Way, Lyndon (2017) Authenticity and subversion: protest music videos’ struggle with countercultural politics and authenticity. In: Music as Multimodal Discourse: semiotics, power and protest. Advances in Semiotics . Bloomsbury, London, pp. 95-118. ISBN 9781474264426
Full text not available from this repository. (Request a copy)Abstract
Subversive articulations in popular music commodities are as old as the industry itself, from Billie Holiday’s ‘Strange Fruit’(1939) to M.I.A.’s ‘Born Free’ (2010).Protest songsnot only enable musicians to express social concerns in the public domain, they also shape musicians’ personal narratives of authenticity about themselves, their fans and protesters. This paper analyses how authenticity and subversionare articulated in protest music videos. After Turkey’s 2013 June protests, a number of Turkish and international musicians have used lyrics, images and sounds about and from the protests in official videos. A typical one of these is analysed here. Using social semiotics, I examine lyrics, visuals (Kress and van Leeuwen 1997; Machin 2007; van Leeuwen 1995, 1996) and sounds (Machin 2010, van Leeuwen 1999; Tagg 1990, 1984, 1983) to demonstrate how these are used to articulate not only popular politics, but also authenticity. This extends the theorisation of authenticity and subversion in music and considers music’s likely place in political debates about politics and democracy.
| Item Type: | Book Section |
|---|---|
| Keywords: | multimodal critical discourse analysis, authenticity, popular music, politics |
| Faculty / Department: | Faculty of Creative Arts & Humanities > School of Humanities |
| Depositing User: | Lyndon Way |
| Date Deposited: | 26 Sep 2017 16:08 |
| Last Modified: | 13 Nov 2024 12:21 |
| URI: | https://hira.hope.ac.uk/id/eprint/2169 |
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