Liveness: performance in a mediatized culture
Gespeichert in:
| 1. Verfasser: | |
|---|---|
| Format: | Buch |
| Sprache: | English |
| Veröffentlicht: |
London ; New York
Routledge, Taylor & Francis Group
2023
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| Ausgabe: | Third edition |
| Online-Zugang: | Inhaltsverzeichnis Klappentext |
| Beschreibung: | xii, 215 Seiten |
| ISBN: | 9780367468170 9780367468187 |
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Datensatz im Suchindex
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| adam_text | Contents Preface to the thirdedition Acknowledgments 1 Introduction ix xiii 1 The chapters 7 2 Live performance in amediatized culture 10 The cultural economy of live performance: representation and repetition 12 The ephemerality and distribution of live and mediatized per՜ formance 15 Against ontology 17 Teehee s playhouse 35 The mediatization of live performance 43 Liveness in the age of the internet 52 Proof of life: pandemic performance (a postscript) 61 3 Liveness and discourses of authenticity in music The cultural economy of music 37 Live music and mediatization 90 Musical authenticities 93 The paradox of authenticity 97 Creditworthiness 100 Instrumentality, authenticity, and electronic music 105 Skill versus control: new paradigms of musicianship 113 81
viii 4 Contents Legally live: law, performance, memory 125 TeeVee’s courthouse, or the resistible rise of the videotape trial 127 Pandemic proceedings 140 You don’t own me: performance and copyright 147 Performance as intellectual property: common law copyright, unfair competition, right of publicity, trademark 157 The Gollum problem 167 Law and remembrance 175 5 Conclusion 201 Index 207
Liveness Liveness: Performance in a Mediatized Culture addresses what may be the single most important question racing all kinds of performance today. What is the status of live performance in a culture dominated by mass media and digital technologies? Since its first appearance, Philip Ausländers groundbreaking book has helped to reconfigure a new area of study. Looking at specific instances of live performance such as theatre, music, sport, and courtroom testimony, Liveness offers penetrating insights into media culture, suggesting that media technology has encroached on live events to the point where many are hardly live at all. In this new edition, the author thoroughly updates his provocative argument to take into account the impact of the internet, and cultural, social, and legal developments. He also addresses the situation of live performance during the COVID-19 pandemic. In tackling some of the Jast great shibboleths surrounding the high cultural status of the live event, this classic book will continue to shape opinion and to provoke lively debate on a crucial artistic dilemma: what is live performance and what can it mean to us now? This extensively revised, new edition of Liveness is an essential read for all students and scholars of performance-based courses. Philip Ausländer is a professor of performance studies and popular mu sicology in the School of Literature, Media, and Communication at the Georgia Institute of Technology, Atlanta, Georgia, USA.
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Contents Preface to the thirdedition Acknowledgments 1 Introduction ix xiii 1 The chapters 7 2 Live performance in amediatized culture 10 The cultural economy of live performance: representation and repetition 12 The ephemerality and distribution of live and mediatized per՜ formance 15 Against ontology 17 Teehee's playhouse 35 The mediatization of live performance 43 Liveness in the age of the internet 52 Proof of life: pandemic performance (a postscript) 61 3 Liveness and discourses of authenticity in music The cultural economy of music 37 Live music and mediatization 90 Musical authenticities 93 The paradox of authenticity 97 Creditworthiness 100 Instrumentality, authenticity, and electronic music 105 Skill versus control: new paradigms of musicianship 113 81
viii 4 Contents Legally live: law, performance, memory 125 TeeVee’s courthouse, or the resistible rise of the videotape trial 127 Pandemic proceedings 140 You don’t own me: performance and copyright 147 Performance as intellectual property: common law copyright, unfair competition, right of publicity, trademark 157 The Gollum problem 167 Law and remembrance 175 5 Conclusion 201 Index 207
Liveness Liveness: Performance in a Mediatized Culture addresses what may be the single most important question racing all kinds of performance today. What is the status of live performance in a culture dominated by mass media and digital technologies? Since its first appearance, Philip Ausländers groundbreaking book has helped to reconfigure a new area of study. Looking at specific instances of live performance such as theatre, music, sport, and courtroom testimony, Liveness offers penetrating insights into media culture, suggesting that media technology has encroached on live events to the point where many are hardly live at all. In this new edition, the author thoroughly updates his provocative argument to take into account the impact of the internet, and cultural, social, and legal developments. He also addresses the situation of live performance during the COVID-19 pandemic. In tackling some of the Jast great shibboleths surrounding the high cultural status of the live event, this classic book will continue to shape opinion and to provoke lively debate on a crucial artistic dilemma: what is live performance and what can it mean to us now? This extensively revised, new edition of Liveness is an essential read for all students and scholars of performance-based courses. Philip Ausländer is a professor of performance studies and popular mu sicology in the School of Literature, Media, and Communication at the Georgia Institute of Technology, Atlanta, Georgia, USA. |
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