000			01535cam a2200229 4500500
005			20250121043542.0
041			_afre
042			_adc
100	1	0	_aKryzhanouski, Yauheni _eauthor
245	0	0	_a“Censorship is all the more efficient since it is banned”. (Post)censorship of protest music in Belarus and Russia
260			_c2020.
500			_a77
520			_aDrawing on the example of protest music, the article examines political constraints impeding public expression in Belarus and Russia. The new system of post-Soviet post-censorship is decentralized and implemented by relatively autonomous agents (private companies, media, public officials, collective movements). This system relies more on economic instruments than on formal bans; it is not permanently mobilized, but is set off “in waves”, following periods of intensification of politicization in the society (such as important protest mobilizations during electoral campaigns). It is as if, during these periods, specific constraints were applied to the activities of the artists (especially the most famous or the most radical of them) who have spoken up against the authorities.
690			_apoliticization
690			_aprotest
690			_apopular music
690			_acensorship
690			_aauthoritarian regime
690			_apost-Soviet politics
786	0		_nCommunications | o 106 | 1 | 2020-06-17 | p. 133-145 | 0588-8018
856	4	1	_uhttps://shs.cairn.info/journal-communications-2020-1-page-133?lang=en&redirect-ssocas=7080
999			_c460579 _d460579