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By using our site, you agree to our collection of information through the use of cookies. To learn more, view our Privacy Policy. To browse Academia. This article explores how the different forms of youth involvement in underground music scenes tend to develop into do-it-yourself DIY careers by triggering acquired expertise resulting from a long immersion in these scenes. It begins with an analysis of the representations of Portuguese punks about DIY and the ways in which they experience and develop networks and skills. Concomitantly, through a recent analysis carried out in Brazil in different underground music scenes, I examine the importance of DIY showing the approximation of two different musical, social, and geographical universes. This focus, besides amplifying the glimpse outside the Anglocentric look into creative cities, serves to understand how underground music scenes are a breath of fresh air when it comes to creative activity beyond mainstream cultural industries. This initiative follows the great success of the two first KISMIF Conference editions held in and , seeking to voice the will of the many researchers who have sought to promote an annual scientific meeting for the discussion of underground music scenes and do-it-yourself culture at the highest level. We hope with this to enrich the underground scenes and DIY cultures analysis by producing innovative social theory on various spheres and levels, as well as focusing on the role of DIY culture in late modernity. Indeed, the role of music and DIY cultures is once more an important question — taking place in a world of piecemealed yet ever-present change. The space, spaces, places, borders, zones of DIY music scenes are critical variables in approaching contemporary cultures, their sounds, their practices artistic, cultural, economic and social , their actors and their contexts. Territorialization and deterritorialization are indelible marks of the artistic and musical scenes in the present; they are related to immediate cosmopolitanisms, to conflicting diasporas, new power relations, gender and ethnicity. As in previous KISMIF Conferences, it is our intention to welcome reflexive contributions which consider the plurality that DIY cultural practices demonstrate in various cultural, artistic and creative fields and to move beyond music in considering artistic fields like film and video, graffiti and street art, the theatre and the performing arts, literature and poetry, radio, programming and editing, graphic design, illustration, cartoon and comics, as well as others. Convened by Andy Bennett and Paula Guerra the conference, accompanied by the pre-emptive Summer School, was a week-long event with core themes revolving around the many global underground scenes and drawing upon an impressive international range of established subcultural scholars and postgraduate researchers. As members of the conference scientific committee, and as founders of the Punk Scholars Network, we were invited to deliver keynotes at the preceding Summer School, to chair panels and to convene on a number of Summer School sessions, offering ad hoc summative commentaries to those in the panel. The Summer School offered 'an opportunity for all students bachelor, masters, doctorate, post-doctorate to attend specialist master classes and discuss their research work in seminars'. Its inclusion, therefore, was based upon a clear pedagogical model whereby students could discuss, disseminate and contemplate their own research. More than that, it was also important in empowering students to gain control of the academic arena, often a space solely for the 'academic'. Here, postgraduate students presented papers that ranged from political activism to urban communities, from aesthetics to mediation , and from identities to authenticity. As an academic environment, the Summer School beat many a conference: papers were presented in an often-informal basis, with students helping and signposting each other towards unknown areas of research. The approach of do-it-yourself DIY musical careers lies in the premise that music is a unifying set of activities, understood as a cluster of several practices and lifestyles. The analysis of musical production is usually based on an entrepreneurial perspective about creative workers and, specifically, about the musicians. In this context, it can be useful to revisit one of the core values of the punk subculture, the DIY ethos, based on empowerment, on taking possession of the means of production, as an alternative to mainstream production circuits. It's about mobilizing DIY skills strength, achievement, freedom, collective action as new standards to promote employability, managing the uncertainty and precariousness of this option in terms of building a professional career. Log in with Facebook Log in with Google. Remember me on this computer. Enter the email address you signed up with and we'll email you a reset link. Need an account? Click here to sign up. Keep it Simple, Make it Fast! Crossing Borders of Underground Music Scenes. Book of Abstracts. What is Punk Rock? What is DIY? Review: Keep it Simple, Make it Fast!

ROCK IN PORTUGAL: effects of the rock music in the Portuguese youth (1960 vs. 2013)

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Framed by approaches in critical transnationalism, this volume examine crime as a cinematic mode moving within, between and across national cinemas to provide rigorous accounts of the political, economic and historical processes entangled in the production, circulation and reception of crime films most frequently treated through the lens of genre. Filmic narratives of crime open a porous space of public discourse in which filmmakers and audiences project and reimagine relations of power. This collection studies the production and reception of films from Europe, Africa, East and South Asia and South America, presenting crime as a discursive site where the terms of the nation and cinema gain new definition. Access to content on Oxford Academic is often provided through institutional subscriptions and purchases. If you are a member of an institution with an active account, you may be able to access content in one of the following ways:. 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Keywords: Transnational crime cinema , World cinema , Genre cycles , Digital distribution and reception , Hybrid production and distribution models , Justice , corruption and the state in film. Aleksander Sedzielarz and. Delahousse Sarah. View chapter. Ramin Sadegh Khanjani. View part front matter. Julianna Blair Watson. Eren Odabasi. Rohini Sreekumar and. Jalarajan Raj Sony. Jonida Gashi. Fernando Gabriel Pagnoni Berns. Jennifer Alpert. Sarah Delahousse. Jiaying Sim. Jonathan Risner. Connor Ryan. Sign in Get help with access. Institutional access Sign in through your institution Sign in through your institution. Get help with access Institutional access Access to content on Oxford Academic is often provided through institutional subscriptions and purchases. 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