Jonathan Thomas, La propagande par le disque: Jean-Marie Le Pen, éditeur phonographique
From its inception in the late nineteenth century, recorded sound and its meanings have been continuously negotiated and shaped by individuals, communities and institutions (including the first state sound archives) to serve a wide range of social and political purposes. At the same time, the adven...
Enregistré dans:
| 發表在: | URI:https://journals.openedition.org/transposition, |
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| 主要作者: | |
| 格式: | Article ou chapitre numérique |
| 語言: | Anglais |
| 出版: |
Transposition
2022
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| 在線閱讀: | Accès Université d'Orléans et IFPM Accès Université d'Orléans et IFPM |
| 總結: | From its inception in the late nineteenth century, recorded sound and its meanings have been continuously negotiated and shaped by individuals, communities and institutions (including the first state sound archives) to serve a wide range of social and political purposes. At the same time, the advent of recording technologies has progressively contributed to dynamically define and redefine the contours of social experience, subtly anticipating novel relationships to the self, to others, and t... |
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