[Commlist] 19th. Music and Media International Meeting

*Life of an artist...*

/A star is born/a film that crosses time. Initially released in 1937, it 
underwent new versions in 1954, 1976 and 2018. Always starring 
prestigious singers-actresses in the American music scene, the melodrama 
describes the love story between a little-known singer and an already 
established and famous singer. While the first gradually reaches 
stardom; the second succumbs to alcohol, destroying his career and life 
itself. Having as scenarios significant periods (post-great depression, 
era of post-war musicals, rise of rock and feminism, 3rd. Millennium and 
issues about gender equality), all versions had Oscar nominations.

What does this plot tell us, beyond the so powerful theme "love can 
everything"; "only love builds" (among so many popular adages) on the 
subject? Lovers are singers, devotees of their music. The unfolding of 
the plot leads to an antagonistic situation: while it gains 
"brightness", it "goes out". Both will have their artistic trajectory 
guided not only by their way of life, their efforts to which they 
submitted to reach their place on the podium, but also by the conditions 
put by the environment in which they live (commitments to record labels, 
tours, public success etc.). This narrative of fiction - which seems to 
find coincidences with the material world, we take here as inspiration 
for the 19th International Meeting of Music and Media, Artistic Life, 
this year dedicated to the artist of the music universe, the person and 
the media persona; the condition of idol/diva/celebrity/icon/star, in 
identification processes ranging from performance, its transposition to 
physical media (record, film, press) and the virtual life.

It is often believed that the twentieth century began the system of 
generation and proliferation of idols, divas and celebrities, practices 
that date back to structures of previous centuries, especially during 
the modern period. With the growing process of expansion of existing 
media languages - especially publications (books, newspapers), 
iconography, as well as the circulation of artists on tour, it became 
possible to identify the various forms of cult to the person. It is true 
that the conversion of individuals and personalities into "idols" come 
from the world of theater and opera, with the concept of /prima donna/ 
and the transformation of artists into central personalities of the 
show. However, as Edgar Morin (1989) points out, the creation of the 
star system phenomenon gained strength and capillarity from the film 
industry and, especially, from the progressive media interest not only 
to produce the artist and/ or the works, but the person behind, the 
"subject".

Progressively, the "individual" who worked in the audiovisual media 
became a subject of reference not only thanks to his public action 
(production, creation, performance), but also private domain (personal 
life, tastes). The "Hollywood culture", as well as the radio, in its 
intensive coverage media also expanded vertiginously towards the various 
strands of the music universe, in popular music scene: from the second 
half of the twentieth century, singers, bands/groups and musicians began 
to experience a similar process that would culminate in the "celebrity 
culture" whose peak would occur in the 1980s, 1990s and early 2000s. 
These same individuals would associate to their person the image of 
symbols of identification when not spokespersons of great social and 
political mobilization. Thus, they overcome the difficult task of 
meeting a strong market potential, pushing a strong audience, to the 
point of dragging hundreds and thousands of fans to sports stadiums, 
tours and, more recently, on social networks. The same process is 
perceived in the universe of performance that, progressively, was 
expanding towards other forms of media communication: the artist 
unfolds: his body multiplies into several images (BAITELLO JR., 2005) 
through various processes of resignification, from its involvement in a 
multitude of new artistic-creative languages; particularly the 
audiovisual, in the most varied mediatic platforms.

The 19th International Media and Media Meeting is challenged to reflect 
on the process of transforming artists into idols (BAITELLO, 2005), 
divas (SOARES; LINS; MANGABEIRA, 2020) and celebrities (FRANCE; FREIRE 
FILHO; LANA; SIMÕES, 2014) in an interdisciplinary approach. In summary, 
it is intended to problematize the theme and try to find some answers to 
questions: How to build and produce an idol in the field of music? How 
does this idol fix itself as memory; that is, how does it conquer 
immortality in the gallery of "media gods"? To what extent does the 
artist have control over his creative forms and his professional 
performance?

MusiMid invites researchers who wish to present their research that 
contemplate the topic at hand, dismembered in the thematic axes: The 
artist in movement, music in displacement: circularities, networks and 
mediatizations of music; From analog record to digital networks: the 
artist, musical genres, and audiovisual production; performances, 
memory, and the construction of idols: ways of feeling and remembering 
consecrated and forgotten artists.

As usual, MusiMid counts on the participation of external researchers of 
high relevance in the domain of the general theme. This year, Paula 
Gomes Ribeiro (Universidade Nova de Lisboa-UNL) and Juliana Marília Coli 
(Universidade do Espírito Santo-UFES) will participate in the 
organization of this 19th edition. Papers will be accepted in the 
following modalities: oral communication, posters, artistic 
presentations. All works received must be submitted through the Doity 
system website, according to the standards indicated. In addition to the 
thematic sessions, the program includes lectures, round tables, and a 
workshop. The texts presented in the thematic sessions will be published 
in the proceedings of the 19th. Music and Media International Meeting, 
with ISBN registration, on the Doity website.

**

*Thematic axes - details:*

*- The artist in movement, music in displacement: circularity, networks 
and mediatization of music.*

**

This thematic axis of presentations aims to bring together works focused 
on the analysis of networks, circulations, and processes of media 
construction of the artist in different spaces, temporalities, and 
contexts. The idea of artistic circularity is privileged, to promote the 
debate on how different individuals acted and act in the promotion of 
their productions, in the creation of the artist and in the creative 
representation of this in the midst of fluid processes of displacement, 
transit and alternation of spaces/times. This proposal expands both the 
idea of circularity, adaptability and diachrony of music production in 
different media platforms (radio, television, streaming) to the 
different formats of artist circulation (shows, social networks, tours, 
etc.).

*- From analogue recording to digital networks: the artist, musical 
genres, and audiovisual production.*

This thematic axis aims to bring together works focused on the universe 
of support/ format, especially its adaptability, and the different ways 
in which music is present in physical, virtual, and audiovisual media. 
It is particularly interesting the debate about the production (and by 
unfolding of individuals) from the forms of creative and artistic 
production, such as physical albums, digital EPs, video clips and 
recorded performances, to debate the artistic dialogue with material and 
virtual world. In a related way, this axis also opens to 
macro-analytical approaches, also focused on musical genres and the 
audiovisual industry itself, to analyze how fields, sectors and/or 
artistic movements deal under the social and historical aspect with 
different supports/formats, giving rise to translation processes 
(adaptations, “nomadic versions”, in the words of Paul Zumthor (1990) in 
order to meet diverse demands, with emphasis on marketing.

*- Performances, memory, and the construction of idols: ways of feeling 
and remembering consecrated and forgotten artists.*

**

This thematic axis is structured around the problematic of memory and 
the construction of idols in music and in the various languages of the 
media from performative acts, which includes from the dimension of the 
persona and the artist himself to the forms of collective construction 
by fans, groups, fields, industries of culture and media. It is intended 
to gather studies that are dedicated to reflecting on the figure of the 
artist in its interface with time and society, in order to understand 
how it becomes a symbol of identifications, promoting new forms of 
organization, behavior and agency in society. The performance, as an act 
of transmission and fixation of memories, is the backbone of this 
debate, whether it is linked to the act of "being in the scene" or the 
later forms of mediation, including those aimed at remembering and 
forgetting practices.

**

*Some theoretical references:***

BAITELLO JR, Norval. *A era da iconofagia:  Ensaios de comunicação e 
cultura */(The era of iconophagia: Essays on communication and culture) 
./ São Paulo: Hacker Editores, 2005.

FRANÇA, Vera; FREIRE FILHO, João; LANA, Lígia; SIMÕES, Paula (Org.). 
*Celebridades no Século XXI: transformações no estatuto da fama 
(Celebrities in the 21st Century: transformations in the status of 
fame)* Porto Alegre: Sulina, 2014.

MORIN, Edgar*/. Les stars et le mythe de la seduction au cinéma/*/. 
/(/The stars and the myth of seduction in cinema)/**. Paris: Seuil, 1972.

SOARES, Thiago; LINS, Mariana; MANGABEIRA, Alan. *Divas Pop: o corpo-som 
das cantoras na cultura midiática* ( /Divas Pop: the body-sound of 
singers in media culture/ ) (editors): Thiago Soares, Mariana Lins, Alan 
Mangabeira. – Belo Horizonte, MG: Fafich/Selo PPGCOM/ UFMG, 2020.

ZUMTHOR, Paul*. Introduction à la poésie orale* (/Introdution to oral 
poetry)*.*/ Paris: Seuil, 1983.**

*____Écriture et nomadisme. Escritura e nomadismo. Entretiens et essais. 
*/(Scripture and nomadism. Interviews and essays)/. Montréal: Éditions 
de l’ Héxagone, 1990.

**

**

* Important deadlines :*

*Call for papers:*  24/04/2023

*Final submission of papers*: 01/06/2023

*Deadline for receipt of proposals*: 01/06/2023

*Announcement of results*: 08/06/2023

*Deadline for receiving full papers*: 10/08/2023

*Payment of fees: *


	

*From  09/06/2023*

	

*After 10/08/2023*

*Listeners *

	

R$ 30,00

	

R$ 50,00

*Ms, PhD. Students (presenting a paper)*

	

R$50,00

	

R$ 80,00

*PhD. Participants (presenting a paper)*

	

R$ 80,00

	

R$ 120,00

**


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