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Subcultures Belonging and Not Belonging
Subculture ,[object Object],[object Object]
Subculture ,[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object]
Subculture ,[object Object],Dick Hebdige, 1978
Identifying Subcultures ,[object Object],[object Object]
Identifying Subcultures ,[object Object],[object Object]
Subculture’s relationship with mainstream culture ,[object Object]
 
 
 
Emo Subculture ,[object Object],[object Object]
Emo Subculture ,[object Object],[object Object]
Emo Subculture –  How to Look Emo ,[object Object],[object Object]
How to Look Emo ,[object Object],[object Object]
How to be Emo ,[object Object],[object Object]
 
 
 
 
 
 

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Subcultures

Notes de l'éditeur

  1. This process of cultural appropriation may often result in the death or evolution of the subculture, as its members adopt new styles that appear alien to mainstream society. This process provides a constant stream of styles which may be commercially adopted. Music-based subcultures are particularly vulnerable to this process, and so what may be considered a subculture at one stage in its history—such as jazz , goth , punk , hip hop and rave cultures —may represent mainstream taste within a short period of time. Some subcultures reject or modify the importance of style, stressing membership through the adoption of an ideology which may be much more resistant to commercial exploitation. [ edit ] Punk subculture The punk subculture 's distinctive (and initially shocking) style of clothing was adopted by mass-market fashion companies once the subculture became a media interest. According to Dick Hebdige , subcultural styles are distinguished from mainstream styles by being intentionally fabricated.[ citation needed ] He argues that the punk subculture shares the same "radical aesthetic practices" as Dada and surrealism :