Against and Beyond: Subversion and Transgression in Mass by Magdalena Cieslak, Agnieszka Rasmus

By Magdalena Cieslak, Agnieszka Rasmus

Opposed to and past: Subversion and Transgression in Mass Media, pop culture and function is a set of fourteen essays via students representing a few disciplines discussing transgression and subversion in movie, tv, song, theatre and electronic media. relocating throughout significant political and cultural pursuits of the twentieth century, the publication addresses an international desire for transgression and subversion in our occasions. utilizing theories of Freud, Lacan, Kristeva, Foucault, Adorno and Horkheimer, Deleuze and Guattari, and Butler, the amount is a crucial contribution to realizing the mechanisms and services of subversion and transgression in modern media and pop culture and offers crucial interpreting for all these looking to cross opposed to and past.

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It was after The Mekons’ folk re-invention that the spectre of militancy becomes truly apparent in their music. ” Rather than a sign of the group compromising with traditional musical forms, the song is an indication of a kind of contamination of past musical styles and the exploitation of their affective powers by combining them with seemingly incongruous lyrics, such as the above lament about the destruction and loss of militant political community. As such, the song is doubly spectral in that it is haunted by both the experience of political defeat and by archaic musical forms, a combination that would increasingly characterise The Mekons’ music.

In contrast, Warsaw were generally acknowledged to be a particularly uninspiring punk band and it was only when they stopped trying to make punk music that they were able, as Joy Division, to invent an entirely new style that had a massive influence on the future development of music (see Reynolds 103-123). Nevertheless, it would be entirely false to construct an opposition between punk repetition and post-punk originality as if the two were mutually exclusive. The question posed in post-punk experimentation is not how to avoid repetition but how to repeat creatively, how to compose repetitions that make differences rather than feed into the economy of mass cultural standardisation.

Whether post-punk in the UK is still capable of this is less certain but certainly its return gives the impression that there is a strong desire for popular cultural forms capable of doing so. Works cited Ford, Simon. 2003. Hip Priest. London: Quartet. Hebdige, Dick. 1979. Subculture: The Meaning of Style. London: Routledge. Home, Stewart. 1996. Cranked up Really High. London: Codex. Monroe, Alexei. 2006. Interrogation Machine: Laibach and NSK. Short Circuits Series. Boston, Mass: MIT. Reynolds, Simon.

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