 (2017): 232–39. http://dx.doi.org/10.18844/prosoc.v4i11.2879.

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Beginning in Los Angeles, California, in the 1970s, and also known as pop surrealism, the Lowbrow art movement was born as a part of punk music, comic books, street and skateboard cultures and is seen in all fields of art. This study is the reflection of the Lowbrow art movement on visual design fields such as illustration graphic design and typography, animation and designer toys. Lowbrow artists were difficult to be adopted in the arts and design fields in the first years of the movement, because they did not have a diploma in fine arts and came from the street culture. But in recent years,

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37

Ostajewska, Marta. "„Nie ma już tam tam” – Urban Indians i współczesna sztuka rdzenna, wokół tożsamości i autentyczności w amerykańskiej popkulturze." Literaturoznawstwo 1, no. 13 (2020): 19–31. http://dx.doi.org/10.25312/2451-1595.13/2019__02mo.

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“There is no there there” – Urban Indians and The New Contemporary in Indigenous American Art – around Identity and Authenticity in American Pop Culture Native American artists and writers are constantly reimagining their narratives, and addressing context, community, and intersection with others. Based on few examples: Tommy Orange (Cheyenne / Arapaho), James Luna (Payómkawichum / Ipi), Wendy Red Star (Apsáalooke (Crow)) and Steven Paul Judd (Choctaw / Kiowa) author of article examines how their art undermines the conventional view on a stereotypical image of Native Arts and how their strateg

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38

Kitnick, Alex. "Pop on the Move." ARTMargins 6, no. 3 (2017): 82–91. http://dx.doi.org/10.1162/artm_r_00190.

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In International Pop, the curators Darsie Alexander and Bartholomew Ryan propose a new reading of Pop that establishes a set of relationships marked by difference. Theirs is a world riven by disconnection over flow, in which migrations and networks are frequently translated, blocked, or interrupted. While the US mass media provided source material for many artists it was often reworked to other ends. While many narratives of Pop have stressed distance and irony here we witnessed a new version of the moment that made a virtue out of intimacy, politics, and desire.

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39

Lubich, Frederich A., Bill Niven, and Thomas Jung. "Alles nur Pop? Anmerkungen zur popularen und Pop-Literatur seit 1990." German Studies Review 27, no. 3 (2004): 677. http://dx.doi.org/10.2307/4141042.

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40

Lewis, Bart L., and Norman Lavers. "Pop Culture into Art: The Novels of Manuel Puig." South Central Review 7, no. 1 (1990): 114. http://dx.doi.org/10.2307/3189234.

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41

Kurmanbayeva, Zarina, and Zulfiya Kassimova. "Intermediality Problems in the Context of Study of Pop Vocal Performance." Central Asian Journal of Art Studies 6, no. 4 (2021): 91–103. http://dx.doi.org/10.47940/cajas.v6i4.457.

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The article is concerned with the study of modern pop culture, which incorporates elements of various types of arts and characterized by wide versatility. On this point, for the first time ever bring forth the problem of integrating the concept of "intermediality" with the study of the performing arts of a popular mass trend. When considering the meaning of the concept of "intermediality" was revealed the versatility of its interpretation from the standpoint of studying the aspects of synthesization in literature, in painting, philosophy, philology, etc. At the same time, it is noted that in t

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42

Shattuc, Jane. ""Contra" Brecht: R. W. Fassbinder and Pop Culture in the Sixties." Cinema Journal 33, no. 1 (1993): 35. http://dx.doi.org/10.2307/1225633.

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43

Dodds, Sherril, and Janet Adshead-Lansdale. "Gesture, Pop Culture, and Intertextuality in the Work of Lea Anderson." New Theatre Quarterly 13, no. 50 (1997): 155–60. http://dx.doi.org/10.1017/s0266464x00011015.

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Lea Anderson is one of the leading choreographers to have emerged over the past decade, her most characteristic work having been with the all-female group she co-founded, the Cholmondeleys, and its all-male counterpart, the Featherstonehaughs. This article explores the distinctively intertextual elements in Lea Anderson's work – elements which, the authors suggest, make it at once accessible, distinctive, and distinctively postmodern. Sherril Dodds addressed the relationships between postmodernism and popular culture in Anderson's work, with particular focus on the television image and the dan

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44

Grixti, Joe. "Pop goes the canon." European Journal of Cultural Studies 12, no. 4 (2009): 447–67. http://dx.doi.org/10.1177/1367549409342512.

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45

FARRELL, JENNIFER KELSO. "The Evil Behind the Mask: Grendel's Pop Culture Evolution." Journal of Popular Culture 41, no. 6 (2008): 934–49. http://dx.doi.org/10.1111/j.1540-5931.2008.00558.x.

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46

Lott, Eric. "The Aesthetic Ante: Pleasure, Pop Culture, and the Middle Passage." Callaloo 17, no. 2 (1994): 545. http://dx.doi.org/10.2307/2931777.

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47

Wright, Robert. "‘I'd sell you suicide’: pop music and moral panic in the age of Marilyn Manson." Popular Music 19, no. 3 (2000): 365–85. http://dx.doi.org/10.1017/s0261143000000222.

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Music makes mutations audible. (Attali 1977)In his opening remarks as host of the 1998 Grammy Award Show, sitcom actor, substance abuser and convicted drunk driver Kelsey Grammer promised that Marilyn Manson's ‘skinny white ass’ would not be appearing on the show. It was a truly extraordinary moment. Referring explicitly to his own teenage daughter, Spencer, Grammer couched this slur in the form of an inside joke for the baby boomer parents of children with seemingly inexplicable musical tastes. In so doing, he affirmed not only the intractable conservatism of the Academy of Recording Arts and

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48

Layyina, Hilwa, Suharini Erni, and Isdaryanti Barokah. "Development of Local Culture-Based Pop-Up Book Media to Improve Students' Reading Literacy in Elementary Schools." International Journal of Research and Review 10, no. 2 (2023): 196–202. http://dx.doi.org/10.52403/ijrr.20230225.

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This study aims to develop local culture-based pop-up book media to improve the reading literacy of grade V students in elementary school. This type of research is development or Research and Development (RD) using a design model from Borg Gall. Data collection is carried out by observation, interviews, questionnaires, tests and documentation. The research was conducted at SD Muhammadiyah 1 Kudus. The data analysis technique used is a quantitative data analysis technique. The results showed that the practicality of the media obtained an average percentage of practicality of 97% of the "very pr

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49

Schulz, Dorothea E. "Music Videos and the Effeminate Vices of Urban Culture in Mali." Africa 71, no. 3 (2001): 345–72. http://dx.doi.org/10.3366/afr.2001.71.3.345.

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AbstractThis article focuses on a number of highly successful female pop singers in Mali whose video music clips and music shows make up a major share of urban people's daily broadcast consumption. The article explores the reasons for the astonishing success of the singers by locating the consumption and interpretation of their songs in Malian popular and scholarly discourses on cultural authenticity and moral decline. Some Malian scholars emphasise that women's pop songs reflect the corruption and mixing of traditional oral genres characterised by historical knowledge, textual complexity and

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50

Snaevarr, Stefán. "Philosophy and the Interpretation of Pop Culture (review)." Journal of Aesthetic Education 42, no. 4 (2008): 111–15. http://dx.doi.org/10.1353/jae.0.0021.

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