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UCM - CAM @ amaranta.saguar.garcia @ aguirre_politica_2013 |
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1596 |
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Author |
Baez, Christian |
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Metal Andino Guitarras, Bajo y Batería en los Andes (Proyecto documental). |
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52'24" |
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el heavy metal; la música andina |
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Proyecto documental dirigido por Christian Baez que indaga en los cruces sonoros entre el heavy metal y la música andina. Financiado por el Centro de Estudios Interculturales e Indígenas (CIIR) y producido por el Laboratorio de Antropología Visual (LAV UC). |
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Financiado por el Centro de Estudios Interculturales e Indígenas (CIIR) y producido por el Laboratorio de Antropología Visual (LAV UC) |
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Cordillera de los Andes |
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Spanish |
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YouTube |
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Subtitles in Spanish available. |
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INTech @ brianhickam2019 @ |
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2290 |
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Venegas Marín, María Paula |
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Análisis del impacto en la sociedad del movimiento contestatario “Ultra Metal” como alternativa a la violencia que experimentaron los jóvenes de la ciudad de Medellín durante la década de los 80s. |
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Ultra metal, Contracultura, Década de los 80s, Violencia, Juventud, Medellín; Ultra metal, Counterculture, 1980s, Violence, Youth, Medellín. |
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Este trabajo investigativo y de carácter cualitativo busca centrarse en las posturas que han derivado desde la comunicación, con aportes de la sociología y las ciencias sociales, a través de un recorrido teórico e histórico de los sucesos más importantes del espectro de tiempo, así como de sus principales aportes y limitaciones de las expresiones artísticas y musicales asociados al movimiento de “Ultra Metal” y la importancia de éste en las transformaciones de la sociedad producto de las dinámicas de violencia asociadas a las disputas de narcotraficantes. Dichas disciplinas han brindado diferentes conceptos al fenómeno de la búsqueda de identidades y de pares, con connotaciones como subcultura, contracultura, tribus urbanas y culturas juveniles, las cuales han surgido con visiones muy diferentes y diversas. Esta investigación tiene por objetivo analizar el impacto en la sociedad del movimiento contestatario “Ultra Metal” como alternativa a la violencia que experimentaron los jóvenes de la ciudad de Medellín durante la década de los 80s. Esto se sustenta en cuatro factores: las condiciones del contexto histórico en la creación del movimiento contracultural contestatario “Ultra Metal”; los imaginarios que se configuran a través de la música y grupos juveniles contestarios que permiten la concepción del mismo como contracultura; los contextos sociales dinamizadores expresados a través de la música, la individualidad, las tribus urbanas en los escenarios de respuesta contra la violencia generada en el tiempo y los conceptos del fenómeno de la búsqueda de identidades y de pares, con connotaciones como subcultura, contracultura, tribus urbanas y culturas juveniles. Bajo esta perspectiva, esta investigación contribuye a las ciencias sociales porque al conocer los impactos que la música tiene en las transformaciones de la sociedad puede servir como base para construir estrategias que permitan a los y las jóvenes encontrar un sentido de vida a través del arte y, de esta manera, convertirse en agentes significativos dentro de una sociedad más justa y equitativa.
[ This investigative and qualitative paper seeks to focus on the positions that have derived from communication, with contributions from sociology and social sciences, through a theoretical and historical journey of the most important events of the spectrum of time, as well as of its main contributions and limitations of the artistic and musical expressions associated with the “Ultra Metal” movement and its importance in the transformations of society as a result of the dynamics of violence associated with drug traffickers' disputes. These disciplines have provided different concepts to the phenomenon of the search for identities and peers, with connotations such as subculture, counterculture, urban tribes and youth cultures, which have emerged with very different and diverse visions. This study aims to analyze the impact on society of the “Ultra Metal” protest movement as an alternative to the violence experienced by young people in the city of Medellin during the 1980s. This is based on four factors: the conditions of the historical context in the creation of the protesting countercultural movement “Ultra Metal”; the imaginaries that are configured through music and rebellious youth groups that allow the conception of it as a counterculture; the dynamic social contexts expressed through music, individuality, urban tribes in response scenarios against violence generated over time and the concepts of the phenomenon of searching for identities and peers, with connotations such as subculture, counterculture, urban tribes and youth cultures.] |
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https://www.unicundi.edu.co/ |
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Universidad de Cundinamarca, Facultad de Educación |
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Bachelor's thesis |
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Universidad de Cundinamarca |
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Fusagasugá, Cundinamarca, Republic of Colombia. |
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español |
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English |
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PDF, 1.169Mb |
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Open access. Trabajo de grado, Licenciatura en Educación Básica con Énfasis en Ciencias Sociales [127]. |
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INTech @ brianhickam2019 @ |
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2401 |
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Author |
Landes, Nathan |
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“That’s Not Heavy Metal”: Egalitarianism, Elitism, and Winning Arguments in Three Metal Music Studies Canons |
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Metal Studies; Equality; Inclusion |
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Ph.D. thesis |
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Indiana University |
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Ann Arbor |
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UCM-CAM @ amaranta.saguar.garcia @ |
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2462 |
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Kloeppel, Mark |
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Unveiling Extreme Metal Festival Producers: The Emergence of Narrative Identities |
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136 |
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Communication and the arts; Social sciences; Extreme metal; Festivals; Narrative identity; Narrative inquiry; Tourism; Cultural resources management; Sociology; Labor relations |
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“Extreme Metal is a form of dark tourism and leisure activity whose artistic radicalism and underground scenes invoke intense debates from musicians as well as audiences. Traditional cultural studies have assumed that its disenfranchised and transgressive music expressions are an ideological resistance to increasing homogeneities of industrialized society. As such, considering the nature of festivals as a mechanism where culture is created and transmitted, the operations and promotions of Extreme Metal festivals are inevitably engaged in the wider cultural politics of Extreme Metal. The roles of festival producers thus must be emphasized, who act as powerful agents in engaging artists, developing audiences, arranging programs, and so forth. Indeed, no festivals can be simply described as improvised events – they are carefully programmed, planned, and constructed for audiences to hear and see. With this in mind, this study serves to explore the experiential predicament of these culturally embedded event producers.
In particular, the identities of the festival producers compose the focus of investigation for this research. That is, considering the contested contexts that are at play in shaping the very existence of Extreme Metal, the producers are constantly acting as intermediaries between these contexts. The discursive practice by which they give meaning to their festival production practices, contain profound dissonance between 'what they imagine their selves to be' and 'what they actually are’ as related to their turbulent ‘referential world’ of Extreme Metal festival production.
With this in mind, this study employs the theoretical framework of narrative identity in the examination of the ‘referential world’ by which identities are related. Narrative identity is considered as an approach to understand how people resolve themselves, life events, actions, and other forces in their life. Considering that a self, in narrative, is given meaning through the narrator’s relation of the self to their referential world, analyzing the narrative moments where conflicting contexts are at play provides a sensitization to the struggle of Extreme Metal cultural transgression within festival production. Specifically, it is learned how this tourism is considered ‘dark’. In doing so, three main research questions are asked: 1). How can we understand the festival producers’ identities as negotiated and emerged from the interview narratives? 2). In regards to the festival producers’ identities, what socio-cultural forces in relation to the apparatus of Extreme Metal are involved? 3). How do such findings illuminate the makings of tourism festivals at large?”
(Source: ProQuest Dissertations Publishing) |
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Master's thesis |
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University of Missouri-Columbia, Parks, Recreation, and Tourism Department |
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Columbia, Missouri |
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Grace Yan |
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English |
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ProQuest publication number 11015334 |
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INTech @ brianhickam2019 @ |
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2518 |
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Author |
Beach, James R.; Naron, Brian L.; Heaton, Brian J. |
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Building An Empire: The Story of Queensrÿche |
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“Building An Empire: The Story of Queensrÿche examines how the five original members of the band came together in the eastern suburbs of Seattle to create some of the most influential heavy metal albums of the 1980s, including the conceptual masterpiece Operation: Mindcrime.
Discover how the band weathered the loss of key members, a changing industry at the turn of the century, a bitter lawsuit and numerous obstacles to continue a career that has spanned four decades and counting...
Written by James R. Beach, with Brian L. Naron and Brian J. Heaton, Building An Empire: The Story of Queensrÿche examines how the band evolved from album to album, weaving interviews with the band members, managers, producers, peers, family and friends to help tell this honest, riveting tale of how five guys from Seattle's Eastside overcame the odds to become one of the most respected bands in hard rock and heavy metal.
Paul Suter, the acclaimed writer from Kerrang! who broke the story on Queensrÿche in early 1983, penned the book's Foreword. Includes hundreds of rare photos and images throughout the band's career.”
(source: https://nwmetalworxmusic.com/) |
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NW Metalworx Music |
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Puyallup, WA |
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English |
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Hardback |
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no |
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INTech @ brianhickam2019 @ |
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2527 |
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Author |
Zapata, Alex |
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Title |
La voz en los ochenta. Nuevos estilos al baile. |
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2003 |
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Pensamiento Crítico: Revista Electrónica de Historia |
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3 |
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1-63 |
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Rock in Chile (1983 – 1992). Authors, styles, its industry, social function of its lyrics among others. Period studied is one in which this musical movement was revised and recast after a long period of marginalization in Chile. |
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eJournal that is No longer available online. |
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Pensamiento Crítico |
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Santiago de Chile |
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Spanish |
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English |
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0717-7224 |
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Article/issue is available online. |
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INTech @ brianhickam2019 @ |
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2291 |
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Author |
Montanero Vico, Luis |
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The New Wave of British Heavy Metal. Desarrollo, expansión y muerte de un movimiento juvenil |
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Journal Article |
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2005 |
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Ex Novo. Revista d'Historia i Humanitats |
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2 |
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123-139 |
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NWOBHM; Music History; Sociology; Spain |
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UCM-CAM @ amaranta.saguar.garcia @ |
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2494 |
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Author |
Lopes, Pedro |
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Title |
Heavy Metal no Rio de Janeiro e Dessacralização de símbolos religiosos: a música do demônio na cidade de São Sebastião das Terras de Vera Cruz |
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2006 |
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Non-Western scenes; Brazil; REligion |
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Ph.D. thesis |
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Universidade Federal do Rio de Janeiro |
Place of Publication |
Rio de Janeiro |
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UCM - CAM @ amaranta.saguar.garcia @ lopes_heavy_2006 |
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986 |
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Author |
Castillo Bernal, Stephen |
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Title |
EL CUERPO HUMANO COMO INSTRUMENTO SUBCULTURAL DE LOS INICIOS DEL HEAVY METAL AL SIMBOLISMO RITUAL DEL BLACK METAL. |
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Journal Article |
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2007 |
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Fuentes Humanísticas |
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19 |
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34 |
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43-57 |
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sociocultural, instrumento, heavy metal, simbolismo, black metal, Alice Cooper; instrument, symbolism |
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En el caso que aquí nos atañe, las manifestaciones corpóreas cargan un lenguajesimbólico que puede ser leído por los integrantes de una subcultura y, en consecuencia, puede ser diseccionado a partir de un ejercicio interpretativo. Decimos lo anterior en función de que la misma cultura, siguiendo a Millán (2001: 23), puede considerarse como un sistema de lenguaje articulado. Sobra decir que las significaciones corporales son una construcción social, por lo que su edificación varía de acuerdo con los ritmos históricos de aparición del saber y las tradiciones singulares de la cultura (Fournier y Jiménez, en prensa; Foucault, 1999). |
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Prolongación Canal de Miramontes 3855, colonia Ex-Hacienda de San Juan de Dios, delegación Tlalpan, c.p. 14387, Ciudad de México, y Av. San Pablo 180, colonia Reynosa Tamaulipas, delegación Azcapotzalco, c.p. 02200, Ciudad de México • Tel. 5318-9125 y 5318-9441 |
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la Universidad Autónoma Metropolitana a través de la Unidad Azcapotzalco, División de Ciencias Sociales y Humanidades, Departamento de Humanidades. |
Place of Publication |
Ciudad de México |
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español |
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eISSN 2007-5618, ISSN 0188-8900 |
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Open access: Licencia Creative Commons Atribución 4.0 Internacional. IMÁGENES CORPORALES Y CULTURA DE MASAS (Enero-Junio) |
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Call Number |
INTech @ brianhickam2019 @ |
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2403 |
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