{"title":"2021年的“迪士尼+流行”:泰勒·斯威夫特的《All Too Well》、麦卡特尼的《Lyrics》和披头士乐队的《Get Back》中的浪漫、情节剧和记忆","authors":"Katie Kapurch","doi":"10.5325/ampamermusipers.1.2.0159","DOIUrl":null,"url":null,"abstract":"\n The congruous timing of Taylor Swift’s and the Beatles’ 2021 multiplatform media is an occasion to investigate comparable generic storytelling strategies, especially as they related to gender. Identifying the melodramatic romance of Swift’s All Too Well opens up similar dimensions of the Beatles’ media narrative, especially as articulated in Paul McCartney’s contributions to the marketing surrounding Get Back’s Disney Plus premiere on the streaming platform. More genre and Disney dynamics begin to emerge when I unravel a selection of correlations between Swift and McCartney and the Beatles. In doing so, I probe the gendered nature of mediated stories about musicians’ romances, melodramas, and remembering in 2021, a year that witnessed the ongoing coalescence of a phenomenon I term “Disney Plus Pop.”","PeriodicalId":339233,"journal":{"name":"AMP: American Music Perspectives","volume":"18 1","pages":"0"},"PeriodicalIF":0.0000,"publicationDate":"2020-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":"{\"title\":\"Unvaulting “Disney Plus Pop” in 2021: Romance, Melodrama, and Remembering in Taylor Swift’s All Too Well, McCartney’s Lyrics, and The Beatles: Get Back\",\"authors\":\"Katie Kapurch\",\"doi\":\"10.5325/ampamermusipers.1.2.0159\",\"DOIUrl\":null,\"url\":null,\"abstract\":\"\\n The congruous timing of Taylor Swift’s and the Beatles’ 2021 multiplatform media is an occasion to investigate comparable generic storytelling strategies, especially as they related to gender. Identifying the melodramatic romance of Swift’s All Too Well opens up similar dimensions of the Beatles’ media narrative, especially as articulated in Paul McCartney’s contributions to the marketing surrounding Get Back’s Disney Plus premiere on the streaming platform. More genre and Disney dynamics begin to emerge when I unravel a selection of correlations between Swift and McCartney and the Beatles. In doing so, I probe the gendered nature of mediated stories about musicians’ romances, melodramas, and remembering in 2021, a year that witnessed the ongoing coalescence of a phenomenon I term “Disney Plus Pop.”\",\"PeriodicalId\":339233,\"journal\":{\"name\":\"AMP: American Music Perspectives\",\"volume\":\"18 1\",\"pages\":\"0\"},\"PeriodicalIF\":0.0000,\"publicationDate\":\"2020-12-01\",\"publicationTypes\":\"Journal Article\",\"fieldsOfStudy\":null,\"isOpenAccess\":false,\"openAccessPdf\":\"\",\"citationCount\":\"0\",\"resultStr\":null,\"platform\":\"Semanticscholar\",\"paperid\":null,\"PeriodicalName\":\"AMP: American Music Perspectives\",\"FirstCategoryId\":\"1085\",\"ListUrlMain\":\"https://doi.org/10.5325/ampamermusipers.1.2.0159\",\"RegionNum\":0,\"RegionCategory\":null,\"ArticlePicture\":[],\"TitleCN\":null,\"AbstractTextCN\":null,\"PMCID\":null,\"EPubDate\":\"\",\"PubModel\":\"\",\"JCR\":\"\",\"JCRName\":\"\",\"Score\":null,\"Total\":0}","platform":"Semanticscholar","paperid":null,"PeriodicalName":"AMP: American Music Perspectives","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.5325/ampamermusipers.1.2.0159","RegionNum":0,"RegionCategory":null,"ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"","JCRName":"","Score":null,"Total":0}
引用次数: 0
摘要
泰勒·斯威夫特(Taylor Swift)和披头士(Beatles)的2021年多平台媒体同步发布，这是一个研究类似的通用叙事策略的机会，尤其是当它们与性别有关时。识别斯威夫特的《All Too Well》的情节浪漫，开辟了披头士乐队媒体叙事的类似层面，尤其是保罗·麦卡特尼(Paul McCartney)在流媒体平台上为《Get Back》的迪士尼Plus首映式所做的营销贡献。当我解开斯威夫特、麦卡特尼和披头士乐队之间的一些关联时，更多的流派和迪士尼动态开始浮现。在此过程中，我探索了关于音乐家的爱情故事、情节剧和2021年记忆的中介故事的性别本质，这一年见证了一种现象的持续融合，我称之为“迪士尼+流行音乐”。
Unvaulting “Disney Plus Pop” in 2021: Romance, Melodrama, and Remembering in Taylor Swift’s All Too Well, McCartney’s Lyrics, and The Beatles: Get Back
The congruous timing of Taylor Swift’s and the Beatles’ 2021 multiplatform media is an occasion to investigate comparable generic storytelling strategies, especially as they related to gender. Identifying the melodramatic romance of Swift’s All Too Well opens up similar dimensions of the Beatles’ media narrative, especially as articulated in Paul McCartney’s contributions to the marketing surrounding Get Back’s Disney Plus premiere on the streaming platform. More genre and Disney dynamics begin to emerge when I unravel a selection of correlations between Swift and McCartney and the Beatles. In doing so, I probe the gendered nature of mediated stories about musicians’ romances, melodramas, and remembering in 2021, a year that witnessed the ongoing coalescence of a phenomenon I term “Disney Plus Pop.”
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