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Boman, B. (2026). Masks, Slipknot, and Nu-metal: Beyond Transformation, Originality, and Mimicking. In Masks In Music and Film: Perspectives from the West and East Asia (pp. 121–134). London, U.K.: Palgrave Macmillan Cham.
Abstract: << With the emergence of Slipknot as both a discursive node and point of departure, the chapter focuses on the next wave of alternative metal, often described as nu-metal due to bringing a new flavor to metal by mixing the genre’s typical elements such as groovy guitar riffs with other genres such as hip-hop, industry, and pop-style choruses. Besides Slipknot, other masked bands, for instance Mushroomhead and Mudvayne, are highlighted in the same context. Moreover, the predecessor of masked nu-metal, Mr. Bungle, is also accentuated. Attention is also paid to originality vis-à-vis mimicking earlier groups, as well as the function and meaning of masks in the context of transformation.
The findings underline that the transformative characteristics of masks in metal music are often exaggerated as band members often act “normal” and agreeable when they wear their masks. However, in live settings some of the transformative features might be a part of specific stage persona. In the nu-metal scene, it appears as if fans are more concerned about being the first to wear masks than the band members themselves. >>
[source: https://link.springer.com/chapter/10.1007/978-3-032-16978-5_12]
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Boman, B. (2026). The First Wave of Masks in Rock and Heavy Metal and Their Successors. In Masks In Music and Film: Perspectives from the West and East Asia (pp. 103–119). London, U.K.: Palgrave Macmillan Cham.
Abstract: << Black and white makeup of Kiss influenced later heavy metal acts such as King Diamond and, even later in the 1990s onward, Scandinavian black metal. The current chapter sketches a brief history of the usage of makeup and masks in heavy metal and related sub-genres. Black metal and to lesser extent death metal artists, use corpse paint, and occasionally masks, to portray a potentially transformative dimension of artistic personas, antinomian sociocultural values, and aggressive stage performances.
However, experts on black metal and death metal are skeptical about the extent to which these artists and values represent authentic transformation and not just superficial genre paraphernalia. Furthermore, in relation to Ghost, a popular heavy metal band from Sweden, intertextual influences from film characters are highlighted in a context signified by entertainment. Thus, masks and makeup in heavy metal might be seen as performative but with both entertaining and antagonistic elements. >>
[source: https://link.springer.com/chapter/10.1007/978-3-032-16978-5_11]
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Boman, B. (2026). Masks In Music and Film: Perspectives from the West and East Asia. London, U.K.: Palgrave Macmillan Cham.
Abstract: "The book is about the multiple meanings and instances of masks (and makeup which seems to have a mask-like function such as in Kiss, many black metal bands, and Insane Clown Posse) within popular culture, specifically films and music. While mainly focusing on the Western contexts, there will also be examples from other regions and cultural contexts such as Japan and Korea.
Each chapter offers an in-depth analysis of a particular work(s) or artist/band rather than just name dropping mainstream and obscure work that many scholars, unfortunately, do. The study in its entirety belongs to cultural studies and the interpretive sciences. The target audience consists of other academic researchers, students and the broader audience of people who are interested in film and music (e.g., fans)."
<< Björn Boman is a researcher in education, political science, cultural studies and psychology, known for his multidisciplinary work which spans several and intersecting disciplines, inclusive of film and music. Apart from a PhD in education from Stockholm University he has carried out postdoctoral work in political science. Currently, he is affiliated with the Department of Political Science at Stockholm University. He has also acquired a master's degree in religious studies and studied the Korean language and culture, as well as, for example, Russian history and politics at Stockholm University. >>
[source: https://link.springer.com/book/10.1007/978-3-032-16978-5]
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Waugh, C. (2026). Blasting through barriers: gender, affect, and the politics of presence in extreme metal. Frontiers in Communication, 11, s.p.
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Klipstein, Z. (2026). Masking Metal: The Use of Masks in Four Prominent Metal Bands. Master's thesis, State University of New York, New York.
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