Songs of Social Protest by unknow

Author:unknow
Language: eng
Format: epub
ISBN: 9781786601261
Barnesnoble:
Publisher: Rowman & Littlefield Publishers, Inc.
Published: 2020-02-28T00:00:00+00:00

Figure 21.1 Marilyn Manson, September 2007 at Verizon Wireless Amphitheater.

Fascist and totalitarian states use powerful icons, images of idealized bodies, statuary, machinery and weapons because of their ability to create strong affective states in audiences and connect them to abstract concepts like strength, unity, fellowship and fortitude. But when these images reappear in industrial music, there is always something off, distorted or grotesque—maybe even a little bit queer. Camp fascism appears in industrial music’s performance because camp itself “has the power to force attention onto bodies” (Flynn 1999, 453), bodies which point to the non-ideal and the abject.15Due to the way camp “strenuously insists on the body and its materiality”, (Flynn 1999, 453) when an artist like Manson pairs incongruent costumes, such as wearing a Nazi commandant hat along with a corset, with contorted or exaggerated facial expressions and gestures, there is an absolute denial of true fascist aesthetic production.

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