Título: | FUNK OSTENTAÇÃO AND THE LULA AND DILMA YEARS: IMAGINARIES OF SOCIAL ASCENSION IN THE CONTEXT OF PLATFORM MUSIC | ||||||||||||
Autor: |
RAFAEL GIURUMAGLIA ZINCONE BRAGA |
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Colaborador(es): |
CLAUDIA DA SILVA PEREIRA - Orientador LEONARDO GABRIEL DE MARCHI - Coorientador |
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Catalogação: | 11/MAI/2023 | Língua(s): | PORTUGUESE - BRAZIL |
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Tipo: | TEXT | Subtipo: | THESIS | ||||||||||
Notas: |
[pt] Todos os dados constantes dos documentos são de inteira responsabilidade de seus autores. Os dados utilizados nas descrições dos documentos estão em conformidade com os sistemas da administração da PUC-Rio. [en] All data contained in the documents are the sole responsibility of the authors. The data used in the descriptions of the documents are in conformity with the systems of the administration of PUC-Rio. |
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Referência(s): |
[pt] https://www.maxwell.vrac.puc-rio.br/projetosEspeciais/ETDs/consultas/conteudo.php?strSecao=resultado&nrSeq=62496&idi=1 [en] https://www.maxwell.vrac.puc-rio.br/projetosEspeciais/ETDs/consultas/conteudo.php?strSecao=resultado&nrSeq=62496&idi=2 |
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DOI: | https://doi.org/10.17771/PUCRio.acad.62496 | ||||||||||||
Resumo: | |||||||||||||
The aim of this thesis is to contribute to the debate on the relationship
between the socioeconomic context and the arts based on the analysis of the funk
ostentação phenomenon. Emerged over the years of economic growth of the
Workers Party governments, funk ostentação was understood as a representation
of what was labeled, at the time, the new middle class, a socioeconomic
phenomenon that was associated with the success of economic and social policies
of the PT. As they gained prominence in the music industry, a significant number
of funk ostentação artists began to defend an explicitly neoliberal discourse,
emphasizing meritocracy and entrepreneurship as determining factors for their
(individual) success, ignoring the role of policies for training of the subgenus itself.
In the field of music, greater attention was given to the economy of funk and to the
innovations of a business model engendered by the producer Kondzilla,
highlighting the centrality of audiovisual and digital social networks, notably
YouTube, in this process. The thesis dwells precisely on this apparent contradiction
between the socioeconomic and cultural contexts, performing an interpretative
content analysis of interviews with some of the most prominent characters within
the musical subgenre posted on the YouTube platform between 2011 and 2015.
Although neoliberal consumer policies do not produce necessarily linear, totalizing
and homogeneous political impacts, it was verified in the speeches of the MCs the
recurrence of a discourse marked by individualism and motivational culture,
apparently antithetical to an economic context of greater socialization of purchasing
power via public State policies.
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