Analysing Movement Into and Idententity in the Gothic Subculture

            ANALYSING MOVEMENT INTO AND IDENTITY IN THE GOTHIC SUBCULTURE.
            
             Page.
             1. Introduction 1.
             1.1 History 1.
             1.2 Identification of problem 1.
             1.3 Objectives 2 .
             1.4 Importance of the research 2.
             2. Literature Review 2.
             2.1 Subculture 2.
             2.2 Who are Goths? 3.
             2.3 The theory of Symbolic internationalism 5.
             2.4 How do you identify a Goth? 5 .
             2.5 Goths in the media. 6.
             3. The Research Methodology 7.
             3.1 In-depth interviews 7.
             3.2 Questionnaires 7.
             3.3 Interviews with non-Goths 8.
             3.4 Analysis and interpretation of data 8.
             4. The Research Findings 9.
             4.1 Who Goths really are 9.
             4.2 Identity / appearance and symbolism in the culture 11.
             4.3 The media 13.
             5. Conclusion 13.
             5.1 Conclusions of the research 13 .
             5.2 Recommendations 14.
             5.3 Final thought 14.
             Bibliography.
             ANALYSING MOVEMENT INTO AND IDENTITY IN THE GOTHIC SUBCULTURE.
             INTRODUCTION.
             History.
             The name Goth is primarily from a Germanic tribe, however, when looking at the subcultures history, its stimulus began with the song "Bela Lugosi's Dead", which was released by the Bauhaus in 1979.
             There are three Gothic generations, into which the culture can be categorised. The late 1970's and early 1980's saw the rise of the first generation, which began its starting point from the punk movement. Siouxsie and the Banshees and Bauhaus are examples of popular Gothic bands which made an impact during this time (A study of the Gothic subculture). The bands mentioned used to wear a lot of black. .
             In the late 1980's and early 1990's the second generation came about, with self proclaiming Gothic bands such as Rosetta Stone. The third generation emerged in the late 1990's, the newer members had greater access then before because Gothic had become more commercially available, example the internet, movies (Gothic scholars don't wear black).