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Malé kousky svobody. Individualizace a komodifikace v hardcore-punk subkultuře / Little pieces of freedom. Individualization and Commodification in Hardcore-punk SubcultureKumová, Petra January 2014 (has links)
The thesis is focused on the DIY principle that can be a catalyst for collectives and individuals aiming to emancipate (consciously or unconsciously) from individualization and commodification that is symptomatic for today's society. This principle is adopted by various subcultures, but I am focused particularly on the hardcore-punk subculture (or precisely said - counterculture), which ideology is based on the idea of non-consumer society emancipated from values, norms and rules, that are being introduced to us by the mainstream society and its power structures. The analytical part of the thesis is focused on particular individuals and collectives, their activities, motivation, as well as the internal functioning of collectives. A combination of methods of qualitative research, especially participant observation and semi- structured interviews, were used for data collection. Data was analyzed using open coding. The collectives show better ability to resist commodification based on long-term practices commonly used in hc-punk to resist to the process of individualization. Their ability to create communities and collective activities is limited. Key words individualization, commodification, hardcore-punk subculture, diy principle, colectives, anarchism
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The Mountains at the End of the World: Subcultural Appropriations of Appalachia and the Hillbilly Image, 1990-2010Robertson, Paul L 01 January 2019 (has links)
There is an aversion within the field of Appalachian Studies to addressing the cultural formulations of the Appalachian/hillbilly/mountaineer as an icon of aggressive resistance. The aversion is understandable, as for far too long images of the irrationally and savagely violent mountaineer were integral to the most gross popular culture stereotypes of Appalachia. Media consumers often take pleasure or comfort in these images, which usually occur in a reactionary context with the hillbilly as either a type of nationally necessary savage OR as an unregenerate barbarian against whom a national civilization will triumph and benefit by the struggle.
I bookend my study with two artifacts of Appalachian representation, linked in specific subject matter, but separated by twenty years. The 1991 West Virginia Public Television-produced documentary film The Dancing Outlaw quickly became an underground cult classic—an object of both absurdist delight and cultural identification within the punk subculture, particularly among those with both a punk sensibility and personal connections to the Appalachian region (birth, upbringing, residency, ancestry). In 2009, MTV and the resources of its wildly popular Jackass franchise revisited the locale and family featured in this earlier documentary and produced the sophisticated and polished film The Wild, Wonderful Whites of West Virginia. The core purpose of this project, however, is to examine why Appalachia and/or the hillbilly, as constructed within and across these subcultures, possessed such appeal during this historical moment. My hypothesis is that such appeal lies primarily (but not exclusively) in the negative characteristics of the region and its inhabitants that are represented throughout a variety of subcultural texts: documentary film, art house cinema, niche regional literature, and independent zine publishing and early blogging. For both those identifying themselves as Appalachians/hillbillies (or some related variation thereof) and those “playing” as Appalachians/hillbillies, these images become statements of resistance and survival to challenge the national mass culture and the political ideologies supporting it.
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