By Magdalena Cieslak, Agnieszka Rasmus
Opposed to and past: Subversion and Transgression in Mass Media, pop culture and function is a set of fourteen essays by way of students representing a few disciplines discussing transgression and subversion in movie, tv, tune, theatre and electronic media. relocating throughout significant political and cultural hobbies of the 20 th century, the e-book addresses an international desire for transgression and subversion in our occasions. making use of theories of Freud, Lacan, Kristeva, Foucault, Adorno and Horkheimer, Deleuze and Guattari, and Butler, the amount is a crucial contribution to figuring out the mechanisms and features of subversion and transgression in modern media and pop culture and offers crucial examining for all these trying to move opposed to and past.
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Extra resources for Against and Beyond: Subversion and Transgression in Mass Media, Popular Culture and Performance
Chas says that he needs to tell Pherber something; she suggests that he goes and tells Turner, adding that Turner’s been waiting a long time for him. The quoted interchange above between Pherber and Chas illustrates quite directly Chas’s function as “Ideal-I” for Turner and Chas’s fear about losing his (illusory) power as subject. Chas’s fear here can be seen as an example of what Lacan refers to as a fear of “the fading of the subject” (1982, 94). Lacan situates this in the splitting of the subject that he terms aphanisis4 and it is part of a movement that he describes as 4 This term literally means, from the Greek, the disappearance of sexual desire.
Laibach’s one piece of lyrical subversion is to convert the final optimistic chorus of “Every-one gave everything and everybody sings,” to the more ominous “every-one gave everything and perished with the rest” (Laibach 1986), a clear reference to the suicidal politics of total warfare operative in the Nazi regime. But it would be a mistake to read Laibach’s strategy purely in terms of lyrical recontextualisation: Laibach transform the whole tone of the song from a light and frivolous pop song to something dark and portentous.
The radicalism of this song is less in the lyrical content, which is more suggestive than descriptive, than in its montage of aggressive music and lyrics. Beginning with the shout of “pink press riots” (The Fall 1981b) the song then Michael Goddard 29 continues through an incomprehensible dialogue between at least three characters; in fact, this is one of the few cases in which the lyrics were reproduced on the album cover, thereby giving the voices names such as “man with chip” or “gent in safe-house,” which is the only possible way they can be made sense of, even though there is an incomplete correspondence between the written lyrics and what is actually sung on the track.
Against and Beyond: Subversion and Transgression in Mass Media, Popular Culture and Performance by Magdalena Cieslak, Agnieszka Rasmus