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Blackface minstrelsy, the nineteenth-century performance practice in which ideas and images of blackness were constructed and theatricalized by and for whites, continues to permeate contemporary popular music and its audience. Harriet J. Manning argues that this legacy is nowhere more evident than with Michael Jackson in whom minstrelsy’s gestures and tropes are embedded. During the nineteenth century, blackface minstrelsy held together a multitude of meanings and when black entertainers took to the stage this complexity was compounded: minstrelsy became an arena in which black stereotypes were at once enforced and critiqued. This body of contradiction behind the blackface mask provides an effective approach to try and understand Jackson, a cultural figure about whom more questions than answers have been generated. Symbolized by his own whiteface mask, Jackson was at once ’raced’ and raceless and this ambiguity allowed him to serve a whole host of others’ needs - a function of the mask that has run long and deep through its tortuous history. Indeed, Manning argues that minstrelsy’s assumptions and uses have been fundamental to the troubles and controversies with which Jackson was beset.
This book, on Jimi Hendrix’s life, times, visual-cultural prominence, and popular music, with a particular emphasis on Hendrix’s relationships to the cultural politics of race, gender, sexuality, ethnicity, class, and nation. Hendrix, an itinerant “Gypsy” and “Voodoo child” whose racialized “freak” visual image continues to internationally circulate, exploited the exoticism of his race, gender, and sexuality and Gypsy and Voodoo transnational political cultures and religion. Aaron E. Lefkovitz argues that Hendrix can be located in a legacy of black-transnational popular musicians, from Chuck Berry to the hip hop duo Outkast, confirming while subverting established white supremacist and hetero-normative codes and conventions. Focusing on Hendrix’s transnational biography and centrality to US and international visual cultural and popular music histories, this book links Hendrix to traditions of blackface minstrelsy, international freak show spectacles, black popular music’s global circulation, and visual-cultural racial, gender, and sexual stereotypes, while noting Hendrix’s place in 1960s countercultural, US-exceptionalist, cultural Cold War, and rock histories.
Michael Jackson intrigued and captivated public imagination through musical ingenuity, sexual and racial spectacle, savvy publicity stunts, odd behaviors, and a seemingly apolitical (yet always political) offering of popular art. Intended for classroom use as well as research and general interest, Michael Jackson: Grasping the Spectacle expands our understanding both of this fascinating figure and of gender, sexuality, celebrity, and popular culture.
Bühnenperformance, Tanzfilm, YouTube-Clip und Co. - dieser Band widmet sich den verschiedenen intermedialen Beziehungen, die Tanz und Medien eingegangen sind, und bietet einen innovativen und anschaulichen, die Grenzen der Wissenschaften überschreitenden Zugang. Die erste umfassende Untersuchung zur Intermedialität des Tanzes eröffnet einen neuen Blick auf die Tanz- und Mediengeschichte des 20. und 21. Jahrhunderts. Die Auseinandersetzung der Medienwissenschaft mit Tanz und Bewegung einerseits und die Konfrontation der noch jungen Tanzwissenschaft mit Medienforschung andererseits bereichert die aktuelle und wichtige Debatte zur Interdisziplinarität.

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