Orientalism and Erotic Multiculturalism in Popular Culture.
Said's groundbreaking monograph Orientalism (1978) inspired critical reflection of 'Orientalist' discourses contained within dominant Western literature. In this article, I extend this impulse by illustrating connections between early twentieth-century erotic and exotic representations of a 'feminis...
| Publicado en: | Music, Sound & the Moving Image Vol. 6; no. 2; pp. 209 - 239 |
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| Formato: | Case Study |
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Liverpool University Press / Journals
Autumn2012
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| Acceso en línea: | Ver este registro en EBSCOhost |
| fields | @attributes: recordID: 1 pdfLink: plink: https://search.ebscohost.com/login.aspx?direct=true&db=hlh&AN=84341622&site=ehost-live header: @attributes: shortDbName: hlh uiTerm: 84341622 longDbName: Humanities International Complete uiTag: AN controlInfo: bkinfo: jinfo: jid: 17530768 3DEN jtl: Music, Sound & the Moving Image issn: 17530768 maglogo: N pubinfo: dt: Autumn2012 vid: 6 iid: 2 pid: 39786 pub: Liverpool University Press / Journals artinfo: ui: 84341622 10.3828/msmi.2012.14 ppf: 209 ppct: 30 formats: fmt: @attributes: type: P size: 2.6MB tig: atl: Orientalism and Erotic Multiculturalism in Popular Culture. aug: au: Mcgee, Kristin su: Multiculturalism Orientalism in dance Erotica Gender in dance Belly dance Pussycat Dolls (Performer) Buttons (Music) sug: subj: Multiculturalism Orientalism in dance Erotica Gender in dance Belly dance Pussycat Dolls (Performer) Buttons (Music) ab: Said's groundbreaking monograph Orientalism (1978) inspired critical reflection of 'Orientalist' discourses contained within dominant Western literature. In this article, I extend this impulse by illustrating connections between early twentieth-century erotic and exotic representations of a 'feminised Orient' and contemporary hyper-mediated negotiations of sex and gender in audiovisual texts. My methodological approach uncovers the musical, kinetic, visual, and aesthetic signifiers that contribute culturally to a broader symbolic configuration of subjectivities in the modern and postmodern eras. As case studies, I compare two visually mediated, gendered performances: Princess Rajah's early twentieth-century belly dancing film (1904) and the music video 'Buttons' (2006) by this century's leading music-television 'girl group', the Pussycat Dolls. To differentiate between prior colonial articulations of difference, my analyses foreground the recent exploitation by the music industry of what I call 'erotic multiculturalism'; a concept which betrays an accelerated surplus value derived from references to subaltern subjects within late-capitalist cultures of consumption. My examination of Orientalist stars' online reception constitutes an additional contribution to new analytical strategies. Ultimately, I aim to ameliorate the imbalance of Orientalist studies which prioritise male creativity, by considering symbolic female Orientalist performers who both innovate and 'Other' through their adaptation and exploitation of new technologies in popular culture contexts. pubtype: Academic Journal doctype: Case Study src: R language: English refInfo: copyright: @attributes: flag: Y custom: Copyright of Music, Sound & the Moving Image is published by Liverpool University Press, and its content may not be copied or emailed to multiple sites or posted to a listserv without Liverpool University Press's express written copyright permission. However, users may print, download, or email articles for individual use. item: Music, Sound & the Moving Image holder: Liverpool University Press / Journals dt: @attributes: year: 2012 holdings: @attributes: islocal: N |
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