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New Wave: Image is Everything [Hardback]

4.80/5 (5 ratings by Goodreads)
  • Formāts: Hardback, 147 pages, height x width: 216x140 mm, weight: 336 g, XII, 147 p., 1 Hardback
  • Sērija : Pop Music, Culture and Identity
  • Izdošanas datums: 06-Feb-2015
  • Izdevniecība: Palgrave Macmillan
  • ISBN-10: 1137363541
  • ISBN-13: 9781137363541
Citas grāmatas par šo tēmu:
  • Hardback
  • Cena: 75,00 €
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New Wave: Image is EverythingPalielināt
  • Formāts: Hardback, 147 pages, height x width: 216x140 mm, weight: 336 g, XII, 147 p., 1 Hardback
  • Sērija : Pop Music, Culture and Identity
  • Izdošanas datums: 06-Feb-2015
  • Izdevniecība: Palgrave Macmillan
  • ISBN-10: 1137363541
  • ISBN-13: 9781137363541
Citas grāmatas par šo tēmu:
Permanent link: https://www.kriso.lv/db/9781137363541.html
Keywords:
While punk often receives more scholarly attention, new wave marks an even more important turning point in music history, one that continues to resonate in popular culture today. New Wave: Image is Everything traces the evolution of this often neglected pop genre by focusing on an eclectic collection of artists from Elvis Costello to Cyndi Lauper, Devo to Duran Duran. In addition, it explores a number of important historical moments, such as MTVs first broadcast, and how these moments helped to shape our world. The book also argues that new wave was among the first flowerings of postmodern theory in popular culture, and in doing so it not only provides a history of new wave, but also helps explain the basic principles of postmodernism by putting them in easy to understand terms.

Recenzijas

"Falling through the cracks between canonical studies of punk and recent work on post-punk, the music and culture of New Wave remain unexplored by scholars or critics. Matthew Adkins' New Wave: Image is Everything goes a long way in filling in this gap. Full of insights and theoretically rich, this book sets new wave against the backdrop of 1980s image culture, tracing its roots in Pop Art and deftly mapping the connections between music, media and that cultural condition which came to be known as postmodernism." - Will Straw, McGill University, Canada

Preface ix
Acknowledgments xii
1 An Introduction
1(18)
Pressing play
1(6)
A history of definitions
7(3)
Toward a new definition
10(3)
Putting this new definition to work
13(3)
Looking ahead to the rest of the story
16(3)
2 New Wave's Rise in the U.K.
19(22)
Frankie say
19(1)
Punk falters; new wave rises
20(4)
An end to revolution - all revolution
24(2)
Political change
26(2)
What's real?
28(5)
A theoretical framework
33(5)
A perfect storm
38(3)
3 New Wave's Rise in the U.S.
41(23)
A nation of consumers
41(3)
Practical postmodernism
44(3)
Mechanical reproduction: Warhol and Devo
47(5)
Too many choices: Warhol and the Talking Heads
52(5)
Celebrity images: Warhol and Blondie
57(3)
Other American voices
60(4)
4 Making the Image Everything
64(21)
Changing times
64(2)
A brief history of sound and image
66(2)
The Face
68(6)
Music video
74(6)
From early to late
80(5)
5 Pure Image
85(23)
Postmodernism arrives
85(7)
Something from nothing
92(8)
Emptier and emptier
100(4)
New wave lessons
104(4)
6 The Return of Meaning
108(14)
End of an era?
108(1)
New wave makes a difference
109(6)
Looking for traces
115(7)
Notes 122(2)
Bibliography 124(3)
Discography 127(12)
Index 139
M. King Adkins works primarily in the fields of postmodernism and popular culture. During a postdoctoral fellowship at Georgia Tech, he began seeking ways to connect these research areas to STEM education. Currently he serves as Assistant Professor of Humanities at the South Dakota School of Mines and Technology in Rapid City, South Dakota.