Les dynamiques raciales de la production de Michael Jackson (1979-2001) : aspects commerciaux, musicaux et visuels

Our article analyses Michael Jackson’s artistic production, through marketing, stylistic and visual aspects, targeting racial dynamics and tensions which invigorate its narrative layers. The first part is about the colorist charts, the ubiquitous posture of Jacksonian opuses and the way they invigor...

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Main Author: Isabelle Stegner-Petitjean
Format: Article
Language:English
Published: Association Française d'Etudes Américaines 2021-12-01
Series:Transatlantica
Subjects:
Online Access:https://journals.openedition.org/transatlantica/17634
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author Isabelle Stegner-Petitjean
author_facet Isabelle Stegner-Petitjean
author_sort Isabelle Stegner-Petitjean
collection DOAJ
description Our article analyses Michael Jackson’s artistic production, through marketing, stylistic and visual aspects, targeting racial dynamics and tensions which invigorate its narrative layers. The first part is about the colorist charts, the ubiquitous posture of Jacksonian opuses and the way they invigorated the notion of crossover. The second part analyzes the stylistic eclecticism of Jackson’s pop music and the way he uses the conventions from musical and racial categorization. Finally, the third part is about the racial dynamics and tensions carried both by some of his visual productions and the way he negotiated his own fluid corporality.
format Article
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institution Kabale University
issn 1765-2766
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publisher Association Française d'Etudes Américaines
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spelling doaj-art-b719bbc80ab546a3bba94b1153da3e982025-01-30T10:43:12ZengAssociation Française d'Etudes AméricainesTransatlantica1765-27662021-12-01210.4000/transatlantica.17634Les dynamiques raciales de la production de Michael Jackson (1979-2001) : aspects commerciaux, musicaux et visuelsIsabelle Stegner-PetitjeanOur article analyses Michael Jackson’s artistic production, through marketing, stylistic and visual aspects, targeting racial dynamics and tensions which invigorate its narrative layers. The first part is about the colorist charts, the ubiquitous posture of Jacksonian opuses and the way they invigorated the notion of crossover. The second part analyzes the stylistic eclecticism of Jackson’s pop music and the way he uses the conventions from musical and racial categorization. Finally, the third part is about the racial dynamics and tensions carried both by some of his visual productions and the way he negotiated his own fluid corporality.https://journals.openedition.org/transatlantica/17634racecivil rightschartscrossoverMotownpop music
spellingShingle Isabelle Stegner-Petitjean
Les dynamiques raciales de la production de Michael Jackson (1979-2001) : aspects commerciaux, musicaux et visuels
Transatlantica
race
civil rights
charts
crossover
Motown
pop music
title Les dynamiques raciales de la production de Michael Jackson (1979-2001) : aspects commerciaux, musicaux et visuels
title_full Les dynamiques raciales de la production de Michael Jackson (1979-2001) : aspects commerciaux, musicaux et visuels
title_fullStr Les dynamiques raciales de la production de Michael Jackson (1979-2001) : aspects commerciaux, musicaux et visuels
title_full_unstemmed Les dynamiques raciales de la production de Michael Jackson (1979-2001) : aspects commerciaux, musicaux et visuels
title_short Les dynamiques raciales de la production de Michael Jackson (1979-2001) : aspects commerciaux, musicaux et visuels
title_sort les dynamiques raciales de la production de michael jackson 1979 2001 aspects commerciaux musicaux et visuels
topic race
civil rights
charts
crossover
Motown
pop music
url https://journals.openedition.org/transatlantica/17634
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