This is a study of the cultural production of visual rock, a genre of Japanese popular music that began to be produced in Japan in the late 1980s and that since spread to other locations. I argue that, as the genre moved into different national, social, and artistic contexts, different meanings and values were ascribed to it in relation to discourses and marketing practices that work to create associations between visual rock and other genres of popular culture. The meanings of Japanese visual rock outside of Japan have been highly influenced by media discourses and by the ways it has been circulated and disseminated in new locales. Media, artist, and fan discourses about the genre have played an important role in recontextualizing the genre and its meanings and values as the genre has entered new fields of cultural production. By examining the processes by which meanings and values of a genre are reshaped in different contexts, I seek to understand how power and authority are played out in the discourse and practices of a music genre. While focusing particularly on visual rock within Hong Kong in the 1990s through 2000s, I explore the ways that the cultural industries, media, artists, and fans—which occupy different positions within a field of cultural production—shape this music genre and the ways that it is understood and valued in different locations within broader processes of cultural flow.
|Commitee:||Cohen, Judah, Foster, Michael|
|Department:||Folklore and Ethnomusicology|
|School Location:||United States -- Indiana|
|Source:||MAI 51/04M(E), Masters Abstracts International|
|Subjects:||Cultural anthropology, Asian Studies, Folklore, Music|
|Keywords:||Cultural flow, Cultural production, Discourse, Hong kong, Japan, Popular music|
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