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Bayer, G. (2017). Metal documentaries: the national, the global, and the cosmopolitan. In M. Elovaara, & B. Bardine (Eds.), Connecting metal to culture: unity in disparity. Bristol: Intellect Books.
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Brown, A. R., Spracklen, K., Kahn-Harris, K., & Scott, N. W. R. (2016). Introduction: Global Metal Music and Culture and Metal Studies. In A. R. Brown, K. Spracklen, N. W. R. Scott, & K. Kahn-Harris (Eds.), Global metal music and culture: current directions in metal studies (pp. 1–21). New York & London: Routledge.
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Brown, A. R., Spracklen, K., Scott, N. W. R., & Kahn-Harris, K. (Eds.). (2016). Global metal music and culture: current directions in metal studies. New York & London: Routledge.
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Chu, M. T. (2012). L’ontologie de l’identité métalleuse face ? la mondialisation: généalogie imaginaire, réseau solidaire. Ph.D. thesis, École doctorale de l’École des hautes études en sciences sociales, Paris.
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Clinton, E., & Wallach, J. (2015). Recoloring The Metal Map: Metal And Race In Global Perspective. In T. - M. Karjalainen, & K. Kärki (Eds.), Modern Heavy Metal: Markets, Practices and Cultures (pp. 274–282). Helsinki & Turku: Aalto University & International Institute for Popular Culture.
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Cooper, G. (2015). Die lustige Globalisierung des Metals und seine düstere Zukunft in der Zeichentrickserie Metalocalypse. In D. Stoop, & R. Bartosch (Eds.), (Un)Politischer Metal? Musikalische Artikulationen des Politischen zwischen Ideologie und Utopie (pp. 89–106). Trier: Wvt.
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Coulombe, A. P. (2018). Burakku Metaru: Japanese Black Metal Music and the 'Glocalization' of a Transgressive Sub-culture. Master's thesis, University of Arizona, Ann Arbor.
Abstract: This thesis will demonstrate how Black Metal music became established in Japan, how it evolved, and how musicians situate themselves in a globalized form of community. It is a study of how Japanese Black Metal functions in the tensions between globalization and localization, a term called “glocalization” (Victor Roudometof 10). Japanese Black Metal is globalized around a set of rules and ideas, a term Deena Weinstein uses to describe Heavy Metal music called “codes” (Heavy Metal the Music 100). Additionally, as this music is localized, it reveals how many Japanese musicians express uniquely cynical viewpoints of religion and established authority using these globalized codes. Due to its anti-Christian and brutal history in other countries, Black Metal is seen as transgressive against mainstream society. Through electronic ethnographic research with Japanese Black Metal artists, this thesis finally examines how Black Metal is at once desirable yet also transgressive in Japanese society, a country with a comparatively low population of Christians.
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DeHart, C. (2018). Metal by numbers: Revisiting the uneven distribution of heavy metal music. Metal Music Studies, 4(3), 559–571.
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Domínguez Prieto, O. (2017). Transhumancias musicales y globalización el metal no tiene fronteras. México: Plaza y Valdés Editores.
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Force, C., & Morrow, S. (2012). Assault of the Earth: Metal Bands from Around the Globe. Alarm Press.
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