youth&subcultures
TRANSCRIPT
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So…WHAT IS A YOUTH SUB-CULTURE?
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ONE DEFINITION(BUT BY NO MEANS THE ONLY ONE)
• A group of individuals who are united through a common value system and tastes (clothes, music, politics etc.)
• A group who are also positioned outside of the mainstream, and who unify as a response to the mainstream
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Task: what are the values of a subculture?
1. Choose a subculture you are familiar with
2. Try to identify its values and beliefs…you may want to think about how they respond to these topics:
• ‘fitting in with group/being individual’
• brand names and fashion• other subcultures/ genres/ styles• previous versions of their style/genre
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What are the values of a subculture?
Links to values… how the subculture view:
• Conformity and rebellion
• Attitude to capitalism and consumerism
• ‘Tribal’ rivalry
• Traditional or ‘neophile’
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Targetting Values
Task: imagine you are targetting your chosen subculture with a new product.
• What would you include in a 15 second TV advert (think about plot, main characters, mis-en-scene, music)
• Which TV shows would you schedule it to run with?
Choose from: • Running shoes• A diving watch• A washing powder
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SUBCULTURE THEORYTHE BIRMINGHAM SCHOOL(Centre for Contemporary Cultural Studies) –CCCS for short!
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WHAT ARE THE ORIGINS OF THIS SUBCULTURE MEMBER’S STYLE?
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And this one….
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The Postmodern View - Plenitude
Grant McCracken took a different attitude...• The postmodern world is full of diversity,
dynamism and creativity• CCCS’s view ignores this – assumes
basically that all subcultures have similar origins (reaction to mainstream)
• McCracken says that if we look at the array of values, and ideologies then we can’t make such generalisations.
• By only looking at superficial style, Hebdige came to the conclusion subcultures’ difference was only superficial. Look deeper and there is enough richness to warrant renaming ‘subcultures’ as ‘little cultures’.
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Plenitude cont’d..
• True, many groups are involved in protest and resistance against the mainstream… but the form of this is diverse and internally coherent.
• CCCS ‘generalises when it should be particularising’
• Also doesn’t take account of the fact teens will often move between subcultures, and older youths mix and match styles/values from a mix of subcultures
• Or that adults can appear to conform for most of the working week, but re-enter the subculture at specific time (weekend, festivals etc.)
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Postmodernity and Subculture
• Ultimately, the CCCS approach is out of date because in the 21st century the ‘dominant meaning systems’ (that define the mainstream) are crumbling.
• “There is no mainstream. There are many streams.” Mainstream is in perpetual flux, rapaciously absorbing alternative culture at such a fast rate that the notion of a mainstream becomes obsolete.
• So if there is no mainstream then there is nothing for the teens to react against – instead they are driven by other motives; and these must be understood on their own terms, individual terms
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Example: Japanese ‘Para-para’
•In the Harajuku district of Tokyo we find the ‘kosupure’ (‘costume play’) – youths with a hugely diverse range of visible ‘styles’.•The main musical genre is ‘para-para’
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•‘Para-para’ involves dressing in the most absurd, shocking outfit you can (or to make yourself look as perversely conformist!) and wearing extremely high heels!•The music is sped up euro-pop, released on limited edition vinyl…
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….with the top-secret dance moves to this particular song printed on the sleeve:
Whoever has the newest, most elaborate moves is the envy of the rest of the dancefloor – but due to ridiculously high-heels, these are confined to mainly arm and hand movements.
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How would you classify ‘kosupure’ and ‘para-para’?• What are these teens reacting against?
Conservative Japanese mainstream? But what about the ‘lolita’ look? Or the fact there is hardly any drug use or violence – most just want to look different and dance?
• Are they avant-fashion pioneers, where individuality is everything? Then why the rigid adherence to strict dance moves, and the heirarchy based on this?
• CCCS ideas may work when applied to 60s Glasgow barrow-boys, but not to 21st century Tokyo!
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POP MUSIC AND YOUTH CULTURE
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How does the pop music industry target youth cultures?
There are two rival views of the relationship between pop music and youth…
• Pop stars are constructed to appeal to specific market with specific values
• The audience are so unpredictable in their likes and dislikes that record companies can never truly know how to target them
…and both are true!
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Dyer’s ‘star theory’
• Stars represent shared cultural values and attitudes, and will promote a certain ideology.
• Fans who agree with that set of values will support the star
• Fans will imitate stars in an aspirational effort to get ‘closer’ to the glamorous, fantasy lifestyle they appear to have – this may take the form of ‘dressing up’, imitating performances, adopting behaviour etc.
• Though Dyer was applying this theory to movie stars, it can also be applied to pop stars, who often have a far faster rise to stardom by promoting values.
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What values does Kylie promote here? What kind of audience would be attracted to her?
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And here?
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And here?
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And here? How has Kylie’s image changed over time? Why do you think she (or her manager) has done this?
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Student Research
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Example of student hypothesis:
“The pop music industry does not create long-lasting subcultures – it struggles to keep up with youth values and groups”
• Focus on three subcultures:1.Sub-culture that has been created by pop music – ‘rude boyz’/white gangsta rap fans2.Sub-culture that has other, non-pop origins – Essex boys/casuals (more class-based)3.Sub-culture that has resisted pop music industry – ‘ravers’ (scorning commercial dance music, DJs create music purely for the events, not even issued unless it becomes an anthem. No singer/performer to focus on)
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Research process
• Step One: first questionnaire (sample doesn’t need to be large)
• Step Two: results – what have you proved so far?
• Step Three: second questionnaire – develop results, wider age/taste range in subjects
• Step Four: compare results with other researchers (either ‘official’ research or other students’)
• Extrapolate: using Topic Questions, comment generally on three areas concerning the relationship between youth culture and pop music
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Practical Projects
• Most students choose a youth group as their target audience, so – regardless of the ‘product’ – they can use their knowledge of youth cultures/values to:
a) match content to values for a more accurate and realistic product
b) discuss how they used critical theory in their evaluation
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Example: Bhangra Crossover
• Brief: promo video for a new single, aimed at both a mainstream pop/urban audience, and an Anglo-Asian audience.
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Values/beliefs
• Mainstream/Urban audience:– White, black and Asian inclusive – ‘ghetto’
style is class based– Material wealth – jewellery, cars etc as
sign of status– ‘street’ origins seen as being ‘real’ and
genuine, not a ‘faker’
• Asian, traditional bhangra audience: – Asian culture highly valued – keeping in
touch with ‘roots’ very important– Celebration of culture more important than
‘bling’