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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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Epp, A. (2011). Heavy Metal und Islam – ein Antagonismus? Zur Rezeption und Verbreitung des Heavy Metals in Staaten der MENA. In R. F. Sascha, & H. Schwaab (Eds.), ”Metal matters”. Heavy Metal als Kultur und Welt (pp. 343–356). Münster: Lit.
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Epp, A. (2015). Gemeinsamkeiten im politischen Heavy Metal? Eine regionale Gegenüberstellung der politischen Dimension von Heavy Metal in der MENA-Staaten und on westlichen Ländern. In D. Stoop, & R. Bartosch (Eds.), (Un)Politischer Metal? Musikalische Artikulationen des Politischen zwischen Ideologie und Utopie (pp. 151–165). Trier: Wvt.
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Fellezs, K. (2023). The Ultra-Violence: Death Angel and Asian American Presence/Absence in Heavy Metal. In D. Nevárez Araújo, N. Varas-Díaz, J. Wallach, & E. Clinton (Eds.), Defiant Sounds. Heavy Metal Music in the Global South (pp. 235–158). London: Lexington Books.
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Juszczyk, A. (2018). The Global and Local Dimension of Metal Music. Annales Universitatis Paedagogicae Cracoviensis | Studia De Cultura, 14(3), 63–71.
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LeVine, M. (2009). Headbanging Against Repressive Regimes: Censorship of Heavy Metal in the Middle East, North Africa, Southeast Asia and China. Copenhague: Freemuse.
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Spracklen, K. (2018). Throat singing as extreme Other: An exploration of Mongolian and Central Asian style in extreme metal. Metal Music Studies, 4(1), 61–80.
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Varas-Díaz, N., Wallach, J., Clinton, E., & Nevárez Araújo, D. (Eds.). (2023). Defiant Sounds: Heavy Metal Music in the Global South. London: Lexington Books.
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Wallach, J. (2010). Distortion drenched dystopias: metal and modernity in Southeast Asia. In N. Scott (Ed.), The metal void: first gatherings (pp. 357–366). Oxford: Inter-Disciplinary Press.
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Wallach, J. (2012). Distortion drenched dystopias: metal and modernity in Southeast Asia. In N. Scott (Ed.), Reflections in the Metal Void (pp. 89–100). Oxford: Inter-Disciplinary Press.
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