strategies about media practices in different stages of the life cycle. Foremost, they are based on biographical interviews. They are an invaluable method for approaching media use in the lifeworld and how it changes over time. The media biographies addressed different life stages for all of the participants and were coded for:
– stability and change of ‘generation units’ in the life course
– patterns of media use in the family and with social peers
– nostalgia for media technologies and the anxiety for cherished technologies to disappear
– locating personal media
Swedish and Estonian media users tentatively belonging to four generations. In his analysis of these interviews, he suggests that passion and nostalgia are produced in relation to childhood memories and also in the borderland of shared intergenerational experience ( Bolin 2014 , 2015 ). My study, however, is more limited, with a focus only on radio and television memories. Nevertheless, in accordance with Bolin, I will highlight one component of the generational experience that is strongly related to media, namely, the intimate and often passionate relations that are
groups for buying/selling things privately often draw the largest number of members and updates. They are the new local market.
• Groups for local nostalgia are common, like “you know you are from Helsingborg if you…” Often many members, but a low frequency of updates.
Local campaigns often use Facebook groups as organisers and platforms. Several such groups were found promoting town gardening and special roads for bicycles.
Local associations have their own groups as a place to share information and report on activity in the organisation.
Local actors, such as
Increased competition on the field (RQ4)
The majority of respondents claimed that the prestige and financial situation of photo-journalists has been lowered during the past decade, and in many cases, they also expressed a certain nostalgia for ‘the good old days’. Similar to Yaschur’s (2011) findings, they reported feeling unappreciated, undervalued, submissive and ignored. When asked about the sources of their dissatisfaction, the respondents stressed that the adoption of digital technology should not be viewed as the single explanation behind, for example, cuts in
markers. The research attention paid to this relies on the degree to which the participant is able to reflect on the reworking of recorded moments. In this way, the scroll back method uses the Facebook timeline as a memory object and, through collaborative interrogation of it, confronts the participant with earlier versions of his or her mediatized life through memory objects. Thus, the scroll back interview involves revisiting the archived “semantic bodies” of research participants, often producing experiences of nostalgia, embarrassment, shame and joy ( Robards
Extreme metal music is held to be a destructive genre of popular culture, treated as a pariah for many. Being a seriously misunderstood genre, I would like to highlight that metal music is a result of conscious work process that cannot only be noticed on the level of the music but on the level of verbal and pictorial expressions too. In my paper, I would like to show the working mechanisms of the so-called “(neo)pagan/mythological metal” movement, focusing on the rhetoric side of its mentioned expressions, searching for the ways these bands rewrite ancient myths and legends.
For my research, I will use three main threads: 1) history of religion (looking for the connections of the reception of ancient topics in contemporary society, e.g. New Age Cults and New Religious Movements); 2) reception theory, as the thoughts of Northrop Frye, Wolfgang Iser (1972), and John Fiske (2011) all should help to understand the general processes behind reading and producing texts; 3) subculture studies – e.g. the works of Richard Schusterman and Deena Weinstein (2002) to have a deeper insight to the genres standing on the edge of mass and high culture.
After a general introduction, I would like to demonstrate the above mentioned through some case studies. The chosen mythological cultures are going to be the world of the ancient Middle East (Mesopotamia, Egypt, and the Old Testament), the classical Roman world, and the Viking Era, also showing some Hungarian and Romanian examples in the last section. In each section, the following issues should be examined: band and stage names connected to the topic, album titles, lyrics, and album covers. All these together will show us many clear patterns from romantic nostalgia to allegoric concepts, all revolving around the essence of metal music: being a Stranger in a familiar society.