9 resultados para Skinheads


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Fundação de Amparo à Pesquisa do Estado de São Paulo (FAPESP)

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In traditional communication and information theory, noise is the demon Other, an unwelcome disruption in the passage of information. Noise is "anything that is added to the signal between its transmission and reception that is not intended by the source...anything that makes the intended signal harder to decode accurately". It is in Michel Serres' formulation, the "third man" in dialogue who is always assumed, and whom interlocutors continually struggle to exclude. Noise is simultaneously a condition and a by-product of the act of communication, it represents the ever present possibility of disruption, interruption, misunderstanding. In sonic or musical terms noise is cacophony, dissonance. For economists, noise is an arbitrary element, both a barrier to the pursuit of wealth and a basis for speculation. For Mick (Jeremy Sims) and his mate Kev (Ben Mendelsohn) in David Caesar's Idiot Box (1996), as for Hando (Russell Crowe) and his gang of skinheads in Geoffrey Wright's Romper Stomper (1992), or Dazey (Ben Mendelsohn) and Joe (Aden Young) in Wright's Metal Skin (1994) and all those like them starved of (useful) information and excluded from the circuit - the information poor - their only option, their only point of intervention in the loop, is to make noise, to disrupt, to discomfort, to become Serres' "third man", "the prosopopoeia of noise" (5).

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This Is England is social realist film portraying racism and poverty in 1980s Britain through the eyes of Shaun, a 12 year old boy, who has lost his father in the Falklands war and as to come to terms with his own identity, the difficult transition from childhood to adolescence and the need to fit in a determined group/tribe/gang. The following article aims at analysing relevant aspects depicted from the film emphasizing the so much debated reality of life during 80s. In This is England Shane Meadows manages to rediscover his own self geography, by revisiting his adolescent years. It is a biographical film about the importance of peer pressure and the results of an excess of nationalism, at the same time it typifies some issues related to the 80s youth culture.

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Este estudio de caso tiene como finalidad evidenciar los intereses políticos detrás de la mediación de Burkina Faso en el Conflicto de Costa de Marfil en el año 2007. En ese orden de ideas, este trabajo de grado analiza cómo la situación interna y externa de Burkina Faso, incidió en su decisión de mediar en el conflicto marfileño. Para lograr esto, en esta investigación se recurre a los conceptos de Interés Nacional y Poder Político propios de la Teoría del Realismo Político de Relaciones Internacionales, desarrollada por Hans Morgenthau, y al concepto de Seguridad del Régimen expuesto por John Clark. Además de las fuentes teóricas mencionadas anteriormente, se emplearon artículos y publicaciones de diversa índole sobre el fenómeno a estudiar.

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A raiz de los sucesos violentos entre niños e Estados Unidos, se reflexiona sobre la violencia juvenil en nuestro país. Se establece una tipología de jóvenes violentos urbanos, estableciéndose las características de estas 'tribus urbanas': Beat, hippies, Rochers, heavies, surfers y skaters, punkies y skinheads. Estas tipologías son importante ya que la mayor parte de la violencia juvenil se produce en agrupamientos..

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This article looks at the controversial music genre Oi! in relation to youth cultural identity in late 1970s’ and early 1980s’ Britain. As a form of British punk associated with skinheads, Oi! has oft-been dismissed as racist and bound up in the politics of the far right. It is argued here, however, that such a reading is too simplistic and ignores the more complex politics contained both within Oi! and the various youth cultural currents that revolved around the term ‘punk’ at this time. Taking as its starting point the Centre for Contemporary Cultural Studies’ conception of youth culture as a site of potential ‘resistance’, the article explores the substance and motifs of Oi!’s protest to locate its actual and perceived meaning within a far wider political and socio-economic context. More broadly, it seeks to demonstrate the value of historians examining youth culture as a formative and contested socio-cultural space within which young people discover, comprehend, and express their desires, opinions, and disaffections.

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This research focused on the re-emerging of national and minority identities and the concomitant hostilities emerging from them in Hungary and in Romania. In particular the findings indicate that extremist incidents against members of minority groups on the local level seem to follow patterns in publicised media events. Violent attacks by skinheads against Gypsies in Hungary are often isolated incidents but are also inadvertently supported by biased media coverage, hostile majority attitudes and stereotyped behaviour reproduced in the media. The research also indicates that extremism both in Hungary against Gypsies and in Romania against Hungarians is of three kinds: organised within the framework of extremist groups, state-supported violence (both real and symbolic), and isolated, local instances with a few perpetrators committing atrocities. However, and this is a positive development, with rising interethnic tensions and extremist attacks prevalent in Hungary and Romania, there is also a parallel emergence of a more sophisticated human and minority rights campaign to combat them.