Kahrimanović, Š. (2017). Heavy metal – supkultura, životni stil i devijatnost. Društvene devijacije [Social Deviations], 2(2), 70–81.
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Gracyk, T. (2016). Heavy Metal: Genre? Style? Subculture? Philosophy Compass, 11, 775–785.
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Alarcón Ruiz, J. C. (2017). CULTURA JUVENIL E IDENTIDAD: ORIGEN Y DESARROLLO DE LA CULTURA DEL METAL EN LA CIUDAD DE LIMA ENTRE LOS AÑOS 1980 Y 2017. Bachelor's thesis, Federico Villarreal National University, Lima, República del Perú. Retrieved September 27, 2024, from http://repositorio.unfv.edu.pe/bitstream/handle/UNFV/3804/UNFV_Alarc%C3%B3n%20Ruiz_Juan%20Carlos_T%C3%ADtulo%20Profesional_Antropolog%C3%ADa_2019.pdf?sequence=1&isAllowed=y
Abstract: This research deals with the origin and development of the culture of Metal music in the city of Lima, and how adolescents of that time began the construction of a musical scene and the construction of an identity as individuals and as a community. The initial development of this urban culture took place during the 1980s, a period that was disastrous for Peru, where there was a chaotic context at the political, social level; economic; terror, suffering and above all uncertainty about the future. Between the bombs, death and destruction – facts generated by armed movements – the culture of Metal began to take shape, having as protagonists this group of adolescents; largely as rebellion and rejection about what they had to live. It was a society they did not want to be in. Based on different cultural manifestations (bands, fanzines, concerts, organizations) they began to build their own world, culture and identity. This identity is revaluated and becomes more powerful today when compared with the new generations of metalheads; who, based on the use of technology and a generally more favorable context, also try to participate in this urban culture.
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McDowell, M. A., II. (2016). Heavy South: Identity, Performance, and Heavy Music in the Southern Metal Scene. Master's thesis, University of South Florida, Ann Arbor.
Abstract: The Southern Metal scene depends heavily on the performance of a Southern Identity. While considerable research has been done on other musical genres and scenes from the American South (country music, blues, gospel music), less attention has been given to the extreme metal scene of Southern Metal. Using scholarship of Nadine Hubbs, Philip Auslander, Jefferey C. Alexander, and Keith Kahn Harris, among others, I analyze two films, Slow Southern Steel (2010) and NOLA: Life, Death, and Heavy Blues from the Bayou (2014), and one song, Down’s “Eyes of the South” as cultural productions of this Southern Metal scene. In this project, I define the musical elements and scene ethos of Southern Metal as they relate to a wider, more mainstream American audience and describe how these identities and cultural forms are produced, negotiated, and embodied.
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Cardwell, T. (2017). Still life and death metal: painting the battle jacket. Ph.D. thesis, University of the Arts London (United Kingdom), Ann Arbor.
Abstract: This thesis aims to conduct a study of battle jackets using painting as a recording and analytical tool. A battle jacket is a customised garment worn in heavy metal subcultures that features decorative patches, band insignia, studs and other embellishments. Battle jackets are significant in the expression of subcultural identity for those that wear them, and constitute a global phenomenon dating back at least to the 1970s. The art practice juxtaposes and re-contextualises cultural artefacts in order to explore the narratives and traditions that they are a part of. As such, the work is situated within the genre of contemporary still life and appropriative painting. The paintings presented with the written thesis document a series of jackets and creatively explore the jacket form and related imagery. The study uses a number of interrelated critical perspectives to explore the meaning and significance of the jackets. Intertextual approaches explore the relationship of the jackets to other cultural forms.
David Muggleton’s ‘distinctive individuality’ and Sarah Thornton’s ‘subcultural capital’ are used to emphasise the importance of jacket making practices for expressions of personal and corporate subcultural identity. Italo Calvino’s use of postmodern semiotic structures gives a tool for placing battle jacket practice within a shifting network of meanings, whilst Richard Sennett’s‘material consciousness’ helps to understand the importance of DIY making practices used by fans. The project refers extensively to a series of interviews conducted with battle jacket makers between 2014 and 2016. Recent art historical studies of still life painting have used a materialist critique of historic works to demonstrate the uniqueness of painting as a method of analysis. The context for my practice involves historical references such as seventeenth century Dutch still life painting. The work of contemporary artists who are exploring the themes and imagery of extreme metal music is also reviewed.
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