Goth: Identity, Style and Subculture

by Paul Hodkinson

Goths represent one of the most arresting, distinctive and enduring subcultures of recent times. The dedication of those involved to a lifestyle which, from the outside, may appear dark and sinister, has spawned reactions ranging from admiration to alarm. Until now, no one has conducted a full-scale ethnographic study of this fascinating subcultural group. Based on extensive research by an 'insider', this is the first. Immersing us in the potent mix of identities, practices and values that make up the goth scene, the author takes us behind the faade of the goth mystique. From dress and musical tastes to social habits and the use of the internet, Hodkinson details the inner workings of this intriguing group. Defying postmodern theories that claim media and commerce break down substantive cultural groupings, Hodkinson shows how both have been used by goths to retain, and even strengthen, their group identity. Hodkinson provides a comprehensive reworking of subcultural theory, making a key contribution to the disciplines of sociology, cultural studies, youth studies, media studies, and popular music studies. Readable and accessible, this groundbreaking book presents a unique chance to engage with a contemporary, spectacular culture.

Genres: Goth, Music, Nonfiction, Sociology, Gothic, Art, Cultural Studies

219 pages, Paperback

First published July 1, 2002

About the author

Paul Hodkinson is a sociologist whose work is focused upon youth cultures, online communications and on the relationships between media and cultural identities. He is author of Media, Culture and Society and Goth. Identity, Style and Subculture. He is also co-editor of Youth Cultures: Scenes, Subcultures and Tribes and Ageing and Youth Cultures. His recent research has focused upon young people's use of online communications, processes of ageing among 'youth' subcultural participants and the victimisation of members of alternative subcultures. He is Reader in Sociology at the Department of Sociology, University of Surrey.

(from personal website)

Reviews

[Osore Misanthrope · Rating 4 out of 5]

"Goth is back. Look over your shoulder: the shadows are stretching, darkness is encroaching and with it comes a mutated form of the human race. They dress differently, they talk differently and they group together in secret, hidden haunts. (...)
In your own words, please explain what the goth scene is all about.
- Being different to all the mindless, brain-dead clones that walk around small town England.
- Complete freedom of expression, diversity.
- The clothes, the style – the general interest in things that are dark and macabre."

Солидна социолошка студија. Аутор је опрезан, не прелази на клизав терен и поштено истиче ограничење студије на упитник спроведен међу учесницима Фестивала у Витбију 1997. године, али и предности инсајдерског приступа, будући да је и сам (био) готичар. (Готик фестивал се традиционално одржава у Витбију где се искрцао гроф Дракула.)

Чикашка школа тврди да су поткултуре девијантне групе, а бирмингемска види поткултуре као место трвења између "традиционалних вредности радничке класе родитеља и модерне хегемонијске културе масовне потрошње над којом доминирају медији и трговина". Пол Ходкинсoн увиђа да је овај приступ категоричан јер не узима у обзир унутаргрупне разлике, преклапања, различиту мотивацију учесника, као ни позитивну улогу медија. Наиме, морална паника након масакра у Колумбајну утихнула је у енглеским медијима знатно брже него у америчким, а повремени публицитет који би готика добијала у медијима у виду водича кроз модни и музички стил наилазио је на добар пријем код готичара. За разлику од улоге масовних медија која је била мање или више минорна, у зависности од учесталости оглашавања, већи значај у одржању готик поткултуре имали су микро-медији и мануфактура изнутра, односно бројни фанзини, флајери, постери, рекламе, бутици и клубови (које неретко воде готичари), фестивали и концерти који се организују и рекламирају унутар поткултуре и, наравно, интернет (друштвене мреже су тада биле у виду сајтова, форума и имејл група).

Иако готик поткултура не може да се сведе на младеж индоктринирану масовним медијима у свету хиперреалности где је све обезвређено и обесмишљено, уобличено у обезначене производе (копије копија) за којима се посеже по аутоматизму и тренду, занимљиво је да се двадесетак година после објављиваља ове књиге могу повући неке паралеле између популарне културе и готике, а преко тзв. брзе моде (хиперпродукција бренда Killstar и вртоглав однос цена-квалитет култног Punk Rave). Такође, фрагментација културе у смешу свега и свачега о којој говоре постмодернисти видљива је на ванилама који су истовремено згрожени готиком, али ће поведени трендом обући и обути било шта што је деценијама готово статусни симбол међу готичарима (и/или металцима, рокерима, панкерима) и укомбиновати га са остатком своје стандардне бледе копије високе моде са писте. (Занимљиво је како је емос 2005. године у уским панталонама био врећа за шутирање, а клемпави брадоња са помпадуром у истим тим панталонама у 2015. години је тобоже мачо. Чудно је како се укус масе мења са понудом у продавницама. На пример, тегла наочаре до зуба и трофртне панталоне са голим глежњевима - фуј. "[R]eplacement of collective identities, meanings and distinctions by an ever-changing plurality of virtual selves.")

Да не бих превазишао Тристрама Шендија у дигресији...
"Contrary to the implications of Chicago and Birmingham versions of subculture, participation in the goth scene did not appear to entail the same ‘problem-solving’ function for all members and neither did it signify any specific or all-important subversion of consumer culture. The style encapsulated significant elements of diversity and dynamism, its boundaries were not absolute, and levels of commitment varied from one individual to another."
Пол Ходкинсон истиче "4 индикатора (суп)културне твари":
1. Доследна особеност (consistent distinctiveness) - сет нарочитих укуса и вредности који одлукује групу (истовремено је разликујући од осталих група) и доследно се преноси у спациотемпоралној равни.
2. Идентитет - истоврсно мишљење унутар групе и осећај различитости у односу на аутсајдере.
3. Посвећеност - сопственом статусу у групи.
4. Самосталност групе - унутрашња самоодржива машинерија.

Колико год униформно готичари деловали (из аутсајдерске перспективе), унутар групе се високо цени управо неконформизам - индивидуалност и јединственост. "[I]t would be preferable to regard participants as engaging in a limited sort of pick ’n’ mix, in which the vast majority of selections have to be drawn from a relatively clear subcultural range of acceptable possibilities. Therefore, although we have cautioned against overestimation of the role of individuality, it did manifest itself to a limited degree. Goths wishing to gain the respect of their peers usually sought to select their own individual concoction from the range of acceptable artefacts and themes and also to make subtle additions and adaptations from beyond the established stylistic boundaries. There was a need for a mixture of conformity and innovation[.]" (Види Goth (stereo)types.)

"[W]e should not treat the goth style, or any particular elements of it, as symbolic of any particular structural, psychological or political circumstances or goals." Психолошко у мом случају: Death anxiety > gothic aesthetic > gothic art > death positivity (страх од смрти сублимиран естетизацијом морбидног), а претходно mistreatment from trendies.

Компетиција међу инсајдерима познатија је као ‘gother than thou syndrome’. XD

"Aside from my emotional attachments as an insider, there were particular characteristics of the goth scene which I became particularly impressed by; most notably, the extreme creativity of some goths as consumers, the levels of insider participation in the facilitation and construction of the subculture, the relatively high levels of gender equality and the partial transgression of boundaries of gender and sexuality. Equally, however, I often found myself somewhat frustrated with the boundary-drawing which was engaged in by many goths and the resulting tendency for a degree of narrow-mindedness towards fashion, music, individuals and cultural groupings deemed incompatible with the subculture."

Постулати готике by/for Osore Misanthrope:
🦇 бити мрачан - песимистичан и фасциниран морбидним; to be darkly-inclined, death-positive,
🦇 бити андроген - нема разлике између родова,
🦇 неговати мртвачко бледило,
🦇 стварати готик уметност,
🦇 одевати се погребно и/или dark-alternative,
🦇 не бити у тренду...
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40 Years of Men's Goth Style (in under 5 minutes)
Punks, Goths & Mods on Irish TV, 1983
Dublin Goth New Wave Movement, 1989 (Uncensored)
🦇World Goth Day🕸 (music, makeup, fashion & literature)
It's Black Friday
The College Poem That Made Me A Suspected Murd*rer...
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Ukus pelina
Orkanski visovi
Okretaj zavrtnja
Rebeka

[Teo · Rating 4 out of 5]

The first two chapters had me worried this would be too academic for my liking, but luckily it became much easier to read from there on out. It was quite an enjoyable analysis of the subculture in the 90s.
I particularly liked the chapter on fanzines and flyers and how important they were for keeping the scene alive. I feel like those things never get brought up due to the popularity of the internet nowadays. The picture of them was really cool, as well as the few other pictures scattered throughout.
I also appreciated the positive outlook on the internet exhibited in here. I sometimes think it doesn’t get enough credit for how much it can help establish/strengthen connections and friendships that translate offline. On a side note, this book made me realize how much I prefer the term offline to irl. Since irl can imply that the online world is a fantasy that holds no merit, and that it’s not like there’s real people behind most of the things you see on it.

Overall a great analysis supported by intermittently inserted interviews, that I would recommend to anyone interested in the subculture!

[Leonardo · Rating 4 out of 5]

An interesting and one of the first academics attempts at grabbing the goth subculture. Professor Hodkinson has the advantage of being both an academician and a goth. There have certainly been many "insider versions" over the years and interesting chronicles of gothic rock and goths (cfr. Mick Mercer's books), and regular sensationslist or dismissive accounts in pop culture magazines and books, but few attempts to study goth subculture. Hodkinson covers most aspects of goth suclture, attempting to define its style and its use of media. If anything, the book is marred by being a little too dry in style. In that sense, the book is aimed at sociologists and the academic world, rather than on goths or people interested in popular culture.

[Rachel Pollock · Rating 4 out of 5]

My favorite of the collection of cultural studies books i've read recently offering academic analyses of the goth scene. Astute objective observations and identification of crucial elements of development in late 1990s British goth.

[harley · Rating 4 out of 5]

was pleasantly surprised when i realised this monograph focuses on (british) goths in the 90s bc that's an era i know surprisingly little about. i really enjoyed the section looking at fanzines and the early internet the most but the deconstructions and debates about what constitutes subculture were also fascinating. ultimately, a thorough monograph on the goth subculture though i do wish i could read a transcript of all the interviews from whitby.

[AbeerK19 · Rating 4 out of 5]

I read only two chapters from here in order to build up an argument about nationalism. This was for course work and not for pleasure. However, If you want to see my work on this book you can access it from here:

http://abeerworks95.blogspot.co.uk/?v...

[Sulhan Bootbois]

NDKNARAK

[Maxine · Rating 4 out of 5]

A bit more focused on subculture as a concept than the subculture in question--but still an interesting snapshot of goth and other alternative cultures.