A fan cinema. Fans and amateur recordings in the modes of representation of live music
Nowadays, concerts and other live events are no longer registered exclusively by professionals. In any performing, as in any field of daily life, we can see lots of mobile phones and cameras registering what happens. The generalized access to image capturing technologies that characterizes the digital era arises a series of remarkable questions on the power of representation. This thesis investigates the modes of representation in the live music in order to explore, through the comparison of amateur and professional music videos, if the change boosts a democratization of live image or the conventional codes are prevailing. The analysis of these amateur recordings compels to build an interdisciplinary methodology to address the different tensions the videos suffer: not only the own democratization promises of digital technology, but also the audience relation with the professional modes of representation, the recent changes in home movies and the ways of productive consume of the fans.