Towards a globalised notion of vampire identity
Aspasia Stephanou

eclipsed in contemporary societies, a concept that is, however, regressive and utopian. While the terms community and subculture are both used to describe the vampire groups and organisations, the self-proclaimed vampires seem to prefer the concept of community, which pertains to the ideal experience of meaningful ‘virtual togetherness’ (Bakardjieva, 2007 : 236) and conjures up the ideal of a local connection of

in Globalgothic
Abstract only
Adventures in reality: why (punk) fanzines matter
Matthew Worley, Keith Gildart, Anna Gough-Yates, Sian Lincoln, Bill Osgerby, Lucy Robinson, John Street and Pete Webb

perfect medium for criticism, self-examination, self-expression and communication. Taken all together, and in keeping with the Subcultures Network’s aim to broker cross-disciplinary discussion, the chapters included here bring varied perspectives to the practice, process and politics of punk-related fanzines. There are limitations: questions of class and race are but touched upon and warrant far greater attention. Part IV, ‘Global Communications’, is but the proverbial tip of the iceberg. Non-punk scenes also generated fanzines of equal and distinct interest. But

in Ripped, torn and cut
Colin Sumner

subculture” then the whole of plebeian England falls within the category’ (1975, p. 194). During the eighteenth century one legal decision after another signalled that the lawyers had been converted to the notions of absolute property ownership, and that … the law abhorred the messy complexities of coincident use-​right … capitalist modes transmuted offices, rights and perquisites into round monetary sums, which could be bought and sold like any other property … The rights and claims of the poor, if inquired into at all, received mere perfunctory compensation, smeared over

in Law in popular belief
Abstract only
Gary James

transformational cycles. There was some overlap, but the cycles demonstrate how the sport evolved and came to prominence, providing an example, which could apply elsewhere, of how football became embedded within a culture. However, it would be an error to assume that association football across the world developed in exactly the same manner, as analysis of specific cities and regions would undoubtedly uncover locality-­specific differences and factors.6 The growth of Manchester’s owed most to a series of overlapping subcultures, including individuals who helped to propagate the

in The emergence of footballing cultures
Abstract only
Ory Bartal

, and strength to its followers, and protects them from the constant threat of dispersion.37 In late consumer culture, the individual declares affiliation to a group or a subculture via the lifestyle that is expressed in the brand’s sign value. According to Baudrillard, the transformation of objects from functional things to signs of identity was followed by the transformation of the postmodern city into a sphere of codes and signs. The city ceased to be the politico-industrial zone that it was in the nineteenth century – a site of industrial concentration and

in Critical design in Japan
Abstract only
Kurys’ authorial signature
Carrie Tarr

requirements of dominant cinema, they are rendered with a distinctively female eye’ (Foster 1995: 213). In these films, the camera is sensitive to girls and women and the interactions between them, and focuses on female subcultures, be it girls at school or women friends enjoying fashion or coping with housework and parenting. Humour emerges from the ways girls and women share jokes about men and what it is to be female. It is

in Diane Kurys
Abstract only
Ian Goodyer

.indd 157 6/5/2009 10:59:51 AM 158 Crisis music Trotskyist perspective, but a dissident, state capitalist, variant at that. Far from expressing a monolithic Marxist approach to culture, RAR broke ranks with most of the left by choosing to orient itself on the products of the capitalist music industry – the phrase ‘popular culture’ in this context pertaining to patterns of consumption rather than conditions of production. Some RAR activists, like David Widgery, could sometimes exaggerate the revolutionary potential of popular music and of the subcultures that

in Crisis music
Abstract only
Nick Crossley

distinction between mainstream and alternative music worlds is further elaborated. My point of departure for conceptualising ‘music worlds’, as noted above, was Becker's concept of ‘art worlds’. I could have started with a number of other concepts and writers but Becker is the best in my view, and in Chapter 4 I make the case for this, comparing ‘music world’ with the concepts of ‘sub-culture’, as posited by Birmingham's Centre for Contemporary Cultural Studies (CCCS); ‘neo-tribe’, as introduced by Maffesoli; Bourdieu's concept of ‘fields’; and the more widely used

in Connecting sounds
An introduction to Gothic fashion
Catherine Spooner

late Romantic than Gothic, and if perhaps two of the best known, are not the most representative texts of the genre. If the clothes of the 1840s are archetypally Gothic, how are to be explained the very different fashions sported by Ann Radcliffe’s heroines, or by Dracula, or indeed contemporary Goth subculture? The answer lies in the very manipulation of surface described above. Gothic garments

in Fashioning Gothic bodies
Abstract only
Graffiti, writing and coming-of-age in The Fortress of Solitude
James Peacock

previous examples have shown, he already interprets his world in visual terms, as a drawn environment that needs in some way to be claimed by him and the subcultures to which he aspires. But more than this, the narrative of ‘Underberg’ insists on seeing and describing people pictorially. In seventh grade Dylan sees ‘[b]odies ranged like ugly cartoons, as though someone without talent was scribbling in

in Jonathan Lethem