Music and Television

E così di recente Gianfranco Raimondo ha aggiornato il suo modo di presentare sul web momenti interessanti di storia da lui vissuta, soprattutto a Ventimiglia e dintorni, fondando su Facebook un nuovo gruppo, come tale aperto ai contributi degli aderenti. Del resto, dall'alto dei suoi novantanni portati splendidamente di conoscenze fatte da tramandare Gianfranco ne ha sul serio tante. Su questo blog a volte si attinge alle sue esperienze. Non è possibile riassumere al meglio i racconti di Gianfranco. Non è neppure agevole raggruppare i temi da lui affrontati. Risulta più semplice procedere per esempi casuali o per connessioni con vicende qui già sottolineate. Con questa cifra si possono leggere con viva partecipazione i drammatici momenti della seconda guerra mondiale da Gianfranco attraversata in quanto ancora bambino, ma anche sorridere a fronte ai tanti aneddoti curiosi visti e raccolti da lui nei suoi traslochi di famiglia da Ventimiglia a Via Dante (da lui, come per ancora molte persone, rigorosamente chiamata Via Regina per automatico riflesso della vecchia denominazione ante conflitto di questa arteria un tempo periferica) di Ventimiglia, a Seborrino di Camporosso, a Nervia di Ventimiglia e di nuovo, ma in maniera definitiva, in Ventimiglia Centro, nonché nelle sue molteplici attività -al netto del suo mestiere -di intrattenitore di spettacoli, nella cui veste spicca l'essere stato presentatore -anche se scelto perché accettava gratuitamente l'incarico! -della Battaglia di Fiori del 1961. Può, a questo dunque, essere opportuno, perché può capitare ancora con il nuovo spazio di cui si è detto all'inizio, riportare qualche ricaduta di qualche vecchio brano di Gianfranco.

YouTube’s videographic hegemony regarding the global dissemination and reception of music videos has significantly contributed to K-pop music videos’ global success. It has also impacted notions of authenticity regarding the singer/songwriter celebrity with their fan base. This article analyzes how two music videos, “APT” by Rosé from the Korean girl group “Blackpink” with the American musician Bruno Mars, and “When I Get Old” by Chung Ha, formerly from the Korean girl group IOI, and Danish singer Christopher, are prominent examples of what I coin are “K-pop Transnational Music Video Duets” in their casting of a Korean musician with an international one. By doing so they create a transnational dialogue of musical expression that recognizes but transcends national and linguistic barriers. They embody a “DIY” (Do It Yourself) ethos of low budget aesthetics to eschew ornate production values in exchange for expressing the music artists’ youthful vitality and inventiveness through their informal and minimalistic constructions.


Keywords:  YouTube, K-pop, transnationalism, celebrity, performance music video, DIY aesthetics.

This presentation assesses and compares the impact of American touring artists and Music Variety Television (MVTV) shows on the development of popular music in the UK and Japan in the years before the rise of the Beatles (1959-64). It presents detailed data on the tours of the UK and Japan by artists from the primary working-class subcultures of the US, namely, R&B, rockabilly, country and folk. This is then followed by a detailed analysis of the first music variety TV shows created in both countries during these same years. This data and the visual materials that illustrate it provide a foundation for assessing how these tours and TV shows shaped the development of popular music and youth culture in the decades to come. Particular attention is paid to the career and decisions of the first major Japanese talent/production company, Watanabe Productions, and its co-founder, Watanabe Misa. The commercial and artistic goals of this rare Japanese female empresario and the format and structure of her company’s pioneering TV programs, The Hit Parade and Shabondama Horidei are compared with those of the British shows Oh Boy created by Jack Good as well as the highly influential Ready Steady Go. The presentation suggests that the highly divergent artistic background of the American artists who toured these two countries, as well as the nature of the MVTV-based musical performances that were available to young people in the UK and Japan were major factors leading to the equally divergent trajectories that mass popular music took in the two societies in the 1970s and beyond.

El artículo revisa aspectos de la producción musical de cuatro telenovelas —Iorana (1998), La fiera (1999), Romané (2000), Pampa Ilusión (2001)— producidas por TVN durante la que ha sido denominada la época dorada de las teleseries en Chile. Si bien estas producciones han sido un espacio fértil de análisis desde distintas perspectivas, el aspecto musical ha sido escasamente abordado a pesar de que es un elemento fundamental en cada propuesta audiovisual. El análisis da cuenta de cómo la musicalización con canciones preexistentes fue una estrategia de distanciamiento, creando mundos dramáticos de comunidades locales o época lejanas a la cultura chilena-urbana y, al mismo tiempo, articularon un diálogo entre las necesidades artísticas y códigos musicales de la cultura pop de alrededor de los 2000.

Wer an einer Musikhochschule unterrichtet, sieht sich mit der praktischen Ausbildung der Studierenden konfrontiert und hat deren künftige Beschäftigung vor Augen. Meistens ist dort die klassische schriftliche Hausarbeit keine verpflichtende Seminarleistung und hat nur begrenzten Nutzen für die spätere Berufsausübung in praktischen Musikfeldern. Dabei könnten praxisnähere Formen der Studienleistung in Betracht gezogen werden. Wie könnten diese für ein Seminar zur Analyse des Soundtracks audiovisueller narrativer Medien wie Film und Fernsehserien für Studierende aussehen, die nicht Komposition für Film und Medien als Hauptfach haben? Basierend auf Erkenntnissen aus meiner Lehre wird in diesem Beitrag vorgeschlagen, Re-Scoring-Projekte in Verbindung mit einer theoriebasierten kritischen Reflexion als ein gewinnbringendes Aufgabenformat zu betrachten. Zunächst erwerben die Studierenden wichtige analytische Kompetenzen als Grundlage für die kritische Reflexion. Danach bietet der Perspektivenwechsel von der Analyse bestehender Werke hin zu einem problemlösenden Ansatz durch das Re-Scoring den Studierenden nicht nur eine erfrischende Abwechslung, sondern auch die Möglichkeit, sich eine eigene Meinung zur Ästhetik und den Funktionen des Soundtracks zu bilden und ihre subjektive Sichtweise darauf umzusetzen. So können sie ihre durch das Seminar erworbenen analytischen Fähigkeiten mit ihren eigenen Werten und bestehenden Kompetenzen als interpretierende Künstler*innen verbinden. Aber die Re-Scoring-Projekte werden im Seminar nicht bloß als künstlerischer Output be-

This study investigates the changing dynamics of music labor in the Bollywood and Mumbai music industries in the milieu of globalization (1990-2019). By employing a case study of Sonu Nigam, a contemporary musician working in Mumbai, this paper will elaborate on the metamorphosis of the music profession with emerging avenues for performances and evolving musical stardom in these industries. Being considered the most controversial and visually popular singer in India, Nigam's success was and continues to be excessively bolstered by the increased mediatization of music in the country. With a career spanning four decades, he has worked in various capacities for music companies/ Bollywood films/concerts (as a singer, composer, and actor), and TV reality shows (as a performer, judge, and anchor). By identifying him as a force that operates through multiple registers of the music profession, this paper will discuss transforming attitudes and approaches towards music labor enhanced with new visualities of music in post-liberalized India. Using theories of intermediality and approaches of media archeology, this study will invest in mapping the socio-cultural networks and technoinfrastructural practices operating in these industries that enable new configurations and identifications of musical labor in India.

My proposal concerns Romanian variety shows, in the European context, from the period of black-and-white television. Starting from the well-known producer Valeriu Lazarov, who's career began in Romania and continued it in Spain and Italy, my approach will also include references to other producers of entertainment shows, who were attached to the francophone world, such as Alexandru Bocăneț, Tudor Vornicu.
Being an unexploited field, the few existing studies insisting on communist propaganda, I propose to study the variety shows of TVR and French Televisions to find connections, the antinomies between them, to discuss with the people of that time, who were involved in the world of entertainment televised from Romania, to look for its reflection in the newspapers of the time, to identify the existence of some international influences.

In the context of popular music studies, live performance represents a widely discussed theme which is enriched by further problematics when it deals with audiovisual media. The concept of liveness can be a relevant component of a community's musical identity, such as in the case of the Seattle grunge scene. The live dimension is therefore a grunge audiovisual topic. An example full of implications is MTV Unplugged, which hosted the participation of three different Seattle bands between 1992 and 1996: Pearl Jam, Nirvana, and Alice in Chains. After Kurt Cobain's and Layne Staley's death, these performances have been wrapped around a mythical halo, as they have become fans' main tool to elaborate their loss. By analyzing the audiovisual characteristics of the three televised concerts, the article wants to demonstrate how MTV Unplugged promoted the development of an elegiac interpretation of grunge. This affected not only the bands involved in these acoustic setlists, but the entire musical phenomenon too. Authenticity, for which liveness should act as a warrantor, collides with posthumous processes of memory, related to the inter-mundanity of the performance.

(Français plus bas)

The En quête de variété(s) research program aims to fill a gap in the history of television, and more generally in the history of audio-visual forms, by reconstructing the genesis and evolution of the variety shows on television. It is supported by Sorbonne Alliance (Panthéon Sorbonne & Sorbonne Nouvelle), in association with Institut national de l’audiovisuel (Ina).
This program is designed to develop a theoretical & aesthetic reflection on “variety” ; a historical approach to the intermediality embodied by variety shows (radio/television, cinema/television, music/television), with particular emphasis on career paths, circulations of visual and sound forms and technological issues involved in the transition from stage to screen, and from large to small screen, and on the link with the music industry ; a survey of the specific funds of the Ina.

On June 14, 2024, the program is proposing an international study day entitled En quête de variété(s), Perspectives transnationales sur les variétés à la télévision (années 1950-1980)/ Transnational perspectives on television variety shows (1950s-1980s) organized by Sébastien Denis (Panthéon-Sorbonne), Catherine Rudent and Guillaume Soulez (Sorbonne Nouvelle), in the amphi Oury, at the Sorbonne (entrance 14 rue Cujas, Paris 5e arr.).
The aim of this symposium is to examine international definitions of "variété/variety" and its television versions, and the circulation of artists, producers, (TV) stage formats, songs and attractions... from one country to another, from one medium to another. Through this comparative approach, we'll gain a better understanding of the specificities of variety shows in different countries, and how variety is a factor in both intermediality and internationalization.

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Le programme de recherche En quête de variété(s), soutenu par Sorbonne Alliance (Panthéon Sorbonne & Sorbonne Nouvelle) et en partenariat avec l’Institut national de l’audiovisuel (Ina), vise à combler une lacune de l’histoire de la télévision, et plus généralement de l’histoire des formes audio-visuelles, en reconstituant la genèse et l’évolution du genre des variétés à la télévision.
Dans une perspective pluri-disciplinaire, il s’agit d’une réflexion théorique & esthétique sur la « variété », d’une étude historique de l’intermédialité incarnée par les variétés (radio/télévision, cinéma/télévision, musique/télévision…), mettant notamment l’accent sur les parcours professionnels, les circulations formelles et les enjeux technologiques du passage de la scène à l’écran, et du grand au petit écran (et retour), et sur le lien avec l’industrie musicale, ainsi que d’une  enquête appuyée sur les fonds de l’Ina.

Le 14 juin 2024, le programme organise, sous la direction de  Sébastien Denis (Panthéon-Sorbonne), de Catherine Rudent et Guillaume Soulez (Sorbonne Nouvelle) une journée d’études internationale En quête de variété(s). Perspectives transnationales sur les variétés à la télévision (années 1950-1980) au sein de l’amphi Oury, à la Sorbonne (entrée 14 rue Cujas, Paris 5e arr.).
On s’intéressera aux définitions internationales de la « variété » et de ses versions télévisuelles, ainsi qu’aux circulations des artistes, des producteurs, des formats scéniques (télévisuels), des chansons et attractions… d’un pays à l’autre, d’un média à l’autre. A travers cette démarche comparative, on comprendra mieux quelles sont les spécificités des variétés dans les différents pays et comment la variété est un facteur à la fois d’intermédialisation et d’internationalisation.

The following article examines how celebrities and viewers negotiate the sexualization of women and men on Buzzfeed's 'celebrities reading thirst tweets' videos. In 2017, Buzzfeed, a well-known entertainment company, began a new YouTube video series in which celebrities, predominantly cishet, white men, read and react to thirst tweets (sexually explicit, sometimes humorous messages) posted about them. Because the emergence of the series overlapped with that of the #MeToo movement, the videos offer an insight into the ways in which celebrities and fans negotiate sex, sexualization, consent, and harassment during a transformative time. Through the scraping and thematic analysis of 90,963 comments from the Buzzfeed YouTube channel, this paper found differences between the ways in which male and female celebrities are expected to negotiate sexual advances where men are supposed to be flattered, and womenhesitant. Any breaches in such social scripts are met with ridicule, belittlement and critique. In particular, this article demonstrates how viewers use the discourse of 'double standards' against both men and women. The importance of this study lies in its call for attention to overlapping processes accruing in society, the sexualization of culture and #MeToo, and the ways in which they are negotiated through stardom.

Although abstinence-only programs in the United States have historically failed to provide medically accurate information on sexual health, young people in the twenty-first century have turned to YouTube to answer their sex questions. The accessible and engaging format of the YouTube video has helped some sex educators achieve Internet fame among a mass audience of users devoted to watching their web series and interacting with them on social media. Using two sex education channels (Laci Green’s Sex Plus and Lindsey Doe’s Sexplanations) as case studies, this article investigates the ways in which YouTube stardom shapes the production of and engagement with online sex education videos. In doing so, the article uncovers how Internet fame helps to create a brand of sex education salient to audiences across media platforms that rely on the illusion of face-to-face interaction, the development of an authoritative yet approachable identity, and the cultivation of a virtual community.

This article is focused on the scenography designs of the asturian artist Juan Suárez Botas. Since the premiere of MTV in August 1981, music videos have increased its importance and contribute towards forming the MTV's image. Ten years later, in 1991, Juan Botas was the MTV election to develop several sets for the multinational. The channel chose Botas' project because it was an interesting and strong visual proposal, based on the aesthetic possibilities that these designs offered to get a successful staging. The text explain this project, and valuate Botas' designs correctly, using an appropriate methodology based on a research of the communication process and the artist's ideas about that, with references as a support. Furthermore, the article studies, substantially, the television techniques and tactics, knowing the scope of MTV's multicultural offer and aesthetic ideals to analyze the whole project of Botas' set designs.

This is a revised and adapted version, with the notable changes being additional notes and the bibliography. 'apparato ideologico' dal dittatore Salazar-, sotto il controllo di un rigoroso Ufficio di censura per impedire la circolazione di qualsiasi contenuto potenzialmente sovversivo, specialmente se relativo alle questioni africane, fu usata contro se stessa da un 'Angelo Nero'.

La cineterapia es una técnica de psicoterapia en la cual se presentan películas de relevancia vital y psicológica. Se parte de la premisa que la película tiene un valor metáforico de resonancia para el paciente, motivando al cambio a través de la introspección. En este breve libro introductorio, se discute el origen de la cineterapia, las 4 etapas según Birgit Wolz y otros marcos teóricos de relevancia. También se discute el estado actual de la evidencia para la cineterapia, sus indicaciones más prevalentes y otros temas de interés clínico. Finalmente, se presentan sugerencias para crear un índice fílmico de cineterapia.

Representaciones e imaginarios urbanos a través de los opening de tres series estadounidenses: The Sopranos, Weeds y House of Cards Las secuencias de apertura de una serie o de una película funcionan como preámbulo en el que se encapsulan elementos denotativos de la trama o se insertan atributos estéticos e iconográficos directamente relacionados con la historia. Este trabajo analiza la representación de la ciudad contemporánea estadounidense a través de los openings de tres series recientes con notable recepción: The Sopranos (HBO, 1999–2007), Weeds (Showtime, 2005–2012) y House of Cards (Netflix, 2013–2018). Se lleva a cabo una caracterización de estos espacios urbanos, la representación y uso que se hace de sus elementos, la diferenciación (o no) entre “realidad” y ficción en cuanto a la configuración de su dimensión espacial y urbana, junto con la proyección mediática de los distintos contextos urbanos. The Sopranos y House of Cards dan cuenta de la figuración y funcionalidad de...

Es el momento del jazz y Derbez se regodea en este género que encuentra su acta de nacimiento en Nueva Orleans y su paternidad y maternidad, sí, también, en los sensibles, rebeldes e intensos negros. Con un reconocimiento a Eubie Blake, en pleno goce del ragtime, el autor abre la puerta de ingreso al jazz ("el gran arte de escuchar para escucharte") y de ahí aparece una pléyade inabarcable de luminarias del jazz como Miles Davis, Charlie Haden, Carla Bley, Palabras y acordes Relato Alfonso Colorado v. v. a. a., Relatos de música y músicos. De Voltaire a Ishiguro (1766-2013), sel. y present. de Marta Salís, v.v. traductores, Barcelona, Alba, 2018, 730 pp. * Dejé de huir, porque siempre me anticipé atrapada. Diana Marlene, nacida en Xalapa, Ver., y actual estudiante de la licenciatura en Lengua y Literatura Hispánicas en la uv, es escritora y cantante versátil.

Water Walk requires the performer to execute a sequence of actions involving instruments and everyday objects. Written for the Italian television quiz show Lascia o raddoppia? in 1959, the piece was introduced by John Cage as “music to be seen”. This epithet is suggestive of the combination of sonic and visual stimuli that the composer was expecting to provide with his performance. By conjoining ‘music’ and ‘sight’, it is also revealing of Cage’s discursive strategy in approaching the medium for the first time. That is, the championing of the idea, at once reassuring and exciting, that his work was the extension of his music to television: namely the addition of sight to sound. Based on the examination of his working material and the footage of the performance, this paper focuses on Cage’s adaptation of his musical praxis for television. In particular, it calls attention to the relationship of causality between the objects (instruments, props, and noise makers) included in the instrumentation for Water Walk and the types of actions created. The point at stake concerns the visual contents introduced by developing actions out of common objects. Evidently, Cage looked at television as an opportunity to experiment in terms of visuality and theatricality. Yet, although he would even include one narrative pattern in his piece, he would ultimately not step out of his role as instrumentalist, since his performances would not include play-acting. Created for television, Water Walk blurred the distinction between music and theatre, marking out a new territory in-between.

This research adopts a feminist content analytic framework to examine the portrayal of Nigerian women in the work of Uko Akpan Cultural Group, iconic champions of folk music in southeastern Nigeria. The purpose of this research is to understand if folk music reinforces gender stereotypes or empowers women by providing them with a legitimate platform to utilize their talents as a source of income and livelihood. To achieve the goal of the research, ten hours of digital content were examined for mentions, images, and the presence of girls and women and the contexts in which they occur in the work of the Uko Akpan Cultural Group. The content included songs, choreography, costume, instrumentation, and public performances spanning several decades and addressing key socio-political and cultural issues. The research demonstrates that while folk music provides a legitimate platform for women to showcase their talents as artists against the backdrop of patriarchal structures, it also reinforces gender stereotypes and narratives of women as subordinate and subservient beings. Folk music can be a viable vehicle for the advancement of women, especially those on the socioeconomic and geographic margins of society if new narratives about women are integrated into the artifacts of folk music.

Nell’Ottocento italiano il teatro d’opera rappresenta la principale forma di spettacolo e il fulcro della vita sociale di grandi e piccoli centri. Intrattenimento d’élite, investito di un ruolo di rappresentanza, tocca però tutti gli strati della società urbana, assume ruoli molteplici ed è fruito in modo differente, talora antagonistico, da gruppi di spettatori diversi per estrazione socioculturale, interessi e motivazione. Il volume indaga il contesto istituzionale e politico, la composizione sociale del pubblico, i modi di vivere la serata a teatro; si sofferma sugli orizzonti d’attesa degli spettatori e sulle loro sensibilità di ascolto e di visione; evidenzia in quanta misura usi sociali e pratiche culturali contribuiscano a determinare riflessi e scelte degli autori. Delinea poi un quadro della diffusione del genere e dei suoi “prodotti derivati” al di fuori del teatro, incluse le implicazioni nel processo risorgimentale. Dopo l’Unità le mutate condizioni politiche e sociali trasformeranno la natura dell’opera italiana, sottoponendola alla disgregazione dei livelli di cultura tipica delle società di massa, ma anche suscitando la creazione del nuovo mito della “popolarità”.

Tutte le classi della società Testimonianze e mitologie 1. Sale, pubblici, istituzioni Dalle corti alle città • • Puntini sulla carta geografica • • Un luogo osservabile • • La Fenice e gli altri • • Per ogni «ramo della società» • • Un anno a Milano 2. Andare all'opera: «scuola di civiltà» Una sala di conversazione • • Lo spettacolo della società • • Grissini ed entusiasmi reali • • «Al teatro al solito fino alle 12» • • Un frastuono insopportabile • • Palchettisti e parterriani • • Applausi, silenzio e attenzione • • L'opera a puntate 3. Ascoltare, guardare l'opera: "sensualità" e "filosofia" Ciò che piace senza sforzo • • Educazione e diletto • • La voce, l'accento, il gesto • • La scoperta dell'autore • • Svenire per l'emozione • • Le lacrime di Clelia • • «Pagine anticipate della vita» • • Dialoghi e tableaux

Nell’Ottocento italiano il teatro d’opera rappresenta la principale forma di spettacolo e il fulcro della vita sociale di grandi e piccoli centri. Intrattenimen- to d’élite, investito di un ruolo di rappresentanza, tocca però tutti gli strati della società urbana, assume ruoli molteplici ed è fruito in modo differente, talora antagonistico, da gruppi di spettatori diversi per estrazione sociocul- turale, interessi e motivazione. Il volume indaga il contesto istituzionale e po- litico, la composizione sociale del pubblico, i modi di vivere la serata a teatro; si sofferma sugli orizzonti d’attesa degli spettatori e sulle loro sensibilità di ascolto e di visione; evidenzia in quanta misura usi sociali e pratiche cultu- rali contribuiscano a determinare riflessi e scelte degli autori. Delinea poi un quadro della diffusione del genere e dei suoi “prodotti derivati” al di fuori del teatro, incluse le implicazioni nel processo risorgimentale. Dopo l’Unità le mu- tate condizioni politiche e sociali trasformeranno la natura dell’opera italiana, sottoponendola alla disgregazione dei livelli di cultura tipica delle società di massa, ma anche suscitando la creazione del nuovo mito della “popolarità”.

Desde sus orígenes, la música es considerada un arte. Un lenguaje codificado presente en todas las culturas y probablemente anterior al lenguaje verbal. La música -como la ciencia-, encuentra sus bases en la observación, tiene un fundamento matemático y ayuda a desarrollar el pensamiento lógico. Platón expresaba que la música es para el alma lo que la gimnasia para el cuerpo, de lo cual se concluye, que la música es un lenguaje que sirve como un medio de expresión que posee propiedades específicas, mismas que actúan sobre el ser humano y tienen la capacidad de producirle diversos estados de ánimo que despiertan su espiritualidad e intelecto.

In this article, we investigate how music is used in Mad Men (Lionsgate, 2007-2015) and Wolfenstein: The New Order (Bethesda Softworks, 2014) to signify a temporality in media that we call the "half-imagined past": anterior time situated partly in mediated imagination and partly in historical reference. We thus refer to a qualitative concept of an anterior time signified by pointers to the historical period through media, objects, emotions, symbols and sensorial experiences. We further argue that the half-imagined past in screen media not only converges in imagination, memory and historical reference, but does so in a nexus of contemporary ideological and cultural politics. In that sense, pastness in popular media is not only an audiovisual representation, but also a co-construction between media and audience made up of both imagination and the ideological placing of historical references, in this case through the use of music.

Entre 1975 y principios de 1979, el compositor argentino Adolfo Waitzman (1932-1998) mostró su versatilidad al servicio de Televisión Española (TVE), en unos formatos de gran repercusión emitidos por la citada televisión pública. Una etapa en la que España estaba viviendo una trascendental transición de la dictadura franquista a una incipiente democracia. En este artículo se analiza su aportación en la serie "Este señor de negro" (1975-1976), dirigida por Antonio Mercero, que consiguió un gran éxito de público y, sobre todo, de crítica. El siguiente trabajo es el que más popularidad le proporcionó: las músicas creadas para la segunda etapa (1976-1978) del concurso "Un, dos, tres…responda otra vez". Por último, colaboró en el programa musical "El hotel de las mil y una estrellas (1978-1979)", protagonizado por el cantante y compositor argentino Luis Aguilé. En resumen, unos programas muy diversos para una TVE que, a su vez, estaba en plena transformación.

This study rhetorically analyzed the final season of The Sopranos for its argument about the nature of psychological depression in several contexts and forms. Consisting of nine episodes, the final season of the series features pivotal moments in which characters confront the sources of their depression and respond to them in a variety of ways. The study used both an intertextual analysis and Burkean frames to provide insight into how the final season argues one might overcome various forms of depression. It specifically considered depression related to one’s family experiences, their existential concerns regarding death and spirituality, and their indulgence in contemporary media platforms. The study’s general implications and applications to future research are also discussed.

While highlighting the prevailing role of television in Western societies, Art vs. TV maps and condenses a comprehensive history of the relationships of art and television. With a particular focus on the link between reality and representation, Francesco Spampinato analyzes video art works, installations, performances, interventions and television programs made by contemporary artists as forms of resistance to and appropriation and parody of mainstream television.

The artists discussed belong to different generations: those that emerged in the 1960s in association with art movements such as Pop Art, Fluxus and Happening; and those appearing on the scene in the 1980s, whose work aimed at deconstructing media representation in line with postmodernist theories; to those arriving in the 2000s, an era in which, through reality shows and the Internet, anybody could potentially become a media personality; and finally those active in the 2010s, whose work reflects on how old media like television has definitively vaporized through the electronic highways of cyberspace.

These works and phenomena elicit a tension between art and television, exposing an incongruence; an impossibility not only to converge but at the very least to open up a dialogical exchange.

Table of Contents
Introduction
1. Historical and Theoretical Frameworks
2. TV as a Mirror: Manipulations, Interruptions, and Re-presentations
3. Breaking News: Television Between Art and Activism
4. Artists as Media Stars
5. Disentertainment: Music Videos, Kid Shows, Humor, and Soap Operas
6. Art in the Age of Prosumers: Reality TV and the Internet
Acknowledgements
Works Cited
Bibliography
Index

O artigo pretende compreender de que maneira uma categoria de premiação atua na consolidação das características estruturais do videoclipe. Para tanto, a proposta é analisar os 30 primeiros vencedores (1984-2014) da categoria Video of the Year, do Video Music Awards (VMA), a mais importante premiação do videoclipe, no intuito de perceber convenções que a premiação ajudou a consolidar. Como argumento central, considera-se que a categoria é um elemento fundamental do desenvolvimento do videoclipe especialmente em duas frentes: 1) ela potencializa que o videoclipe seja percebido como produto artístico e 2) ajuda a naturalizar características relacionadas à linguagem do gênero. Contudo, essa consolidação acontece através de variadas estratégias executadas pela MTV, criadora da premiação, visando a sua própria legitimação.

In this article, we investigate how music is used in Mad Men (Lionsgate, 2007-2015) and Wolfenstein: The New Order (Bethesda Softworks, 2014) to signify a temporality in media that we call the "half-imagined past": anterior time situated partly in mediated imagination and partly in historical reference. We thus refer to a qualitative concept of an anterior time signified by pointers to the historical period through media, objects, emotions, symbols and sensorial experiences. We further argue that the half-imagined past in screen media not only converges in imagination, memory and historical reference, but does so in a nexus of contemporary ideological and cultural politics. In that sense, pastness in popular media is not only an audiovisual representation, but also a co-construction between media and audience made up of both imagination and the ideological placing of historical references, in this case through the use of music.

The past thirty years of American TV has seen the rise of what television scholar Jason Mittell terms ‘Complex TV’. These are TV series that prioritise narrative complexity, balancing between serial and episodic storytelling modes. This article explores the role that music plays in this serialized form, using Ramin Djawadi’s score for Game of Thrones (HBO) as its focus.

True-real Fantasies in K-pop Videos and Korea’s Exportation of a Post-reality Youth Enchantment Originated in Korean Culture


Mike Walker

Savannah College of Art and Design                        Harn Museum,
Department of Fine Arts                                            Asian Arts Collection


ABSTRACT:

As K-pop has recently become one of the most popular and financially lucrative of music genre, the funding and imperative for increasingly sophisticated and visually impressive music videos supporting the chart-topping hits of leading artists has grown as well. What is more, the aesthetics of such videos are unique: a strong tendency towards hyper-stylized, glossy, imaginative settings and circumstances is seen and even when a realistic setting is provided—such as an urban street—it often takes on tropes and the highly-stylized appearance of a Hollywood sound stage rather than an actual real-world location. This paper seeks to examine such praxis in K-pop music videos and explores why a distinct visual style has very rapidly evolved in K-pop and how this aesthetic is connected to both older trends in Korean visual art and also the imperative of the Hallyu, or “Korean Wave”, in exporting Korean pop culture. The considerations of not only visual aesthetics but also denotative and connotative actualization of place and space, especially in an urban context, are explored. Julia Kristeva’s concept of le vréel or “the true-real” is also examined in relation to these video trends and the question is raised of whether Eurocentric views such as Kristeva’s from decades ago still apply to non-Western contemporary arts and also to the advent of highly realistic digitally-mediated art such as the wondrous effects possible from visual effects studios today.

El cine se presenta como un sugerente instrumento capaz de facilitar al espectador el acercamiento al Medievo con un alto grado de proximidad y una sensación de realismo difícil de lograr desde otros ámbitos'. Sin embargo, el denominado cine histórico tiende a deformar la realidad puesto que se trata, en definitiva, de la plasmación de las inquietudes de los directores de cine y, por lo tanto, este tipo de films suelen responder a preocupaciones sociales y políticas de la época en la que se realizan. El Reino de los Cielos tiene más

Fra modi e generi, codici e mezzi, finzione e realtà. Pratiche intense di sconfinamento nella società della modernità liquida di Remo Ceserani p. Drammaturgie del testo narrativo di Nino Borsellino p. Il Novecento e la letteratura francese. Un secolo per uscire dalla crisi di Matteo Majorano p. Drammaturgie a confronto. Letteratura e cinema: un problema di intraducibilità di Liborio Termine p. Le forme della narrazione nel Novecento: dalla lettura allo sguardo di Goffredo Fofi p. Biosfera e mondo delle idee nel testo letterario e nel film di Giuliana Nuvoli p. Televisione, di ieri e di oggi, e lingua: da nuovo modello a negazione di modello di Ilaria Bonomi p. Quando il racconto diventa immagine. Forme e modalità narrative nel fumetto dalle daily strips alla graphic novel di Enrico Fornaroli p. Cosa ci raccontano i testi e le musiche delle canzoni del Novecento di Franco Fabbri p. Ecco la torre dove d'estate gelano i prigionieri di Marzio Pieri p. PARTE II. INTERVENTI Le notti bianche: dalle rive della Neva ai fossi livornesi di Silvia Ascione p. 135 Vladimir Vysockij: il poeta con la chitarra di Silvia Ascione p. 137 Salvare il non detto: les Éditions de Minuit, la guerra d'Algeria e la tortura di Elisabetta Bevilacqua p. 139 Letteratura e cinema, poesia e canzone: generi a confronto di Maria Borio p. 142 Sagapò: da un film mancato all'Oscar I racconti di Renzo Biasion e la sceneggiatura di Mediterraneo di Silvia Cavalli p. 144 Antonio Tabucchi autore liquido di Francesco Chianese p. Fumetto, mondo accademico, sensibilità collettiva di Francesco Chianese p. La vocazione pedagogica di Pier Paolo Pasolini di Alfredo Dell'Era p. A proposito di Notturno indiano, tra testo e cinema di Fernando Funari p. 149 Grazia Nidasio al tempo delle mele (verdi) di Cecilia Ghidotti p. Extrême contemporain e narratori degli anni zero di Cecilia Ghidotti p. La popular music: il suono che ci avvolge di Simone Giorgino p. Produzione editoriale e cultura popolare. Rilievi sulla storiografia del fumetto e della fantascienza in Italia di Giulia Iannuzzi p. La trasposizione di Francesca da Rimini di Teresa Malara p. Elementi proustiani in Tabucchi e Alvaro di Teresa Malara p. Neo-fantastico e letteratura africana di lingua francese di Jada Miconi p. Breve riflessione sul ruolo dei dialetti nelle fiction della tv italiana: alcuni esempi di Ilaria Mingioni p. Qualche riflessione sugli studi sul libretto d'opera di Daria Parisi p. Il fumetto d'autore italiano Napoleone tra Baudelaire e Kafka di Federico Romagnoli p. La trama chiusa e la «minore tensione letteraria» in Tabucchi di Francesco Sielo p. La teatralità del romanzo ottocentesco: il caso dei Promessi Sposi di Francesca Suppa p. APPENDICE Presentazione dei partecipanti p. Alle festen eingerosteten Verhältnisse mit ihrem Gefolge von altehrwürdigen Vorstellungen und Anschauungen werden aufgelöst, alle neugebildeten veralten, ehe sie verknöchern können. Alles Ständische und Stehende verdampft, alles Heilige wird entweiht, und die Menschen sind endlich gezwungen, ihre Lebensstellung, ihre gegenseitigen Beziehungen mit nüchternen Augen anzusehen [1848, ediz. 1975, IV, 462]. Le traduzioni italiane di questo passo tendono a banalizzare un poco la forza delle metafore usate dai due filosofi tedeschi. Ecco una traduzione letterale: * Il titolo previsto da Marzio Pieri per il suo intervento era: Aide da tre soldi, il Barone che gioca e l'Isola Ferdinandea. Maschere, libertini e volidinotte nell'avventura del libretto novecentesco fra Tragedia e Musical.

Este trabajo ha tenido como objetivo comprender como se esta representando el genero en la actualidad en los contenidos musicales emitidos por television. En cierto modo se ha continuado la linea de los trabajos que, desde mediados de los anos 80, han analizado el formato estrella de televisiones musicales formula como MTV y BET, el videoclip. Sin embargo, este estudio se ha interesado por la programacion musical de televisiones generalistas, desplazando asi el interes del videoclip, un producto publicitario de produccion externa, a un formato mas propiamente televisivo, sometido a las rutinas productivas de una cadena. El estudio se ha centrado en televisiones de caracter publico. La mayor relevancia social y, en ocasiones, economica, asi como su mayor compromiso con la representacion no discriminatoria de las personas han contribuido a esta decision. Las televisiones de la muestra de este estudio son las operantes en Espana, el Reino Unido y los Estados Unidos. La exploracion se h...

Fra modi e generi, codici e mezzi, finzione e realtà. Pratiche intense di sconfinamento nella società della modernità liquida di Remo Ceserani p. Drammaturgie del testo narrativo di Nino Borsellino p. Il Novecento e la letteratura francese. Un secolo per uscire dalla crisi di Matteo Majorano p. Drammaturgie a confronto. Letteratura e cinema: un problema di intraducibilità di Liborio Termine p. Le forme della narrazione nel Novecento: dalla lettura allo sguardo di Goffredo Fofi p. Biosfera e mondo delle idee nel testo letterario e nel film di Giuliana Nuvoli p. Televisione, di ieri e di oggi, e lingua: da nuovo modello a negazione di modello di Ilaria Bonomi p. Quando il racconto diventa immagine. Forme e modalità narrative nel fumetto dalle daily strips alla graphic novel di Enrico Fornaroli p. Cosa ci raccontano i testi e le musiche delle canzoni del Novecento di Franco Fabbri p. Ecco la torre dove d'estate gelano i prigionieri di Marzio Pieri p. PARTE II. INTERVENTI Le notti bianche: dalle rive della Neva ai fossi livornesi di Silvia Ascione p. 135 Vladimir Vysockij: il poeta con la chitarra di Silvia Ascione p. 137 Salvare il non detto: les Éditions de Minuit, la guerra d'Algeria e la tortura di Elisabetta Bevilacqua p. 139 Letteratura e cinema, poesia e canzone: generi a confronto di Maria Borio p. 142 Sagapò: da un film mancato all'Oscar I racconti di Renzo Biasion e la sceneggiatura di Mediterraneo di Silvia Cavalli p. 144 Antonio Tabucchi autore liquido di Francesco Chianese p. Fumetto, mondo accademico, sensibilità collettiva di Francesco Chianese p. La vocazione pedagogica di Pier Paolo Pasolini di Alfredo Dell'Era p. A proposito di Notturno indiano, tra testo e cinema di Fernando Funari p. 149 Grazia Nidasio al tempo delle mele (verdi) di Cecilia Ghidotti p. Extrême contemporain e narratori degli anni zero di Cecilia Ghidotti p. La popular music: il suono che ci avvolge di Simone Giorgino p. Produzione editoriale e cultura popolare. Rilievi sulla storiografia del fumetto e della fantascienza in Italia di Giulia Iannuzzi p. La trasposizione di Francesca da Rimini di Teresa Malara p. Elementi proustiani in Tabucchi e Alvaro di Teresa Malara p. Neo-fantastico e letteratura africana di lingua francese di Jada Miconi p. Breve riflessione sul ruolo dei dialetti nelle fiction della tv italiana: alcuni esempi di Ilaria Mingioni p. Qualche riflessione sugli studi sul libretto d'opera di Daria Parisi p. Il fumetto d'autore italiano Napoleone tra Baudelaire e Kafka di Federico Romagnoli p. La trama chiusa e la «minore tensione letteraria» in Tabucchi di Francesco Sielo p. La teatralità del romanzo ottocentesco: il caso dei Promessi Sposi di Francesca Suppa p. APPENDICE Presentazione dei partecipanti p. Alle festen eingerosteten Verhältnisse mit ihrem Gefolge von altehrwürdigen Vorstellungen und Anschauungen werden aufgelöst, alle neugebildeten veralten, ehe sie verknöchern können. Alles Ständische und Stehende verdampft, alles Heilige wird entweiht, und die Menschen sind endlich gezwungen, ihre Lebensstellung, ihre gegenseitigen Beziehungen mit nüchternen Augen anzusehen [1848, ediz. 1975, IV, 462]. Le traduzioni italiane di questo passo tendono a banalizzare un poco la forza delle metafore usate dai due filosofi tedeschi. Ecco una traduzione letterale: * Il titolo previsto da Marzio Pieri per il suo intervento era: Aide da tre soldi, il Barone che gioca e l'Isola Ferdinandea. Maschere, libertini e volidinotte nell'avventura del libretto novecentesco fra Tragedia e Musical.

Through the abundant use of the bawdy, humorous songs of British music hall, The Muppet Show delivered a potent critique of constructed notions of a protectionist childhood. Paradoxically perhaps, the music hall songs, carnivalesque comedy and frequent depictions of sex, sexuality, and violence also did much to construct The Muppet Show’s intended “family” audience while simultaneously providing a direct challenge to its normative sanguinuptial (blood and marriage) construction. This intergenerational family audience is crucial to the child’s interpretation of The Muppet Show’s complex and contentious content - subject matter that is rarely included in media made for a solely child audience. While the musical sketches open up an interpretive space for the child to encounter, resist, and subvert the range of fluid identities hinted at onscreen, the process is simultaneously constricted by the musical-visual texts themselves and by
The Muppet Show’s family-reception context. As such, this case study reveals the inherent tensions of targeting a family audience through music and television.

Gibt es einen Soundtrack zur Corona-Krise? Wie klingt die Pandemie? Die popmusikalischen Beiträge, die in Antwort auf COVID-19 entstanden sind, liefern nicht nur Unterhaltung, sondern Einblicke in die Hintergrundkonflikte des Krisengeschehens

O artigo pretende compreender de que maneira uma categoria de premiação atua na consolidação das características estruturais do videoclipe. Para tanto, a proposta é analisar os 30 primeiros vencedores (1984-2014) da categoria Video of the Year, do Video Music Awards (VMA), a mais importante premiação do videoclipe, no intuito de perceber convenções que a premiação ajudou a consolidar. Como argumento central, considera-se que a categoria é um elemento fundamental do desenvolvimento do videoclipe especialmente em duas frentes: 1) ela potencializa que o videoclipe seja percebido como produto artístico e 2) ajuda a naturalizar características relacionadas à linguagem do gênero. Contudo, essa consolidação acontece através de variadas estratégias executadas pela MTV, criadora da premiação, visando a sua própria legitimação.

Building on previous research regarding popular music and the culture industries, this article examines the intersection between gender politics in Chinese societies and the musical success of Faye Wong, the reigning diva of the Hong Kong-based pop music industry. Influential among adolescents and young women, she has not only become a figure for textual identification but also a polysemic icon for cultural aspirations and feminist projects throughout Greater China. Unlike earlier female singing stars, Faye's music and public persona explicitly defy standard market practices and conventional representations of femininity. Yet, paradoxically, these unconventional qualities have contributed to her sustained success over the past 10 years. Thus, Faye's star persona operates both as a marketable commodity and as a site of significant cultural work in the realm of gender politics. Using Bourdieu's distinction between economic and cultural capital, our analysis shows how music companies enriched Faye's cultural capital as part of their promotional efforts and how she in turn exploited that very capital in unconventional ways. q K E Y W O R D S q Chinese media q cultural capital q culture industries q Faye Wong q feminism q popular music

For many people outside the South Korean popular music (K-pop) world, the December 2017 death of pop star Kim Jonghyun was a sad, but abstract event. Jonghyun, and dozens more like him, is a type of Korean celebrity known as an "idol." In addition to being popular within Korea, idols are the public face of K-pop, which has become a worldwide phenomenon. This has made idols into incarnations of Korea and Korean culture, and brought the public’s powerful disciplining gaze to bear on these young performers. In this paper, we explore how characteristics of life in contemporary Korea—including a high suicide rate, and intense pressures in educat ion and employment—compound with idols’ years of intense training in singing and dancing without adequate attention to physical, much less mental, health. Although this is the first incident of an A-list K-pop idol committing suicide, we propose that the nature of contemporary Korean celebrity, together with specific factors defining th...

David Shore, the co-creator of House M.D., openly acknowledged the show’s debt to the  Sherlock Holmes stories of Arthur Conan Doyle, from the anchoring concept of a case-solving genius who lives for his work to the homonymic pun of the main character’s name. Shore and his collaborators also followed Doyle’s lead in leveraging musicality as a humanizing element, a mode through which these famously rational characters wind down and “feel.” In the case of Sherlock Holmes, his love of music (and the violin in particular) adds Romantic-hero appeal; music evokes the private, dreamy side of Holmes, a man usually so devoted to the rational that his best friend Watson once angrily described him as “an automaton—a calculating-machine!”A similar dialectic exists in the case of Dr. House, whose cynicism, arrogance, and obsession with puzzles makes him difficult to like, even after he pulls a miracle diagnosis out of his brain. In fact, music facilitates many of the rare glimpses into House’s tortured, Gordian psyche. Curiously, much of the published literature on House M.D., while admittedly still slim to date, overlooks the central place of music in the doctor’s world.


My purpose in this study will be to conduct a deeper investigation—a diagnostic differential, so to speak—into the musical Dr. House, identifying intertextual connections to the Sherlock Holmes stories, but also exploring how the audio-visual medium and the considerable musical talents of the show’s star, Hugh Laurie, tremendously enhance the dramatic force of the character. The show’s creators consistently featured musical references—musicians, instruments, trivia—in scripts, and smoothly incorporated Laurie’s musicianship into the storytelling. As a result, House’s musicality is not just more believable, but Laurie’s onscreen performances offer a compelling mode for understanding the character more deeply. I will explore the revelatory aspects of House’s musicking with reference to a variety of scenes throughout the series, but most fully in the final section of this essay with a detailed analysis of the music-themed episode, “Half-Wit.”

For many people outside the South Korean popular music (K-pop) world, the December 2017 death of pop star Kim Jonghyun was a sad, but abstract event. Jonghyun, and dozens more like him, is a type of Korean celebrity known as an "idol." In addition to being popular within Korea, idols are the public face of K-pop, which has become a worldwide phenomenon. This has made idols into incarnations of Korea and Korean culture, and brought the public’s powerful disciplining gaze to bear on these young performers. In this paper, we explore how characteristics of life in contemporary Korea—including a high suicide rate, and intense pressures in educat ion and employment—compound with idols’ years of intense training in singing and dancing without adequate attention to physical, much less mental, health. Although this is the first incident of an A-list K-pop idol committing suicide, we propose that the nature of contemporary Korean celebrity, together with specific factors defining th...

The paper examines the complex relationship between a lauded American animated sitcom South Park on the one side, and literature, especially satire, on the other side. Upon asserting the bond between literature and popular culture, numerous references presented in the show are pointed out, namely the stance the authors take on literature and the act of reading, the types and subtypes of humor exhibited, and topicality. Finally, using the writing of Mikhail Bakhtin, South Park itself is treated as literature as its type of humor is a continuation of an age-old literary tradition of laughter. The conclusion asserts this as it is revealed that South Park owes much of its popularity to the literary aspect of the humor exhibited in the show.