Screens, mediations and authenticity in the popular music concert: two case studies

Keywords: Kraftwerk, Gorillaz, Authenticity, Concert video design, Authorship


The article investigates the implications of the use of video projections in the popular music concert with two case studies: that of Kraftwerk, who develop a “double” aiming to de-humanize the performance, in line with the celebration of the machine and the android, crucial in their aesthetics; and that of Gorillaz, virtual band consisting of animated characters acting on screens or as holograms, while the “real” musicians stay hidden. The use of projections thus affects the ontological status of the author/performer, problematizing the concept of physical presence as a certificate of authenticity.


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Author Biography

Giulia Sarno, Università degli Studi di Firenze

She began research into Popular Music Studies in 2008, defending a BA dissertation in Literary criticism and Comparative literature at University of Siena on the relations between poetry and popular music. She took an MA in Ethnomusicology at University of Florence with a dissertation on the musical practices of the comici dell’Arte, which was awarded the 2017 “Maria Rosa Calendoli” Prize. She is currently a PhD candidate at University of Florence, where she is investigating the history and archives of the research centre for music Tempo Reale. Her publications include works on music analysis, historic and aesthetic discussion of popular music, the history of actors in Renaissance theatre and music iconography. She is a member of the editorial staff of the online periodical Drammaturgia (Firenze University Press) and is an editorial assistant at Perarchi. Rivista di storia e cultura degli strumenti ad arco(LIM).


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How to Cite
Sarno, G. (2019). Screens, mediations and authenticity in the popular music concert: two case studies. Between, 8(16).