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Titlebook: Gender, Metal and the Media; Women Fans and the G Rosemary Lucy Hill Book 2016 The Editor(s) (if applicable) and The Author(s) 2016 Emo.fan

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發(fā)表于 2025-3-21 18:30:09 | 只看該作者 |倒序瀏覽 |閱讀模式
書目名稱Gender, Metal and the Media
副標題Women Fans and the G
編輯Rosemary Lucy Hill
視頻videohttp://file.papertrans.cn/382/381776/381776.mp4
概述Challenges the idea that heavy metal is masculine music.Offers a new examination of damage done by myth that all women fans are groupies.Explores the musical pleasure offered by metal to women fans
叢書名稱Pop Music, Culture and Identity
圖書封面Titlebook: Gender, Metal and the Media; Women Fans and the G Rosemary Lucy Hill Book 2016 The Editor(s) (if applicable) and The Author(s) 2016 Emo.fan
描述This book is a timely examination of the tension between being a rock music fan and being a woman. From the media representation of women rock fans as groupies to the widely held belief that hard rock and metal is masculine music, being a music fan is an experience shaped by gender. Through a lively discussion of the idealised imaginary community created in the media and interviews with women fans in the UK, Rosemary Lucy Hill grapples with the controversial topics of groupies, sexism and male dominance in metal. She challenges the claim that the genre is inherently masculine, arguing that musical pleasure is much more sophisticated than simplistic enjoyments of aggression, violence and virtuosity. Listening to women’s experiences, she maintains, enables new thinking about hard rock and metal music, and about what it is like to be a women fan in a sexist environment.?.
出版日期Book 2016
關鍵詞Emo; fans; feminism; gender; groupies; media; metal; music; rock; subculture; women; feminist anthropology
版次1
doihttps://doi.org/10.1057/978-1-137-55441-3
isbn_ebook978-1-137-55441-3Series ISSN 2634-6613 Series E-ISSN 2634-6621
issn_series 2634-6613
copyrightThe Editor(s) (if applicable) and The Author(s) 2016
The information of publication is updating

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Women Fans and the Myth of the Groupie,he stereotype without accepting the title if they want their fandom to be respected, this results in a defensiveness about sexual and fannish reputations, which is an overtly gendered experience. Hill moves to examine the ways in which women’s desire for musicians and the complicated ways in which i
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Ina Ter Avest,Duncan R. WielzenDrawing on her own experience as a musician and fan, the author argues that orthodoxies—e.g., the genre is inclusive, the music asexual and sexism non-existent—are only able to persist within the literature because scholars have neglected to understand how musical experiences are gendered. Within th
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