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| Author(s): |
Mariana Mont'Alverne Barreto Lima
Total Authors: 1
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| Document type: | Doctoral Thesis |
| Press: | Campinas, SP. |
| Institution: | Universidade Estadual de Campinas (UNICAMP). Instituto de Filosofia e Ciências Humanas |
| Defense date: | 2009-02-12 |
| Examining board members: |
Renato Ortiz;
Maria Celeste Mira;
Marcia Tosta Dias;
Eduardo Vicente
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| Advisor: | Renato Ortiz |
| Abstract | |
This research analyzes the operation of four transnational record labels that operate in the Brazilian phonographic market, as of the establishment of the compact disc as a support pattern for the reproduction and sale of recorded music. Assuming that in times of economic and cultural globalization, this market behaves and becomes so diverse, we investigate what the structural features of such changes are and how the different actors competing for this space act. Thus, considering the configuration of those labels as majors, that is, companies that dominate the production and distribution of recorded music around the world, and the position they start to occupy thereafter, we explore how they organize themselves against the challenges imposed by the global economy - their attachments to transnational corporations, the uses of digital technologies in their production processes, the increase of worldwide competition, etc. - and, how, they save the reproduction mechanisms of this field or not, in which they are founders of their own construction principles. Through a qualitative empirical research carried out within the four majors - interviews, personal accounts, statistical sources, technical reports or even publications - we have sought to capture the operational logic of this particular universe of cultural industries, as of the way those who are in dominant positions engage, justify, and give meaning to their practices and actions. (AU) | |