Subculture: The Meaning of Style

Dick Hebdige

Routledge

Hiding in the Light: On Images and Things (Comedia)

Dick Hebdige looks at the creation and consumption of objects and images as diverse as fashion and documentary photographs, 1950's streamlined cars, Italian motor scooters, 1980's 'style manuals', Biff cartoons, the Band Aid campaign, Pop Art and promotional music videos. He assesses their broad cultural significance and charts their impact on contemporary popular tastes.

Hiding In The Light

Taylor & Francis, Inc.

'Hebdige's Subculture: The Meaning of Style is so important: complex and remarkably lucid, it's the first book dealing with punk to offer intellectual content. Hebdige [...] is concerned with the UK's postwar, music-centred, white working-class subcultures, from teddy boys to mods and rockers to skinheads and punks.' - Rolling Stone With enviable precision and wit Hebdige has addressed himself to a complex topic - the meanings behind the fashionable exteriors of working-class youth subcultures - approaching them with a sophisticated theoretical apparatus that combines semiotics, the sociology of devience and Marxism and come up with a very stimulating short book - Time Out This book is an attempt to subject the various youth-protest movements of Britain in the last 15 years to the sort of Marxist, structuralist, semiotic analytical techniques propagated by, above all, Roland Barthes. The book is recommended whole-heartedly to anyone who would like fresh ideas about some of the most stimulating music of the rock era - The New York Times

Subculture (New Accents)

Arts & Photography

‘…recommended whole-heartedly.’ -- The New York Times  Dick Hebdige’s Subculture is one of the most influential books in cultural studies to have been published in the last fifty years. Acclaimed by Rolling Stone and The New York Times on its first publication, it is a classic study of youth subcultures and the story of style, from Reggae and Rastafarianism to glam rock and punk. Beginning with an explanation of such contested terms as culture, ideology, hegemony, style and subculture Hebidge also investigates the postwar styles of hipsters, beats, teds, mods, skinheads, rude boys, glam and glitter rockers, punks, and dreads. He also brilliantly analyses different facets of style, especially punk and working-class subculture and explores the commodification and diffusion of style by the media.   A landmark in the field of cultural and media studies Subculture is a tour de force of writing on music, style and culture and the antagonistic and creative forces that shape them.  A renowned cultural critic and theorist, Dick Hebdige has published widely on youth subculture, contemporary music, art and design, and consumer and media culture. His current interests include the integration of autobiography and mixed media in critical writing and pedagogy.

Subculture: The Meaning of Style (Routledge Classics)

Politics & Social Sciences

Social Sciences

Taylor&Francis

The intellectual radicalism of the 1960s spawned a new set of questions about the role and nature of "the political" in social life, questions that have since revolutionized nearly every field of thought, from literary criticism through anthropology to the philosophy of science. Michel Foucault in particular made us aware that whatever our functionally defined "roles" in society, we are constantly negotiating questions of authority and the control of the definitions of reality. Such insights have led theorists to challenge concepts that have long formed the very underpinnings of their disciplines. By exploring some of the most debated of these concepts--"culture," "power," and "history"--this reader offers an enriching perspective on social theory in the contemporary moment.
 Organized around these three concepts, Culture/ Power/History brings together both classic and new essays that address Foucault's "new economy of power relations" in a number of different, contestatory directions. Representing innovative work from various disciplines and sites of study, from taxidermy to Madonna, the book seeks to affirm the creative possibilities available in a time marked by growing uncertainty about established disciplinary forms of knowledge and by the increasing fluidity of the boundaries between them. The book is introduced by a major synthetic essay by the editors, which calls attention to the most significant issues enlivening theoretical discourse today. The editors seek not only to encourage scholars to reflect anew on the course of social theory, but also to orient newcomers to this area of inquiry.
 The essays are contributed by Linda Alcoff ("Cultural Feminism versus Post-Structuralism"), Sally Alexander ("Women, Class, and Sexual Differences in the 1830s and 1840s"), Tony Bennett ("The Exhibitionary Complex"), Pierre Bourdieu ("Structures, Habitus, Power"), Nicholas B. Dirks ("Ritual and Resistance"), Geoff Eley ("Nations, Publics, and Political Cultures"), Michel Foucault (Two Lectures), Henry Louis Gates, Jr. ("Authority, [White] Power and the [Black] Critic"), Stephen Greenblatt ("The Circulation of Social Energy"), Ranajit Guha ("The Prose of Counter-Insurgency"), Stuart Hall ("Cultural Studies: Two Paradigms"), Susan Harding ("The Born-Again Telescandals"), Donna Haraway ("Teddy Bear Patriarchy"), Dick Hebdige ("After the Masses"), Susan McClary ("Living to Tell: Madonna's Resurrection of the Fleshly"), Sherry B. Ortner ("Theory in Anthropology since the Sixties"), Marshall Sahlins ("Cosmologies of Capitalism"), Elizabeth G. Traube ("Secrets of Success in Postmodern Society"), Raymond Williams (selections from Marxism and Literature), and Judith Williamson ("Family, Education, Photography").

Culture / Power / History: A Reader in Contemporary Social Theory

Henry Louis Gates, Jr.

Tony Bennett

Pierre Bourdieu

Stuart, Hall

Linda Alcoff

Sally Alexandeer

Donna Haraway

Ramond Williams

michel-foucault

Princeton University Press

Murakami

Takashi Murakami is one of contemporary art’s most innovative and important figures. Drawing from street culture, high art, and traditional Japanese painting, Murakami takes the contemporary art trend of mixing high and low to an unprecedented level (critics call him the new Warhol), producing original paintings and sculptures as well as mass-produced consumer objects such as toys, books, and most famously, a line of handbags for Louis Vuitton. A committed supporter and spokesperson for Japanese artists and a powerful commentator on postwar culture and society, Murakami has organized influential exhibitions of Japanese art as well as a biannual art fair in Tokyo. Murakami has positioned himself as a new type of artist for the twenty-first century: a hybrid of creator, entrepreneur, and cultural ambassador.In conjunction with the first major retrospective of his work, Murakami traces Murakami’s global impact socially, culturally, and art historically. Essays focus on Murakami’s early works, which were based on a social critique of Japan’s rampant consumerism; the development of his characters; his work with anime, fantasy; otaku culture; and his engagement with global pop culture. Representing output from original works of art to mass-produced multiples, the catalogue also considers the implications of Murakami’s working methods within the tradition of the Western avant-garde.

Midori Matsui

Takashi Murakami

Scott Rothkopf

Literature & Fiction

Rizzoli

Published to accompany documentary photographer Paul Shambroom's extensive 2008-09 American traveling exhibition, Picturing Power is the first volume to bring together selections from all five of his most important--and highly acclaimed--series to date.In the late 1980s, Shambroom visited manufacturing sites and office spaces to capture the spaces where many Americans spend the majority of their days--from the grittiest industrial factory to the cleanest biotech lab to the smallest, emptiest office cubicle. His next series, Nuclear Weapons, begun in the early 1990s, gained him access to long-restricted nuclear sites, where he produced eerie images of slumbering bombs and immaculate, empty war rooms. For Meetings (1999-2003), Shambroom traveled to municipal meetings in small communities as far flung as Bernice, Louisiana and Baltic, South Dakota, to document public officials in a formal portrait style, calling up both the seriousness and banality of these gatherings. His most recent series, Security (2004-present), documents eerie scenes of security training at special facilities across the country. Past and future, reality and fiction, blur as each figure creates a picture of threat and resistance in our post-9/11 era.While diverse in subject matter, Shambroom's series all record and demystify secret and little-seen loci of power. His images are remarkable both for their stark portrayal of such places, and as evidence of his access to the sites. Negotiating this access in an open and democratic manner is a hallmark of Shambroom's practice.

Paul Shambroom: Picturing Power

Diane Mullin

Christopher Scoates

Helena Reckitt

Individual Artists

Weisman Art Museum, University of Minnesota

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Books by Dick Hebdige