Documents found
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1547.
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1548.More information
The Hollywood film musical featured, among all kinds of production numbers, some presenting instruments and instrumentalists shown while performing. This became a typical attraction, which this article tackles in a historical and aesthetical perspective. These numbers can be related to Hollywood's position between two other media: the Broadway stage and the radio. The film industry thereby offers an original spectacle while benefiting from the musicians' circulation across media spaces. Aesthetically, the numbers are directed and edited following recurring principles, on the one side imitations of other iconographic traditions and on the other side the design of a of visual musicality. Common forms can be identified beyond the musical styles involved in those numbers (jazz, swing, latin or classical music). Numbers with instruments thus appear as an important part of the Hollywood cultural syncretism.
Keywords: Hollywood, numéros musicaux, instrumentistes, intermédialité, attractions, Hollywood, musical numbers, instrumentalists, intermediality, attractions
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1549.
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1550.More information
Fernand Braudel has written that ‘“industrial civilization' is only one of the features of western civilization” and that “in accepting it, the world does not necessarily by the same token accept the whole of this civilization — quite the contrary”. One could well say the same thing about so-called “global” culture, which does not necessarily represent the homogenization of local cultures. Global culture is a means of managing the “local” past, in that the models conveyed by this culture can be seen as ways of dealing with the memory as well as the mourning of national cultures. In this article, the author uses a binary model of poly- or monostylistic cultures developed by Leonid Ionin, following Lotman and Oupenski. He applies it to rock song lyrics and presents interviews with musicians. This analysis enables the aesthetic of Russian rock to be understood as a culture that situates itself in opposition to the old soviet culture, that constructs itself by deconstructing the old “political aesthetic of the end of the world”. “Global culture” offers significant resources in this work of reconstruction, as a culture that is “uncontaminated” (or is at least perceived to be so by the artistes). In this sense, contemporary Russian rock irresistibly evokes the Sots-Art artistic movement of perestroïka, in which the language of Pop-Art was put to use in the deconstruction of the socialist realist aesthetic. But whereas Sots-Art was directly preoccupied by politics, it is rather through its lack of interest for politics that Russian rock intends to change everyday life.