Download Cultura Mainstream: Cómo nacen los fenómenos de masas by Frederic Martel PDF

By Frederic Martel

¿Por qué triunfan Avatar, Shakira, Spielberg, Mujeres desesperadas, Slumdog Millionaire, Disney, Michael Jackson o M.T.V.? ¿Cómo se fabrican los most sensible , los discos superventas y los grandes éxitos de taquilla? ¿A qué se debe el predominio de l. a. cultura estadounidense y por qué está ausente Europa de esta gigantesca batalla cultural a escala mundial? Para responder a estas preguntas, el sociólogo y periodista Frédéric Martel ha llevado a cabo una ambiciosa investigación de más de cinco años por treinta países, entrevistando a mil doscientas personas en todas las capitales del leisure, de Hollywood a Bollywood, de Tokio a Miami, del cuartel normal de Al Yazira en Qatar a los angeles sede del gigante Televisa en México. Y su conclusión es inquietante: los angeles nueva guerra mundial por los contenidos ha comenzado. En el corazón de esta lucha: los angeles cultura mainstream, originalmente diseñada y comercializada por potentes industrias del entretenimiento en Estados Unidos que extienden su influencia hasta el último rincón del planeta gracias a productos cuyas estrategias de creación y difusión resultan fascinantes. A l. a. vez, nuevos países emergen con sus medios de comunicación y sus propias diversiones masivas. net multiplica su poder. Todo se acelera. En India, en Brasil o en Arabia Saudí se compite por dominar l. a. internet y ganar l. a. batalla de l. a. influencia cultural. Se quiere controlar las palabras, las imágenes y los sueños. Este libro cuenta esta guerra worldwide de los angeles cultura. Y explica lo que hace falta hacer para gustar a todo el mundo. . . en todo el mundo.

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3 The top of her head, her legs, and forearms Figure 1. Duet 1965. Polymer, acrylic, and enamel are cropped, suggesting that the on canvas, 173 x 33 cm. Canada Council Art Bank, prior intervention of a frame is a Ottawa. Photo courtesy Michael Snow. condition of her appearance. In both works and all the rest of the series, there is not a hint of reference to biological or organic structure, or to a woman’s context. Empirically, “she” is a series of colour and pattern studies in a cleanly delimited closed contour, a variety of subdivided circle, a figure-ground problem.

Understand me, when I write, right here, on these innumerable post cards, I annihilate not only what I am saying but also the unique addressee that I constitute, and therefore every possible addressee, and every destination. ”119 This statement unburdens writing of the legacies of the Cartesian philosophies of the foundational “I,” even though it means placing discourse over on the side of securing subject positions, mastery, and traditions of debate and Western philosophy. Ricoeur seems to have had a different notion of discourse than Derrida’s.

85 This meant rereading progressivist history (including art history and its cultural treasures) as a series of victories over losers who were dispossessed of their claims and achievements, so that the “trick” had the effect of politicizing the public beholding look, showing it as a scene distorted by relations of power and interest. From this insight, very similar to his ideas about of mimesis, Benjamin elaborated the notion of the illuminati as modern subjects born out of a changed mode of perception, of which at least one consequence would be that self-understanding through “reading” is called to become self-critical, that is, how do I take account of my self in the light of these relationships?

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