The cyberpunk culture and queer derivations in Brazilian music videos
DOI:
https://doi.org/10.11606/issn.2316-7114.sig.2023.196661Keywords:
queer cyberpunk, maximalism, deviance, audiovisual excess, phantasmagoric sound of pleasureAbstract
This article discusses the relationship between queer music and cyberpunk, commonly heteronormative, in twenty-first-century music videos. The questions are: what audiovisual strategies and themes are explored in this repertoire; why do they adopt codes marked by sounds and images capable of technologically based bodily discrimination; what does this represent and its political implications. Through a qualitative analysis of sound, image, and text in a cluster of ten cases, we conclude that cyberpunk problems and strengths in capitalism and deviance are negotiated by queer practices, creating affects and effects that politicize audiovisual art.
Downloads
References
BAUMAN, Z. Liquid Modernity. Cambridge: Polity, 2000.
CAVALCANTI, G. “Gênero, militância LGBT e musicologia queer no Brasil”. Música em Foco, v. 1, n. 1, 2018, p. 6-10.
CHION, M. Audio-vision: Sound on Screen. New York: Columbia University Press, 1994.
CHU, S.-Y. Do Metaphors Dream of Literal Sheep? A Science-Fictional Theory of Representation. Cambridge: Harvard University Press, 2010.
CLENDINNING, J. P. “Electronically Modified Voices as Expressing the (Post)Human Condition in Daft Punk’s Random Access Memories (2013)”. In. SCOTTO, C, SMITH, K., e BRACKETT, J. (eds.). The Routledge Companion to Popular Music Analysis: Expanding Approaches. New York: Routledge, 2019, p. 159-176.
DENORA, T. Music-in-Action: Selected Essays in Sonic Ecology. London and New York: Routledge, 2011.
DEVITT, R. “Girl on Girl: Fat Femmes, Bio-Queens, and Redifining Drag”. In. WHITELEY, S., e RYCENGA, J. (eds.). Queering the Popular Pitch. New York: Routledge, 2013, p. 27-39.
FOUCAULT, M. The Archaeology of Knowledge. London and New York: Routledge, 2002.
FRITH, S. Performing Rites: On the Value of Popular Music. Cambridge: Harvard University Press, 1998.
GRAY, C. H. “Veillance Society”. In. MCFARLANE, A., MURPHY, G. J., e SCHMEINK, L. (eds). The Routledge Companion to Cyberpunk Culture. New York: Routledge, 2020, p. 362-372.
HARAWAY, D. Simians, Cyborgs, and Women. New York: Routledge, 1991.
HARAWAY, D. When Species Meet. Minneapolis: University of Minnesota Press, 2008.
HAWKINS, S. “On Male Queering In Mainstream Pop”. In. WHITELEY, S., e RYCENGA, J. (eds.). Queering the Popular Pitch. New York: Routledge, 2006, p. 279-294.
HAWKINS, S. “Temporal Turntables: On Temporality and Corporeality in Dance Culture”. In BAUR, S., KNAPP, R., e WARWICK, J. (eds.). Musicological Identities: Essays in Honor of Susan McClary. London and New York: Routledge, 2017, p. 121-134.
KAHN, D. Noise, Water, Heat: A History of Sound in the Arts. Cambridge: The MIT Press, 1999.
KORSGAARD, M. B. Music Video After MTV: Audiovisual Studies, New Media, and Popular Music. New York: Routledge, 2017.
LACASSE, S. “Toward a Model of Transphonography”. In BURNS, L., e LACASSE, S. (eds.). The Pop Palimpsest: Intertextuality in Recorded Popular Music. Michigan: Michigan University Press, 2018, p. 9-60.
LESSIG, L. Remix: Making Art and Commerce Thrive in the Hybrid Economy. London: Bloomsbury, 2008.
LIEB, K. J. Gender, Branding, and the Modern Music Industry. New York and London: Routledge, 2018.
AUTOR. “A música na construção de práticas representacionais e estereotipadas do pós-humano em audiovisuais.” In. OLIVEIRA, A. B. de, PEREIRA, A. C., TAUNAY, A., ROSA, L., e ARAÚJO, N. (eds.). Cinema e outras artes IV: diálogos e inquietudes artísticas. Covilhã: Labcom, 2021, p. 165-190.
MCCLARY, S. Feminine Endings: Music, Gender, and Sexuality. Minneapolis: University of Minnesota Press, 2002.
MCLEOD, K. “Space oddities: aliens, futurism and meaning in popular music”. Popular Music, 22, 3, 2003, p. 337-355.
MELZER, P. Alien Constructions: Science Fiction and Feminist Thought. Austin: University of Texas, 2006.
MELZER, P. “Cyborg Feminism”. In. MCFARLANE, A., MURPHY, G. J., e SCHMEINK, L. (eds). The Routledge Companion to Cyberpunk Culture. New York: Routledge, 2020, p. 291-299.
PEARSON, W. G. “Queer Theory”. In. MCFARLANE, A., MURPHY, G. J., e SCHMEINK, L. (eds). The Routledge Companion to Cyberpunk Culture. New York: Routledge, 2020, p. 300-307.
RAILTON, D, e Watson, P. Music Video and the Politics of Representation. Edinburgh: Edinburgh University Press, 2011.
RAMBARRAN, S. Virtual Music: Sound, Music, and Image in the Digital Era. New York: Bloomsbury Academic, 2021.
REICH, E. “The Gift of Black Sonics: Interface and Ontology in Sorry to Bother You and Random Acts of Flyness”. In. VERNALLIS, C., ROGERS, H., HARA, S., e LEAL, J. (eds.). Cybermedia: Explorations in Science, Sound, and Vision. New York: Bloomsbury Academic, 2022, p. 283-310.
REYNOLDS, S. Retromania: Pop Culture’s Addiction to Its Own Past. New York: Faber and Faber Inc, 2011.
SLEE, S. M. ”Moving the Music: Dance, Action, and Embodied Identity”. In. ARNOLD, G., FAIRCLOUGH, K., MICHAEL, G., e COOKNEY, D. (eds.). Music/Video: Histories, Aesthetics, Media. London: Bloomsbury, 2019, p. 147-162.
THWEATT-BATES, T. Cyborg Selves: A Theological Anthropology of the Posthuman. Farnham: Ashgate, 2012.
SOARES, D. S., e, Diniz, J. K. O. “VISIBILIDADE SOCIAL POR MEIO DA INFLUÊNCIA MUSICAL DE LINIKER, PABLLO VITTAR, GLORIA GROOVE E TRIZ.” DI@LOGUS, 9 (3), 2020, p. 21-36.
WASSER, N. “Forjando arquivos LGBT através da música popular”. In. 32a Reunião Brasileira de Antropologia, 2020. Disponível em: https://docplayer.com.br/212552621-Forjando-arquivos-lgbt-atraves-da-musica-popular-nicolas-wasser-pagu-unicamp.html. Acesso em: 10 abr. 2022.
WHITELEY, S. “Introduction”. In. Sexing the Groove: Popular Music and Gender. New York: Routledge, 1997, p. 15-40.
WHITELEY, S. “Popular Music and the Dynamics of Desire”. In. WHITELEY, S., e RYCENGA, J. (eds). Queering the Popular Pitch. New York: Routledge, 2006, p. 249-262.
Videografia
Império. Músico: Gloria Groove. Brasil, 4m08. https://www.youtube.com/watch?v=eYU-oXjIlus. Último acesso 11/04/2022.
Yoyo. Músicos: Glória Groove e Iza. Brasil, 3m11. https://www.youtube.com/watch?v=GKfMYbbWEJY. Último acesso 11/04/2022.
Bonekinha. Músico: Glória Groove. Brasil, 2m51. https://www.youtube.com/watch?v=EhjIxhpGxDc. Último acesso 11/04/2022.
Buzina. Músico: Pabllo Vittar. Brasil, 2m59. https://www.youtube.com/watch?v=J6UBEhPVf1w. Último acesso 11/04/2022.
Number One. Músicos: Pabllo Vittar e Rennan da Penha. Brasil, 3m16. https://www.youtube.com/watch?v=j2h8hchsl5Q. Último acesso 11/04/2022.
Frequente(mente). Músicos: Chamaleo e Pabllo Vittar. Brasil, 3m48. https://www.youtube.com/watch?v=j_iegFnf4Ek. Último acesso 11/04/2022.
Sentadinha Macia. Músico: Lia Clark. Brasil, 2m58. https://www.youtube.com/watch?v=NNLC0ApF2A0. Último acesso 11/04/2022.
Tomecurtindo. Músicos: Lia Clark e Pabllo Vittar. Brasil, 3m13. https://www.youtube.com/watch?v=gXhL0sSIVB8. Último acesso 11/04/2022.
Bixa Preta Parte2. Músicos: Linn da Quebrada e Jup do Bairro. Brasil, 5m13. https://www.youtube.com/watch?v=WJOe3UqPGSQ. Último acesso 11/04/2022.
Modo Turbo. Músicos: Luísa Sonza, Pabllo Vitar e Anitta. Brasil, 2m54. https://www.youtube.com/watch?v=QcS9ZndErHc. Último acesso 11/04/2022.
Downloads
Published
Issue
Section
License
Copyright (c) 2023 André Filipe Cecília Malhado
This work is licensed under a Creative Commons Attribution-NonCommercial 4.0 International License.
Authors who publish in this journal must agree with the following terms:
- Authors keep their copyrights and grant the journal first time publication rights, having their articles simultaneously licensed under the Creative Commons Attribution License, which allows sharing texts with authorship recognition and first publication on this journal for non-commercial purposes.
- Authors are allowed to make additional contracts, for a non-exclusive distribution of the article’s version published on this journal (e.g.: publishing in institutional repositories of articles or as a book chapter), with authorship recognition and first publication on this journal.
