Media, Materiality and Memory

Roy, Elodie A.

doi:10.4324/9781315594538

Cited by 28 publications

(6 citation statements)

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“…The proliferation of monographs, small edited collections, symposia and conferences, and even educational courses, further corroborates the growing viability of the field in its own right (for example, see Inglis 2006, Lipsitz 2007, Reynolds 2011, Baker 2015, Cohen et al 2015, Pickering and Keightley 2015, Roy 2015, Bennett and Rogers 2016. The purpose of the current volume is to bring together the broadening range of popular music heritage applications in a digestible format, one that scholars new and experienced in the field can dip into for the foundational and progressive ideas captured here in the early twenty-first century.…”

mentioning

confidence: 81%

Framing the field of popular music history and heritage studies

Cantillon¹,

Strong²,

Istvandity³

et al. 2018

The Routledge Companion to Popular Music History and Heritage

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mentioning

confidence: 81%

Framing the field of popular music history and heritage studies

Cantillon¹,

Strong²,

Istvandity³

et al. 2018

The Routledge Companion to Popular Music History and Heritage

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“…This is similar to the televisual recap, whereby, after an advertising break, the show's narrative is replayed and explained to an audience who might just be coming into the show at mid-point. Elodie Roy (2015) has written about this relationship as the two 'modes' of YouTube:…”

Section: The Incursion Of Images Of the Youthful Body Onto Ageing Femmentioning

confidence: 99%

“…rethinking ageing within an audiovisual terrain such as YouTube. The mixing and layering up of co-ordinates is what happens inRoy's (2015) 'drifting' process, in particular, the past impinges constantly on the present. This situation, wherein past remnants remain as indicators of a present persona, calls to mindRicoeur's (1990) work on time, specifically his ideas on the uncertainties of temporality, which is taken up byKeith Negus (2012) to map out how popular music negotiates time.…”

mentioning

confidence: 99%

YouTube, ageing and PJ Harvey: An ‘everyday’ story of the erasure of age

Gardner

2018

Convergence: The International Journal of Research into New Med

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Ageing is starting to matter in popular cultural studies but the matter of ageing within YouTube is, at present, unwritten. This article is an attempt to start that process. YouTube hosts the music video for PJ Harvey’s single release The Community of Hope (2016) . Shot by Seamus Murphy, it shares screen space with official music videos from Harvey’s 23-year career. Raising questions about the relationship between her past and present, this article examines the link between YouTube and ageing through two concepts, repetitive circularity and the flat archive. These rely and inform each other in a process that prioritizes the presence of youthfulness through the absenting of age, whereby the ageing body is erased from a popular cultural forum. YouTube’s ‘wallpaper of the past’ has a nagging impact on how we might read the body’s progress through time, in particular, how it ages. Tackling the paucity of work on ageing as it surfaces within the changing topographies of popular music encounters, the article considers how ageing is presented within a digital environment such as YouTube and concludes that the story is one of age erasure.

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“…What kind of particular cultural mechanisms allow for reissue practices to take place? What kind of relationships to 'contemporary' regimes of memory do reissue cultures betray (Roy 2014(Roy , 2015? These general questions can only be answered by identifying particular articulations, colourations and singular occurrences of reissuing.…”

Section: Popular Collectors Critics and Diggersmentioning

confidence: 99%