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Nevárez Araújo, D., & Varas-Díaz, N. (2022). Lodes of Metal: The Texture and Sound of Memory in Latin American Heavy Metal Documentaries. In C. L. Ballengee (Ed.), Music, Sound, and Documentary Film in the Global South (pp. 89–112). Extreme Sounds Studies: Global Socio-Cultural Explorations. Lanham, Maryland: Lexington Books.
Abstract: Description of entire book:
"Music, Sound, and Documentary Film in the Global South, edited by Christopher L. Ballengee, represents an important step toward thinking about the production and analysis of the soundscapes of documentary film, all while exploring a range of social, cultural, technological, and theoretical questions relevant to current trends in Global South studies. Written by a diverse set of authors, including filmmakers, academics, and cultural critics, the ten essays in this book provide fresh evaluations of the place of music and sound in documentary films outside the European-American milieu. On the whole, the authors illuminate how the invention of documentary film was at first a product of the colonialist project.
Yet over time, access to filmmaking technologies led to the creation of documentary films relevant for local communities and national identities. In this sense, documentary film in the Global South might be broadly defined as a mode of personally or politically mediated storytelling that, by one route or another, has become a useful and recognizable means of memorializing traumatic histories and critiquing everyday lived experience. As the essays in this volume attest, close readings of documentary soundscapes provide fresh perspectives on ways of hearing and ways of being heard in the Global South." (source: Lexington Books)
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Špoljarić, B. (2021). The Goat-God Motif in Heavy Metal Music: The Relevance and Meaning of the God Pan in the Black Metal Project – Arckanum. Studia Polensia, 10(1), 87–114.
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Gibson, D. L. (2022). Mechanical and artificial “nü-horror metal”: The film music of “Resident Evil”. Metal Music Studies, 8(1), 87–108.
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Hissen. (2017). Score for a spatial composition. In O. Coggins, & J. Harris (Eds.), Sustain//Decay: A Philosophical Exploration of Drone Music and Mysticism (pp. 86–104). St. Louis: Void Front Press.
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Farías Álvarez, I., & Calderón Orellana, M. (2022). MINORÍAS EN EL METAL CHILENO. LETRAS DE RESISTENCIA Y MUJERES AL EXTREMO. Metal de Habla Hispana, 1, 85–92.
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Pichler, P. (2024). Going Deep: The Cultural-Historical Perspective on the Laws of Metal. In The Law of the Metal Scene: An Interdisciplinary Discussion (pp. 85–98). Stuttgart: Kohlhammer.
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Castillo Bernal, S. (2016). El mundo del Heavy Metal en la Ciudad de México: Radiografías imaginarias y rituales. In F. de la Peña Martínez (Ed.), Atlas Etnográfico de los Mundos Contemporáneos (Vol. 1, pp. 83–117). Ciudad de México: Escuela Nacional de Antropología e Historia, ENAH: Ediciones Navarra.
Abstract: La finalidad de este trabajo es delinear las características fundamentales de la escena metalera de la Ciudad de México, así como los cimientos simbólicos, imaginarios y rituales que sustentan a los partidarios de esta comunidad de sentido. Para lograr este cometido dividí el ensayo en tres segmentos. En el primero se definirán las características angulares e ideológicas del Heavy Metal así como las de la escena metalera mexicana; en el segundo apartado repasaré algunos de los constructos teóricos de Turner tocantes a la teoría del ritual. En el último bloque pondré a prueba las categorías analíticas para darle luz a las prácticas metaleras gestadas en los conciertos. Este último apartado me permitirá avanzar algunas hipótesis referidas al imaginario estructural de la escena cultural metalera.
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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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Yépez Aguirre, J. R. (2017). Campo y habitus de la metaldad limeña 1994-2014: Field and habitus of metaldad limeña 1994 – 2014. Anales Científicos, 78(2), 80–91.
Abstract: This study was aimed at identifying the benefits that have the qualitative method of grounded theory on the different aspects of feeling and thinking of the metalheads of Lima in order to analyze their gregarious relations in society. In this regard the following objectives: Understand that reproduces the individualization of social life, cultural commodification and fetishization of music, the feelings and thoughts of the metalheads of Lima. Use of depth interview which was applied to a nonrandom sample of 23 youth and adults metalheads (14 to 48 years as age ranges or limits). The Rockandad and Metaldad, which serve to give the interpretation to the issues raised: two conceptual categories identified. And finally a conceptual theoretical instrument called pyramidal dialectic was prepared to give way to explaining the research.
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Quinn, K., & Barton, S. (2024). Neurodiversity and Heavy Metal Music. In K. Kahn-Harris, & J. H. Shadrack (Eds.), Heavy Metal and Disability. Crips, Crowds, and Cacophonies (pp. 80–94). Bristol: Intellect.
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