For my New Zealand film class, I watched John O'Shea's 1966 musical Don't Let it Get You. Although the film is not one of my favorites, I was interested in its resemblance to 1960s American beach party movies.
Don't Let it Get You follows the adventures of an Australian drummer (Gary Wallace) who sells his drums to buy a ticket to Rotorua for a music festival. He meets singer Howard Morrison, who tries to help him get a gig with a band. Unfortunately, all the bands already have drummers. Gary has to find a way to play while simultaneously wooing a girl who has also caught the eye of a rival drummer. The plot is pretty thin, and the film is mostly a showcase for contemporary New Zealand musicians. Howard Morrison, Lew Prime and Kiri Te Kanawa all play themselves.
Rotorua is portrayed as a great attraction for young people, and Don't Let it Get You is certainly a film for teens. There are many shots of musicians and festival-goers gallavanting by the pool, dancing, courting and enjoying their youth. Judy's mother, the one authority figure in the film, is seen as a bit uptight at first. She is the one hinderance to Judy's good time.
Everyone else is having a good time though. In one scene, Lew Prime and The Impacts pull up in a car, singing and playing the guitar, and soon a dance party is underway at Caltex. Oftentimes, the music does not seem to fit a scene at all and there is simply a sequence of an entertainer singing to a crowd.
As in the beach party film, there is some conflict between the "real" world (that without music, full of parents and other authority figures) and the "ideal" (the world that we see when the music is playing). There is also conflict between the males who vie for Judy's affection. Music, however, is the centerpiece and the film would be crippled without it.
Another similarity Don't Let it Get You has to the beach party film is the critical reaction it received. Although the film was popular with New Zealand viewers, most critics panned it as a piece of fluff work. Nevertheless, it is an important film and an homage to New Zealand pop musicians who might otherwise have been forgotten.
Tuesday, April 3, 2007
Music Videos replacing Audio Video??
So I was having a think about the notion of the music being secondary to the video- hence there not often being complete narratives, & then what features come into play when music is played on a pc or portable mp3 player. I came up with this:
When playing a song on one’s computer through iTunes, Media Player or one of the alternate popular mp3 player programs for the PC, there is a ‘virtual space’ that is present and not being used. By this I am referring to the possible mediums the song could be using to connect with us, but isn’t. So if one was sitting on their squashed-padded chair which they saved from an inorganic collection one year, and reading the latest Craccum while listening to the music from their PC, their screen would be wasted space (and energy too- unless it is switched off ). The music video makes the viewer become more engaged with the song (the product) right, so what would you say to the idea of music videos becoming the future of legal downloading? Hear me out…
If the shear size of the MV files were no longer a factor, and we did not have to worry about them chewing up bandwidth or our monthly download quotas, as well as them taking up too much space on our iPods, would we substitute them for the humble mp3? Well if we think about mp3 players 7 years ago, a simple 512mb mp3 player was considered extravagant, & now it is considered to be inadequate; current iPods are able to play movies & in fact the iPhone (which will be in NZ next year) is rumoured to have a 100 gig hard drives. So if the average size for an entire album of 12 songs, in mp3 format at a respectable encoded bit rate, was 160mb, one would be able to fit somewhere in the region of 7500 songs, or 625 albums. & one can download a high quality MV for, say 30mb. So one could fit roughly 3333 music videos on it, which equates to (presuming that a MV was made for every song) 278 albums! (Remember that video formats are constantly being improved, with picture quality becoming crisper, & file size decreasing in time). But when we are strutting around uni, we are not looking at our iPods most of the time, so one could argue that it would use up too much battery life - well not necessarily if one switches off the screen. Plus, batteries with longer lives are constantly being released. So therefore we would have a library of music videos at our disposal, right in our left pockets with no real loss- not too many off us own more than 264 entire albums. Record companies are never going to completely eradicate piracy, so why not make a buck out of it by promoting their music videos & receiving lost revenue through product placement?!? So perhaps if the music videos are provided on the discs when we buy, or in buying the disc we are granted permission to download the music videos, as opposed to merely having to settle with viewing them online. Could we then possibly expect to see the cost of CD’s reduced? Ha, if a utopian morality kicked in over night then perhaps. But a similar notion is quite common nowadays- when we buy the original disc, we are granted ‘access to VIP areas on their website’ when we put it in our PC’s. But this idea of ‘behind the scenes’ is a marketing ploy that has been around for the last decade or so. Anyone remember EnhancedCds? They were normal audio CDs that, when put in our PC had a whole bunch of media for fans on the disc (including the artist’s single music video), & did not simply provide a few desktop pictures & a link one could follow to get to the fan site with all the media like we get nowadays. These were most popular in the Backstreet Boys/young Britany Spears era- late 90’s, when the internet was taking off, but while it remained a novelty to most people….I know this because my sister had the disc, not me.
So to summarise all that: mp3’s do not make use of all the virtual space they have access to. Therefore in this society, that is constantly technologically bettering itself, could the humble MV be expected to evolve into a viable competitor against the single audio track, if the technological margins separating the 2 were lessened? If no, then what about in the next decade? Remember, the American engineer-turned-inventor Lee Deforest stated, in 1926, that he could not see television succeeding as a ‘commercial proposition’, and dismissed it as a ‘development’ which ‘America needed to waste little time dreaming about’.
Just a thought.
Music Videos replacing Audio Video
So I was having a think about the notion of the music being secondary to the video- hence there not often being complete narratives, & then what features come into play when music is played on a pc or portable mp3 player. I came up with this:
When playing a song on one’s computer through iTunes, Media Player or one of the alternate popular mp3 player programs for the PC, there is a ‘virtual space’ that is present and not being used. By this I am referring to the possible mediums the song could be using to connect with us, but isn’t. So if one was sitting on their squashed-padded chair which they saved from an inorganic collection one year, and reading the latest Craccum while listening to the music from their PC, their screen would be wasted space (and energy too- unless it is switched off ). The music video makes the viewer become more engaged with the song (the product) right, so what would you say to the idea of music videos becoming the future of legal downloading? Hear me out…
If the shear size of the MV files were no longer a factor, and we did not have to worry about them chewing up bandwidth or our monthly download quotas, as well as them taking up too much space on our iPods, would we substitute them for the humble mp3? Well if we think about mp3 players 7 years ago, a simple 512mb mp3 player was considered extravagant, & now it is considered to be inadequate; current iPods are able to play movies & in fact the iPhone (which will be in NZ next year) is rumoured to have a 100 gig hard drives. So if the average size for an entire album of 12 songs, in mp3 format at a respectable encoded bit rate, was 160mb, one would be able to fit somewhere in the region of 7500 songs, or 625 albums. & one can download a high quality MV for, say 30mb. So one could fit roughly 3333 music videos on it, which equates to (presuming that a MV was made for every song) 278 albums! (Remember that video formats are constantly being improved, with picture quality becoming crisper, & file size decreasing in time). But when we are strutting around uni, we are not looking at our iPods most of the time, so one could argue that it would use up too much battery life - well not necessarily if one switches off the screen. Plus, batteries with longer lives are constantly being released. So therefore we would have a library of music videos at our disposal, right in our left pockets with no real loss- not too many off us own more than 264 entire albums. Record companies are never going to completely eradicate piracy, so why not make a buck out of it by promoting their music videos & receiving lost revenue through product placement?!? So perhaps if the music videos are provided on the discs when we buy, or in buying the disc we are granted permission to download the music videos, as opposed to merely having to settle with viewing them online. Could we then possibly expect to see the cost of CD’s reduced? Ha, if a utopian morality kicked in over night then perhaps. But a similar notion is quite common nowadays- when we buy the original disc, we are granted ‘access to VIP areas on their website’ when we put it in our PC’s. But this idea of ‘behind the scenes’ is a marketing ploy that has been around for the last decade or so. Anyone remember EnhancedCds? They were normal audio CDs that, when put in our PC had a whole bunch of media for fans on the disc (including the artist’s single music video), & did not simply provide a few desktop pictures & a link one could follow to get to the fan site with all the media like we get nowadays. These were most popular in the Backstreet Boys/young Britany Spears era- late 90’s, when the internet was taking off, but while it remained a novelty to most people….I know this because my sister had the disc, not me.
So to summarise all that: mp3’s do not make use of all the virtual space they have access to. Therefore in this society, that is constantly technologically bettering itself, could the humble MV be expected to evolve into a viable competitor against the single audio track, if the technological margins separating the 2 were lessened? If no, then what about in the next decade? Remember, the American engineer-turned-inventor Lee Deforest stated, in 1926, that he could not see television succeeding as a ‘commercial proposition’, and dismissed it as a ‘development’ which ‘America needed to waste little time dreaming about’.
Just a thought.
Boogie Nights: Nostalgia and The 13 inch Penis
Being cooped up in a small room with my boyfriend and parents, I found myself restlessly squirming on my seat as I endured the excruciatingly awkward shot of Dirk Diggler and his “package”. Such a scene reminded me of the legendary J. L. Godards’ movie “Tout va Bien” where the audience are made prisoners within the film as we are forced to glare at the raw image of a mans’ genitals for a horrific 13 seconds. (Note to self: Always pre-view films before suggesting a “family viewing” in order to avoid awkward moments).
Beyond what some may consider “the pleasures” of forbidden flesh within films, a main appeal of Boogie Nights is the element of nostalgia of the 70’s / 80’s era. Within the film, Phillip Brophy accurately likens the soundtrack to the eclectic 70’s décor of the film set. As the camera takes us on a tour of Dirk Digglers house with Marvin Gayes;’ classic “Got to give it up” playing, the film appeals to be revelling in the spectacle of the period. Absorbing all the crass 70’s furnishings I felt a sense of pleasure as I have virtually no connection with that era therefore the music and the mise en scene acted as an ironic distancing device in which I could look on the time period from a remote perspective and not take it too seriously.
At the last lecture, somebody shared with the class their view that the music was playing constantly throughout the film except for porn filming scenes which reflected the 70’s outlook on life as being “one big party”. However, I believe that there were many non-porno filming scenes in which music was not present and where instead of music expressing the 70s view on life, diagetic sound was used to heighten the mood and emphasise the monotony of family domestic life within representations of the 70’s. When Dirk Diggler is sitting in the kitchen with his father and mother doing chores, no one appears to be happy. The husband is gloomy because the wife denies any attempt of affection and the wife seems generally pissed off with her life. There is no music playing, however the diagetic sound is amplified and the harsh clanking of dishes and the pouring of coffee heightens the drab life of the family and emphasizes the tension within the room.
As Anahid Kassabian points out in the book Hearing Film: tracking identifications in contemporary Hollywood film music, there is a problem with the distinction between diagetic and non-diagetic sound because it is premised on the idea that there was a film before the sound, which as Nabeel pointed out is not always the case for example directors such as Tarantino who often select the soundtrack before filming. Also this general categorisation between diagetic and non-diagetic leaves no room for anything that lies within the continuum and therefore Kassabian suggests that we look at film soundtracks through 1) Music that clearly has a source, 2) Music that a composer has written and 3) source scoring – the in between state. In Boogie Nights the sound often changes from the broad term of diagetic to non-diagetic and the predominant presence of 70’s/80’s pop/rock music often is privileged over the dialogue. This contrasts to many conventional films in which music is softened in order to hear the dialogue coherently and thus progress the fluidity of the narrative.
In this sense, Boogie Nights can almost be read as a modern musical (ignoring the uncensored genital shots!) in which music motivates and often furthers the narrative whilst unconventionally distancing us by the ironic displacement of songs within unexpected scenes for example in the murder scene at the drug dealers house where cheery eclectic pop songs are uncomfortably juxtaposed with the edgy editing of the scene.
Pre-conceiving pre-existing music
Is there a trend with contemporary film viewing that makes a distinction between the viewer identifications we make with classical film scoring versus popular songs compilation scoring? It seems that we understand lyric-based popular songs as coming into a compilation scoring with a certain kind of “baggage” – a set of preconceived ideas about the song, the artist, the culture it comes from.
But does pre-existing classical music come with similar baggage? In particular, I am thinking of Vivaldi’s Four Seasons. As a piece of music, it has been used and reused countless times on film and television. As a pre-existing piece of classical music, it is more recognizable than a score from Star Wars, and also brings with it a discourse that is tied to (high) culture with various connotations. As a result, you would assume it more likely to appear on an advertisement for luxury carpets than an American indie film.
Hence, I find Happiness, directed by Todd Solondz, amusing for how he uses Four Seasons. I think that Four Seasons is generally thought of with pleasant, positive connotations – a scene of nature, man at harmony with nature and the seasons. In the film, Dr Bill Maplewood (Dylan Baker) drives in his car playing the music in his car, and he looks tense and urgent as he searches for something. The music sits very uncertainly with his body language, and even more so when it is revealed that he is buying a magazine catered for young pre-teen boys, and that he is a homosexual pedophile.
This visual-audio association completely subverts any pre-conceived ideas we may have about Four Seasons. A pre-existing piece of classical music can also function as subversion, and not simply just to heighten and support the visual as we assume it does in the majority of classical scoring does in contemporary films.
But does pre-existing classical music come with similar baggage? In particular, I am thinking of Vivaldi’s Four Seasons. As a piece of music, it has been used and reused countless times on film and television. As a pre-existing piece of classical music, it is more recognizable than a score from Star Wars, and also brings with it a discourse that is tied to (high) culture with various connotations. As a result, you would assume it more likely to appear on an advertisement for luxury carpets than an American indie film.
Hence, I find Happiness, directed by Todd Solondz, amusing for how he uses Four Seasons. I think that Four Seasons is generally thought of with pleasant, positive connotations – a scene of nature, man at harmony with nature and the seasons. In the film, Dr Bill Maplewood (Dylan Baker) drives in his car playing the music in his car, and he looks tense and urgent as he searches for something. The music sits very uncertainly with his body language, and even more so when it is revealed that he is buying a magazine catered for young pre-teen boys, and that he is a homosexual pedophile.
This visual-audio association completely subverts any pre-conceived ideas we may have about Four Seasons. A pre-existing piece of classical music can also function as subversion, and not simply just to heighten and support the visual as we assume it does in the majority of classical scoring does in contemporary films.
The Beatles' first time on US TV
This is a January report on The Beatles before they actually landed in America and on to the Ed Sullivan show in February 1964. A Hard Day's Night was made after that tour and released in July 1964.
Extra office hours this week
Kia Ora everyone
Since we're losing a week's lecture after the break due to Anzac Day (Wednesday 25 April) and the research assignment is due the following Tuesday 1 May, I'm going to have some extra office hours this week. This will be the last time before the Easter break that you can see me to discuss essays. I won't be available during the two week vacation.
So if you'd like to see me, could you come to my office during the following hours:
Thursday 10:30-11:30 am & 12:15-3:00 pm
Room 314, Arts 1
If you can't see me during these hours, Email me with your idea before those office hours and I'll reply to your enquiries before Easter.
Whether you see me in person or contact me by email. Please write down your research essay project in 3-4 sentences so I've got a clear idea of where you're at so far and can give the best advice.
Many of you will already have seen Kevin for advice. He's available in his usual office hours too.
See you tomorrow in lecture.
best
Nabeel
Since we're losing a week's lecture after the break due to Anzac Day (Wednesday 25 April) and the research assignment is due the following Tuesday 1 May, I'm going to have some extra office hours this week. This will be the last time before the Easter break that you can see me to discuss essays. I won't be available during the two week vacation.
So if you'd like to see me, could you come to my office during the following hours:
Thursday 10:30-11:30 am & 12:15-3:00 pm
Room 314, Arts 1
If you can't see me during these hours, Email me
Whether you see me in person or contact me by email. Please write down your research essay project in 3-4 sentences so I've got a clear idea of where you're at so far and can give the best advice.
Many of you will already have seen Kevin for advice. He's available in his usual office hours too.
See you tomorrow in lecture.
best
Nabeel
Monday, April 2, 2007
Pantomime Terror
DEPARTMENT OF ANTHROPOLOGY
SPECIAL SEMINAR
Dr John Hutnyk
(Goldsmiths College, University of London)
"Pantomime Terror: UK Hip Hop at War (or Paranoia in London: 'Lookout, he's behind you!')".
To be held at 4.10 pm – 5.30 pm
on Tuesday, 3 April 2007
In Architecture 5 (ALR5)
With terror alerts and constant announcements at train stations and airports where the Queen's subjects are called upon to 'report any suspicious baggage'; with stop and search security policing focused upon Muslims (and unarmed Brazilians shot on the underground); and with restrictions on civil liberties and 'limits' to freedom proclaimed as necessary, it is now clear that spaces for critical debate are mortally threatened in contemporary, tolerant, civilized Britain. This discussion addresses new work by diasporic world music stalwarts Fun-da-mental and the drum and bass outfit Asian Dub Foundation, relating to insurgency struggles, anti-colonialism and political freedom in the UK. The presentation will argue for an engaged critique of "culture" and assess a certain distance or gap between political expression and the tamed versions of multiculturalism accepted by/acceptable in the British marketplace. Examples from the music industry reception of 'difficult' music and creative engagement are evaluated in the context of the global terror wars and a new paranoia that appears endemic on the streets of London today...
John Hutnyk is a Reader and Academic Director of the Centre for Cultural Studies at Goldsmiths College, University of London and is the author of several books including "The Rumour of Calcutta", "Critique of Exotica" and "Bad Marxism: Capitalism and Cultural Studies".
The commercialization of pop groups, just look at the Spice Girls
The all female band epitomized pop group, their bubble gum pop songs, which were so catchy that once the tune got into your head it would be there for days. The up beat songs, with tongue and cheeks lyrics, lacking any real substance or meaning with much depth, is symbolic of pop group music. They epitomized pop group identity. The way in which they were created or manufactured through the process of open auditioning, selection and picked or purchased like a product, representing the co modification of a product, packaged and produced in a way that was going to sell records and themselves. They each embodied different looks and personalities that made them individual and commercially viable, the names Scary, Posh, Ginger, Sport and Baby made them entities, products a commodity of a consumer obsessed society. The dehumanizing of these woman turning them into an object; a form of social currency for commercial means and a way in which they are selling themselves as a product of the group that in away became an institution known as the Spice Girls. The presence of them everywhere the sponsorship, the publicity and the global coverage; their cultural influence some what reminiscent of the Beatles. Girls Power, the power of pop particularly on the 1990’s and their iconic status; the movies, merchandise and the music was somewhat of a cultural phenomenon. But like all pop bands they experience the highs and lows, the backlash, the personal and private troubles and then you guessed it someone leaves the band. They either find themselves a Yoko Ono or think they are much bigger than the band and seek individuation from the band and they fly solo. In this case Geri left, to pursue a solo career. Interesting out of all the ones to leave she did, the one Spice Girl whole embodied Girl Power ideal to the extreme in public and incorporated it with her image, but Ginger was just a manufactured product of commercialization, manufactured and packaged into a music genre identity that is pop music.
Sunday, April 1, 2007
popstar + pop song+ film.
obviously in today's star-obsessed society, there is a clear and distinct connection between pop star plus pop song plus movie. these 3 elements support and assist each other to gain popularity, earn block buster money and win awards. with these elements, the project includes the audio, visual and star qualification, it can be spreaded in all direction regards of awards, advertising, and fame.
the most recent one that pop into my head was dream girl, this film clearly targeted at these elements and reached the goal. Beyonce Knowles, Eddie Murphy, Jamie Foxx, and Jennifer Hudson; the hit song Listen and it won 2 oscars and another 31 wins & 46 nominations in total. this is a "trend" not only because the production company want to make money by using popular star and create hit songs with a movie, but the public viewers also facy such combinations.
another example just jumped into my head is the duke of hazards, with jassica simpsons as daisy duke and with the song with jassica simpsons washing a car in tiny shorts with lots of bubbles which the name i cannot remember at this very moment. the elements also assist each other to gain popularity; to many, this way to create a block buster with fame may seems very convenient and resonable way to do so.
However, it does produce few negative side of it. one, if singers who can take on the actors role, then what is happening to actors? and what if actors can't become a singer because they can't sing? it limits their stage to perform and to expand. also, although this trend may seem to work well and the viewers do facy such trend, but i doubt very much if this the right way to make great, quality and consistent cinema.
Harmony between audio anf video
It is interesting going from the feature films, and thinking that the soundtrack is meant to support the visuals, and then going to the music videos where the visuals are meant to support the soundtrack. There appears to be no coherent balance between the two, as one must be subverted for the other.
And then I found the AMV (Anime Music Video) An AMV is like a music video in that there is a video being played to a song, but this video is created from a collection of clips from an anime program or from video game video sequences. This is only something that I’ve started to get into but from what I’ve seen here appears to be some excellent stuff. But the most interesting thing about it is that neither the visuals nor the soundtrack appear to be dominant in any that I’ve seen, but rather they work together.
I was thinking as to why this was, and I have come up with 2 reasons. One, there are both pre-existing. One is not created to work for the other, but they are both available from the start of creation and, because of this, they both bring their own different past associations with them into the AMV, which is fairly important. The visual side is bringing in the storyline of the anime/video game which not only comes from the canon culture, but also from whichever fansites that they have been to, and the audio side is bringing in the associations from wherever the music has been played and reproduced, as well as associations from the performers themselves.
Secondly, they are not created for money (if they were, there would be big legal issues). One is not being used to SELL the other, as has been pointed out for the visuals in normal music videos. The idea of it being done by amateurs for no monetary gain allows the two to work together so that the final result is a product where the AMV has the soundtrack with the visuals, and neither subverts the other.
And to get you into either agreeing or disagreeing, here’s an example, (just follow this link) http://www.youtube.com/watch?v=Oh3oWTDBhAA
And then I found the AMV (Anime Music Video) An AMV is like a music video in that there is a video being played to a song, but this video is created from a collection of clips from an anime program or from video game video sequences. This is only something that I’ve started to get into but from what I’ve seen here appears to be some excellent stuff. But the most interesting thing about it is that neither the visuals nor the soundtrack appear to be dominant in any that I’ve seen, but rather they work together.
I was thinking as to why this was, and I have come up with 2 reasons. One, there are both pre-existing. One is not created to work for the other, but they are both available from the start of creation and, because of this, they both bring their own different past associations with them into the AMV, which is fairly important. The visual side is bringing in the storyline of the anime/video game which not only comes from the canon culture, but also from whichever fansites that they have been to, and the audio side is bringing in the associations from wherever the music has been played and reproduced, as well as associations from the performers themselves.
Secondly, they are not created for money (if they were, there would be big legal issues). One is not being used to SELL the other, as has been pointed out for the visuals in normal music videos. The idea of it being done by amateurs for no monetary gain allows the two to work together so that the final result is a product where the AMV has the soundtrack with the visuals, and neither subverts the other.
And to get you into either agreeing or disagreeing, here’s an example, (just follow this link) http://www.youtube.com/watch?v=Oh3oWTDBhAA
Saturday, March 31, 2007
Narrative, The 'Real' & Body Image In Music Videos
In elaborating on Athena's post on the Magic Numbers there are several factors in the video for 'Forever Lost" that are central to our discussion of popular music on screen.
NARRATIVE:
Unlike the majority of music videos "Forever Lost" does appear to have some coherent narrative content. The video begins with each of the band members waking up, collecting their instruments, walking down the street on the way to play a concert.
The 'real':
The representation of the real is an interesting issue in "Forever Lost". While the video is animated there are insertions of 'live' performance. What makes this interesting is demonstrated at several points: 1) as the band is walking down the street they see a band playing on a TV in the shop window each member eventually recognizes his/her 'real life' counterpart in the clip being played on TV. This is interesting as the real, in this case, is being presented as fabricated or 'not real' (like most things on TV are!). In keeping with this idea, at the end of the video the audience who go to see the animated band play, end up standing outside the venue watching the band playing on TV (the animated versions of the band members "borrowed" the TV for the shop). This is ironic in a sense as the animated versions are meant to represent the 'real' and the real version to represent the 'animated' this scenario would be like going to see your favourite band play live but deciding to sit outside and watch their videos on TV instead. An example of this can is also found in the Dire Straits 'Money for Nothing' video shown in the lecture.
Body Image:
Body image and the representation of bodies in "Forever Lost" is a subtle concept dealt with in the video. When the band members see themselves on the TV we notice certain differences in the appearance. The 'larger' band members appear alot skinnier in the animated version and appear alot more attractive in conventional terms (i am not implying that they aren't attractive 'cause they are!). Since the real is meant to represent the animated and vise versa we can interpret this as a critique of the representation of body image in music videos. This is apparent in the fact that the animated versions (which represent the real) are skinny - when they normally aren't and the real versions are larger - which TV versions generally aren't.
While music videos can be seen as a pleasurable way of selling music artists and products, they can also act as a critique of the industry, in affect "Forever Lost" is an example of a video that works within and against the conventions of the music video.
NARRATIVE:
Unlike the majority of music videos "Forever Lost" does appear to have some coherent narrative content. The video begins with each of the band members waking up, collecting their instruments, walking down the street on the way to play a concert.
The 'real':
The representation of the real is an interesting issue in "Forever Lost". While the video is animated there are insertions of 'live' performance. What makes this interesting is demonstrated at several points: 1) as the band is walking down the street they see a band playing on a TV in the shop window each member eventually recognizes his/her 'real life' counterpart in the clip being played on TV. This is interesting as the real, in this case, is being presented as fabricated or 'not real' (like most things on TV are!). In keeping with this idea, at the end of the video the audience who go to see the animated band play, end up standing outside the venue watching the band playing on TV (the animated versions of the band members "borrowed" the TV for the shop). This is ironic in a sense as the animated versions are meant to represent the 'real' and the real version to represent the 'animated' this scenario would be like going to see your favourite band play live but deciding to sit outside and watch their videos on TV instead. An example of this can is also found in the Dire Straits 'Money for Nothing' video shown in the lecture.
Body Image:
Body image and the representation of bodies in "Forever Lost" is a subtle concept dealt with in the video. When the band members see themselves on the TV we notice certain differences in the appearance. The 'larger' band members appear alot skinnier in the animated version and appear alot more attractive in conventional terms (i am not implying that they aren't attractive 'cause they are!). Since the real is meant to represent the animated and vise versa we can interpret this as a critique of the representation of body image in music videos. This is apparent in the fact that the animated versions (which represent the real) are skinny - when they normally aren't and the real versions are larger - which TV versions generally aren't.
While music videos can be seen as a pleasurable way of selling music artists and products, they can also act as a critique of the industry, in affect "Forever Lost" is an example of a video that works within and against the conventions of the music video.
The magic numbers
"The Magic Numbers" is one of my favourite bands. They are a four piece band from England comprising two pairs of brother and sister; and their music belongs to the traditional UK rocks, just like "Papas&Mamas" or "The Lovin’Spoonful", those bands of 60's. The lead vocal Romeo sounds like Wayen Coyen of "The Flaming Lips".
I knew them because of the music video "Forever lost", which is a really great video based on a really great song. some people may think the song is really simple; but if you listen to it with your heart, you will feel onslaught of their country soul tunes. This made me find and listen to their other songs, and I felt the heartquake again and again. At times coming on a bit like Kings of Leon with female vocal harmonies, at others producing beautifully warm folky ballads. They're just amazing! like people said, who cares about they're overweight.
Obviously they are really popular at this moment and they've already released seven albums; however, if they dont put some new elements in their performing style to achieve a breakthrough, i do have concern that they are gonna lose their current popularity in the future.
I knew them because of the music video "Forever lost", which is a really great video based on a really great song. some people may think the song is really simple; but if you listen to it with your heart, you will feel onslaught of their country soul tunes. This made me find and listen to their other songs, and I felt the heartquake again and again. At times coming on a bit like Kings of Leon with female vocal harmonies, at others producing beautifully warm folky ballads. They're just amazing! like people said, who cares about they're overweight.
Obviously they are really popular at this moment and they've already released seven albums; however, if they dont put some new elements in their performing style to achieve a breakthrough, i do have concern that they are gonna lose their current popularity in the future.
why we choose music to promote the films and television dramas
The use of popular music songs in films and television dramas is a good way to promote the popular media products. The songs are not only let audiences to understand the narrative more efficiently, but also let them remember what they heard during watch the media. As we know, “the relationship between music and film industries is ‘synergy’ and cross-promotion of media products”.
The aim of making soundtrack recording of the films and television dramas is not for creating stars, but can be observed to promote the visual media products. In fact, the soundtrack recording becomes a commodity to let people demand to see the visual media products and remember those longer.
Moreover, in my opinion, the reason why we consider the soundtrack recording as a better way to promote the visual image, is the MP3 players are much widely used than the MP4 players and also more convenient, people can listen to the music at anywhere and anytime. The pictures and posts are very convenient as well, however, they cannot last for a long time as music do (both the length of the music and the memory of the media) and cannot illustrate the emotional elements in the movie visual images.
The aim of making soundtrack recording of the films and television dramas is not for creating stars, but can be observed to promote the visual media products. In fact, the soundtrack recording becomes a commodity to let people demand to see the visual media products and remember those longer.
Moreover, in my opinion, the reason why we consider the soundtrack recording as a better way to promote the visual image, is the MP3 players are much widely used than the MP4 players and also more convenient, people can listen to the music at anywhere and anytime. The pictures and posts are very convenient as well, however, they cannot last for a long time as music do (both the length of the music and the memory of the media) and cannot illustrate the emotional elements in the movie visual images.
MTV Success
MTV single handedly created stars, who may never have gotten the chance without the beginning of music videos. A prime example of this is Madonna. I dare not say Madonna is not talented, however it is her image more than her voice that sells albums. Throughout the years we have seen Madonna in all different stages. She constantly re-invents herself. From the material girl to the material mom, Madonna has perfected the use of music video and marketing. Without MTV she may never have attained the success she enjoys. It became apparent that making a music video could be a profitable venture. Every artist had a music video for his or her hit single. Making a video has proven to be the best way, especially if you are a new artist, to allow fans to see your face. This allows the public to become more intimate with the band and its members. This held true for new as well as older more establish acts such as Michael Jackson. He did not need to sell his image however it did help him. Micheal Jackson was a innovator not only in music, but also in the video as well. He accomplished this when he produced his classic video epic “Thriller”. The million-dollar video paid for itself when “Thriller” became the top selling album of its time. From then on, it is safe to assume that videos will make a large impact on the music industry.
Why Fiona Apple got so much shit…
In one of the previous blogs the comparison was made between music videos of today and soft porn. I don’t think that women are being exploited however, I think it’s a kind of post feminism thing.
The good ole pussycat dolls – don’t cha just love ‘em? Even though they wear next to no clothes in their videos I don’t think they are being exploited because they have a sense of agency. Through their lyrics: “I don’t give a… if ya looking at my…”, “I don’t need a man to make me feel good” and who can forget the notorious, “don’t cha wish your girlfriend was hot like me.” And their dance moves, I get the feeling that it’s their choice to dress this way. (Even if it a marketing ploy… they are selling it like it’s their choice.)
Fiona Apple however, looks like she has no agency. With her solemn pout and, the fact that she is lying or sitting on the ground with the cameras above her makes it look like she was forced into that situation. It looks like she is being exploited and she is selling it like she is being exploited.
On the flipside, by acting like she had no agency, didn’t she exploit the music industry and the public, by the fact that the song became a hit, because of the video?
The good ole pussycat dolls – don’t cha just love ‘em? Even though they wear next to no clothes in their videos I don’t think they are being exploited because they have a sense of agency. Through their lyrics: “I don’t give a… if ya looking at my…”, “I don’t need a man to make me feel good” and who can forget the notorious, “don’t cha wish your girlfriend was hot like me.” And their dance moves, I get the feeling that it’s their choice to dress this way. (Even if it a marketing ploy… they are selling it like it’s their choice.)
Fiona Apple however, looks like she has no agency. With her solemn pout and, the fact that she is lying or sitting on the ground with the cameras above her makes it look like she was forced into that situation. It looks like she is being exploited and she is selling it like she is being exploited.
On the flipside, by acting like she had no agency, didn’t she exploit the music industry and the public, by the fact that the song became a hit, because of the video?
Friday, March 30, 2007
Important Class Stuff
Just to let you know that the lecture 5 outline is posted on the CECIL page. I've added a few words here and there to the ones in the class powerpoint so that it's a bit clearer. Will mention these in class on Wednesday very briefly.
Continuing on music vids for a bit next week, I will begin talking about gender issues, the representation of the body, particularly girls and women's bodies. I could barely raise these issues with the Fiona Apple video on Wednesday because we ran out of time. But I note that some of you have been blogging about related stuff and may write an essay in this area of study. So there will be more on Wednesday.
Please see A Hard Day's Night by Wednesday. It's not very long and it's a 'feelgood movie'. I saw it again last night and enjoyed it yet again. The DVD has subtitles and some useful information in the extras. And don't forget the textual analysis of the film in the reader.
Do come and see Kevin and/or me to discuss your essay topics. If you can't make office hours we can make an appointment.
Remember to try to narrow the focus of your essay in terms of its argument. Most of you who have talked to me have good ideas but they're still a bit fuzzy and need sharpening. I would write three or four sentences summarizing your argument after you've made some notes, read in the area, watched and listened to the relevant AV material etc.
Here are the criteria for the assignment:
Word length: 2000 words
Percentage of total mark for the course: 30%
Submission: Tuesday 1 May, 5 pm. Each essay must be typed in a plain, 12 pt font, and double-spaced, with 1-inch margins and numbered pages. A coversheet (available from the Department office) must clearly state your name, student ID number and must be signed, dated and stapled to the front of your assignment. Keep electronic and hard copies of your assignments. Each essay must also be submitted in electronic form by the due date and time to www.turnitin.com. See course outline on CECIL for password details.
This essay focuses on a relevant topic of your own choice.
It must be analytical and not purely descriptive.
You should present your own perspective on the subject, though you will refer to other sources in the course of your essay.
Your writing should address the following questions:
Why is your topic important or significant?
How do you situate your perspective in relation to other writing on the topic?
How are you approaching the subject?
What is your methodology?
What kind of research materials are you examining?
Each essay must be written in grammatical English with correct spelling.
It should neither be too brief nor exceed the word limit.
The essay should have a clear argument and a logical and coherent structure with an introductory thesis statement and conclusion.
The writing should be lucid.
You should deploy the analytical tools of film, television and media studies, but don't be unnecessarily jargon-y so that it takes away from communicating your point of view clearly.
All the essay’s claims must be supported by evidence and incorporate relevant research material. In other words, back up your argument, head off possible criticisms etc.
All sources must be correctly referenced according to an accepted academic citation style.
Have a good weekend.
All the best.
Continuing on music vids for a bit next week, I will begin talking about gender issues, the representation of the body, particularly girls and women's bodies. I could barely raise these issues with the Fiona Apple video on Wednesday because we ran out of time. But I note that some of you have been blogging about related stuff and may write an essay in this area of study. So there will be more on Wednesday.
Please see A Hard Day's Night by Wednesday. It's not very long and it's a 'feelgood movie'. I saw it again last night and enjoyed it yet again. The DVD has subtitles and some useful information in the extras. And don't forget the textual analysis of the film in the reader.
Do come and see Kevin and/or me to discuss your essay topics. If you can't make office hours we can make an appointment.
Remember to try to narrow the focus of your essay in terms of its argument. Most of you who have talked to me have good ideas but they're still a bit fuzzy and need sharpening. I would write three or four sentences summarizing your argument after you've made some notes, read in the area, watched and listened to the relevant AV material etc.
Here are the criteria for the assignment:
Word length: 2000 words
Percentage of total mark for the course: 30%
Submission: Tuesday 1 May, 5 pm. Each essay must be typed in a plain, 12 pt font, and double-spaced, with 1-inch margins and numbered pages. A coversheet (available from the Department office) must clearly state your name, student ID number and must be signed, dated and stapled to the front of your assignment. Keep electronic and hard copies of your assignments. Each essay must also be submitted in electronic form by the due date and time to www.turnitin.com. See course outline on CECIL for password details.
This essay focuses on a relevant topic of your own choice.
It must be analytical and not purely descriptive.
You should present your own perspective on the subject, though you will refer to other sources in the course of your essay.
Your writing should address the following questions:
Why is your topic important or significant?
How do you situate your perspective in relation to other writing on the topic?
How are you approaching the subject?
What is your methodology?
What kind of research materials are you examining?
Each essay must be written in grammatical English with correct spelling.
It should neither be too brief nor exceed the word limit.
The essay should have a clear argument and a logical and coherent structure with an introductory thesis statement and conclusion.
The writing should be lucid.
You should deploy the analytical tools of film, television and media studies, but don't be unnecessarily jargon-y so that it takes away from communicating your point of view clearly.
All the essay’s claims must be supported by evidence and incorporate relevant research material. In other words, back up your argument, head off possible criticisms etc.
All sources must be correctly referenced according to an accepted academic citation style.
Have a good weekend.
All the best.
Thursday, March 29, 2007
Reasons for watching music videos
In the lecture yesterday Nabeel spoke of the visuals in music videos being secondary to the music, hence the reason there is rarely a complete narrative or it is cut up by images of a performance. However, I think I have found an exception to this rule. A few times I have been at a friend’s (who were all male) house sitting around watching music videos. A generic hip hop video came on, with the girls in bikinis and everything else that goes with it, and they all exclaimed how much they loved the video. Now these guys that I refer to are your typical rock fans and are self proclaimed haters of hip hop, so, I was a little confused. I enquired into this, then they explained why - they watch it with the sound off.
I am in no way going to get into the theories of gender representation in music videos, or go on a rant about the exploitation and objectification of women because that topic is way too big. But I found it interesting that their motivation for watching the video was so far from the original intention of the production of the video, and effectively equated it with soft porn. Obviously some people do watch hip hop videos for the music and the visual element that it uses does have some sort of cultural currency for them. But there are other consumers of music videos who see hip hop videos as holding no musical value at all, and watch them purely for the spectacle of the women on screen.
(Yes I know my friends sound like sick people, but I promise you, they are just your average engineering students)
I am in no way going to get into the theories of gender representation in music videos, or go on a rant about the exploitation and objectification of women because that topic is way too big. But I found it interesting that their motivation for watching the video was so far from the original intention of the production of the video, and effectively equated it with soft porn. Obviously some people do watch hip hop videos for the music and the visual element that it uses does have some sort of cultural currency for them. But there are other consumers of music videos who see hip hop videos as holding no musical value at all, and watch them purely for the spectacle of the women on screen.
(Yes I know my friends sound like sick people, but I promise you, they are just your average engineering students)
Some thoughts on music videos
A music video is made up of moving images and the pre-existing music track. As one format of packaging the music for selling purpose, it not only offers visual enjoyment while we listen to the music, but also brings up some issues that are worth studying, such as synaethesia, lyrics, movement, space/mise-en-scene, editing rhythms and the star-as-text. Beyonce Knowles’ music video “Check on it” is an example to illustrate how mise-en-scene, movement and editing rhythms work together to produce signification within.
It is easy to find that pink is the most salient colour in this music video, because the background is either set up by several pieces of pink silky cloth or pink wallpaper, and although Beyonce is dressed in a range of costumes which are intercut throughout the performance, most of the costume are also in pink. The connotations of pink include love, romance, sexism, and all of these contribute to match the motif of this song.
Beyonce is famous for her butt-shaking dance, and in this music video, her body link to the rhythm of the song as her hips are swaying quickly from side to side. Such a kind of dance is enthusiastic and sexy, so again it reinforces the theme of the song and the music video. The music and dance give us immediate sensory impression in both audio and visual ways.
Editing also works with the syncopated beat in this music video. In other words, the rhythm is the driving force of the video, determining Beyonce’s dancing and much of the cutting. It is common to see montage editing used in pop music videos, especially in rapid and rhythmic songs, as it offers different kinds of pleasure to the audiences. It is like when she changes her costumes by different shots, she shows her sense of fashion as well as allowing us to enjoy seeing her various styles of beauty. In the opening scene, the overlap shots cut from Beyonce to Bun back and forth, in correspondence with the manipulation of rhythm in the music, thus creating the feeling of speed accelerating as well as emphasizing the star’s appearance.
To sum up, mise-en scene, movement and editing rhythm add dynamics and meaning to the music video. We listen to the song with our ears, watch the images with our eyes, and feel the rhythm by our hearts.
A music video is made up of moving images and the pre-existing music track. As one format of packaging the music for selling purpose, it not only offers visual enjoyment while we listen to the music, but also brings up some issues that are worth studying, such as synaethesia, lyrics, movement, space/mise-en-scene, editing rhythms and the star-as-text. Beyonce Knowles’ music video “Check on it” is an example to illustrate how mise-en-scene, movement and editing rhythms work together to produce signification within.
It is easy to find that pink is the most salient colour in this music video, because the background is either set up by several pieces of pink silky cloth or pink wallpaper, and although Beyonce is dressed in a range of costumes which are intercut throughout the performance, most of the costume are also in pink. The connotations of pink include love, romance, sexism, and all of these contribute to match the motif of this song.
Beyonce is famous for her butt-shaking dance, and in this music video, her body link to the rhythm of the song as her hips are swaying quickly from side to side. Such a kind of dance is enthusiastic and sexy, so again it reinforces the theme of the song and the music video. The music and dance give us immediate sensory impression in both audio and visual ways.
Editing also works with the syncopated beat in this music video. In other words, the rhythm is the driving force of the video, determining Beyonce’s dancing and much of the cutting. It is common to see montage editing used in pop music videos, especially in rapid and rhythmic songs, as it offers different kinds of pleasure to the audiences. It is like when she changes her costumes by different shots, she shows her sense of fashion as well as allowing us to enjoy seeing her various styles of beauty. In the opening scene, the overlap shots cut from Beyonce to Bun back and forth, in correspondence with the manipulation of rhythm in the music, thus creating the feeling of speed accelerating as well as emphasizing the star’s appearance.
To sum up, mise-en scene, movement and editing rhythm add dynamics and meaning to the music video. We listen to the song with our ears, watch the images with our eyes, and feel the rhythm by our hearts.
DOZE GREEN--Art and Music
Doze Green is an NYC artist of renown who's going to be doing some 'live art' at The Turnaround this Friday and also has an exhibit running at the Aotearoa Webb Gallery, 18 Manakau Road, Epsom from 13-18 April. More here.
Movie Trailers
These, the ads of films, have a pervasive use of sound, sometimes even more so than the finished film.
Let's for example think of teaser trailers. Those are the ones where there's (very) few images accompanied by words on a coloured background. You don't get to see much of the film but you will often get a booming voice over which echoes the inter title cards (things like "This summer ... " or "They shouldn't have messed with him/her ... ") used with powerful music.
A stereotypical trailer (for example, that for Danny Boyle's "Sunshine") will start out slow and rapidly speed up over its short length (the volume of music increasing at a similar rate). The aforementioned trailer uses Lux Aeterna by the Kronos Quartet & Clint Mansell (the "Requiem for a Dream" song also used for the "LOTR: the Two Towers" trailer). The film's nature ("the sun dies, we die") is encapsulated by this epic music and quick images of people in peril.
The trailer formaula could therefore be seen as: glimpses of scenes from a film + evocative (and complimentary music and voiceover) = people going to see a film (hopefully).
Let's for example think of teaser trailers. Those are the ones where there's (very) few images accompanied by words on a coloured background. You don't get to see much of the film but you will often get a booming voice over which echoes the inter title cards (things like "This summer ... " or "They shouldn't have messed with him/her ... ") used with powerful music.
A stereotypical trailer (for example, that for Danny Boyle's "Sunshine") will start out slow and rapidly speed up over its short length (the volume of music increasing at a similar rate). The aforementioned trailer uses Lux Aeterna by the Kronos Quartet & Clint Mansell (the "Requiem for a Dream" song also used for the "LOTR: the Two Towers" trailer). The film's nature ("the sun dies, we die") is encapsulated by this epic music and quick images of people in peril.
The trailer formaula could therefore be seen as: glimpses of scenes from a film + evocative (and complimentary music and voiceover) = people going to see a film (hopefully).
Movie Trailers
These, the ads of films, have a pervasive use of sound, sometimes even more so than the finished film.
Let's for example think of teaser trailers. Those are the ones where there's (very) few images accompanied by words on a coloured background. You don't get to see much of the film but you will often get a booming voice over which echoes the inter title cards (things like "This summer ... " or "They shouldn't have messed with him/her ... ") used with powerful music.
A stereotypical trailer (for example, that for Danny Boyle's "Sunshine") will start out slow and rapidly speed up over its short length (the volume of music increasing at a similar rate). The aforementioned trailer uses Lux Aeterna by the Kronos Quartet & Clint Mansell (the "Requiem for a Dream" song also used for the "LOTR: the Two Towers" trailer). The film's nature ("the sun dies, we die") is encapsulated by this epic music and quick images of people in peril.
The trailer formaula could therefore be seen as: glimpses of scenes from a film + evocative (and complimentary music and voiceover) = people going to see a film (hopefully).
Let's for example think of teaser trailers. Those are the ones where there's (very) few images accompanied by words on a coloured background. You don't get to see much of the film but you will often get a booming voice over which echoes the inter title cards (things like "This summer ... " or "They shouldn't have messed with him/her ... ") used with powerful music.
A stereotypical trailer (for example, that for Danny Boyle's "Sunshine") will start out slow and rapidly speed up over its short length (the volume of music increasing at a similar rate). The aforementioned trailer uses Lux Aeterna by the Kronos Quartet & Clint Mansell (the "Requiem for a Dream" song also used for the "LOTR: the Two Towers" trailer). The film's nature ("the sun dies, we die") is encapsulated by this epic music and quick images of people in peril.
The trailer formaula could therefore be seen as: glimpses of scenes from a film + evocative (and complimentary music and voiceover) = people going to see a film (hopefully).
Re: Justin Timberlake and narrative
I agree that Justin Timberlake's video for "What Goes Around... Comes Around" is a good example of a narrative, but I see it more as a narrative gone wrong. First of all, it's a clear homage to Michael Jackson as it is features song and dialogue as more of a short film than a music video. Seeing as Justin Timberlake has been the most successful member to come out of NSYNC (like Michael Jackson was the most successful member of the Jackson 5), it seems that director Nick Cassavetes (The Notebook, Alpha Dog, etc.) is trying to distinguish Justin Timberlake as the actually white Michael Jackson. While the narrative suggests that Justin Timberlake's character is broken-hearted by the fact that Scarlett Johansson cheats on him with his best friend, it is unclear whether or not they're actually in love, cheesy dialogue aside, because it seems like all they have together is a sexual relationship (most of the video consists of them making out). On top of that, there's the end result of Scarlett running off after Justin gets mad at her and dying in a car crash to the lyrics "What goes around comes back around." Are we supposed to take away from the video that Scarlett deserves to die because she cheated? What about the best friend? Isn't he just as guilty and doesn't he deserve a "punishment" as equally if not more harsh than Scarlett's?
Judge for yourself...
Judge for yourself...
Wednesday, March 28, 2007
Sound and Image.
Here's an example of someone using an atypical visual to emphasise the emotional context of a song, and not in a way I'd have predicted.
As such, I think it's fun, albeit Not Safe For Work. Or children.
Or anyone who possesses childhood memories.
- Kevin.
As such, I think it's fun, albeit Not Safe For Work. Or children.
Or anyone who possesses childhood memories.
- Kevin.
Video games and the rise of Music.
Video games and music tends to coincide with genre and perhaps a development into customization and commercialization of video game music.
I have personally played video games ever since I was a child up until now, however on a more competitive online basis. I have noticed a change in video games and the use of music. In a sense, almost overshadowing its particular genre.
But let me explain the beginning stage of music within video games. There was the 2d graphics. The Zelda, Wonder boy, Alex the kid, space invaders and Super Mario brothers. These simple codified games had music within the game play. It was not as interactive and “live” in a sense. But a series of beeps and whistles to create music, the musical sounds were created using Midi files. Very simple basis of beat function but it created a kind of fun and interactive environment. It in a way provoked 100% attention into the game and reflected the cheap 2d scenes. For example at the beginning of each level the midi music file will be happy and fun. And then the music suddenly changes at the end of the level when confronted with the “villain” the final boss that must be defeated to get to the next level/ stage.
This simple concept helps video games and interactivity. Basically, this was the beginning stage of music in games. Your very basic digital sounds to create a beat that is repeated throughout the game.
Jumping ahead to my points I made in my thesis statement. Now what I mean about music coinciding with genre in video games is the simple fact that an action game tends to have fast riveting music, most often techno or really deep drum beats. Action games have fast music but only in times where action is at its most intense. It serves as a catalyst and reminder that the player must put extra effort into the game in order to “win” and not “die” in the virtuous world. A good example of this is the game HALO where the gaming experience is close to a cinematic one. Meaning that the music is purely there to provoke feelings and anxiety. It is a powerful tool in cinema to create music that fits into emotions that are visual. The same is with video games.
However it is not only about the genre of games that creates certain types of music. But a combination of customization and commercialization as a signifier for video games as a popular culture itself.
Customization tends to give rise to the latest games. Particularly action games and sports games, the kinds that do not really have a dialogue but a narrative that is easily predicted, almost stereotypically, gamers can now load music onto there games through hard drives into console games or on the pc. Now gamers play with there favorite tunes playing in the background. Serving as a kind of noise within the compounds of the game. Almost diagetically. Gamers create play lists with ease, a form of customization of there playing experience. An example is Tony hawks pro skater. Where people began to load their favorite songs onto the game in order to enjoy their type of music. It was a kind of cultural skateboard culture to ride free and jam it to your beats.
There is now a strong emphasis that music on video games serves as a catalyst for commercial gain. For example the music that Need For Speed plays is almost instantly popular amongst the gaming world and the music becomes a favorite track that people either purchase or download. Once unknown bands on a video game are now famous because of that very shift into the gaming market. Many songs, if not all of them played on Tony Hawks’s pro skater become extremely popular as young kids snatch up the music in order for it to link with the skater culture. The music is instantly signified as “Tony Hawks” in game music, or skater’s music.
What we are seeing now is a breakthrough in the musical industry. There are many media forms that can represent a band. For example Television with advertisements a good example is the Air New Zealand advertisement, where the band played outside the record company in America. Little did they know, because of the advert there band has become world famous. The same with radio as stations play new music for people to try out and “vote” to see what there thoughts are on the song. If it gets the thumbs up than its an instant hit. Now we have a viable and strong market in video games for music. As the video game industry is one of the most popular besides cinema in generating the big dollars. Music has become a commercialized and very important part in video game making. It has almost sucked the life out of the game itself and created a stereotypical and popular culture like signifier. My most strong example would have to be Need for Speed Carbon.
The game has been created into separate sectors of a city. And separate car gangs. Each gang has there own type of music. But when playing the game there will be a song played throughout the race. It will either be hip-hop, techy house or rock music. The artist of the song pops up in the corner before the race. It is a type of noise and forceful aspect of the game. It definitely gives the impression that it is not a specialist racing game. It is purely there for the music/ lights and sexy girls. Need for Speed did not start with any kind of music all you could hear was the sound of the engine. But now, we are bombarded with different genres of music to some how beam us into the game. But there is an almost subconscious nerve to download or buy the song. Because gamers will spend months or hours finishing the game, listening to the music. Surely it has got to have some kind of effects.
Wayne's World - Musical Tributes
We've been talking a lot about the idea of soundtracks, and how some films are written after the selection of a music soundtrack, and I'm surprised no one has mentioned Wayne's World yet.
Wayne's World, was originally a Saturday Night Live sketch, but later became two feature films of the same name (Wayne's World 1 and Wayne's World 2). I can't really comment on the SNL sketches as I've never seen them, but the greatest episode featured Wayne and Garth jamming with Aerosmith with Tom Hanks as their roadie. Both of the films feature as some of my favorite comedy movies, due to their pop culture and musical references. Wayne's World takes the spot for rock 'n' roll and heavy metal tribute films, much the same way that Saturday Night Fever took the spotlight for disco.
Both films attack commericalized rock and roll culture, nerds cramping their music, celebrate babes, hurling, going to shows and being part of something 'big'. In Waynes World 1, a TV producer attempts take over their local cable rock show (of the same name) and at the same time steal waynes girlfriend, Wayne's World 2 revisits this when Wayne has a dream that he is going to host a concert called WayneStock with Aerosmith and Pearl Jam, but his girlfriends new producer seems determined to steal her, ruining everything.
I went back to watch Wayne's World 2 the other day, and decided to check out the directors commentary on the DVD, where director Steven Surjik points out several times that they had started with a list of music and wanted to structure the film around it. Most of the music starts in the diagetic form, either played by a band, on the car radio, on TV but is often sustained well after the disappearance of the sound source. Surjik mentions that they ran into a problem where they didn't have any 'tension music', for scenes not inspired by a musical performance.
From an academic point of view Wayne's World interests me in the scope of the representation of sub-culture on screen, and of musical sub-culture, and also the technical questions of diagetic and non-diagetic musical soundtracks and how they are placed in the film.
Del Preston: Woodstock? That was quite a show, man.
Garth: You were at Woodstock?
Wayne: Excellent! What was it like?
Del Preston: It rained all morning, and then it cleared up in the afternoon. And that's it, I almost remembered something else, ...but it's gone.
The Popular Music and Screen Relationship
I was just thinking about the relationship between popular music and screen as a whole and also about the whole lip-syncing thing we talked about in class a couple of lectures back. It is true that we are seeing both industries/cultures increasingly overlap, borrow and compliment eachother. However, i think it is intersting to look at two cultures within the popular music on screen culture which show that screen representation and popular music are still differentiated in terms of our expectations. There is that of televised music concerts, and then there are music videos and the presence of popular music performance on television shows and in films.
Televised music concerts attempt to provide the experience of actually being in the real space of the concert for those fans who cannot attend. Because we assume this to be a realistic representation, a mechanism for transporting us into that space, our expectation is that there is no lip-syncing and that everything is just as it would be were we actually standing in the crowd. Therefore, the disapointment when there is lip-syncing on screen is high. Yet we are content to recieve the mediated form of the concert in other ways, such as a variety of shots from places we wouldnt physically be able to see.
In terms of music videos or popular music performances on television or films, the level is disappointment when lip-syncing occurs seems much lower, in fact we almost expect it. We know in music videos that to get the flow and aesthetics right it is necessary to just play the music track over the top of the visuals. And when watching films where someone is singing (what often later becomes a popular music track) I find myself asking, I wonder if he/she is really singing, without really caring about the result.
Therefore, I think that we still associate a great difference in production and expectation between popular music integrated onto screen for the purposes of that industry, and popular music on screen for the purposes of displaying a performance.
Televised music concerts attempt to provide the experience of actually being in the real space of the concert for those fans who cannot attend. Because we assume this to be a realistic representation, a mechanism for transporting us into that space, our expectation is that there is no lip-syncing and that everything is just as it would be were we actually standing in the crowd. Therefore, the disapointment when there is lip-syncing on screen is high. Yet we are content to recieve the mediated form of the concert in other ways, such as a variety of shots from places we wouldnt physically be able to see.
In terms of music videos or popular music performances on television or films, the level is disappointment when lip-syncing occurs seems much lower, in fact we almost expect it. We know in music videos that to get the flow and aesthetics right it is necessary to just play the music track over the top of the visuals. And when watching films where someone is singing (what often later becomes a popular music track) I find myself asking, I wonder if he/she is really singing, without really caring about the result.
Therefore, I think that we still associate a great difference in production and expectation between popular music integrated onto screen for the purposes of that industry, and popular music on screen for the purposes of displaying a performance.
Justin Timberlake and narrative
The director's cut of Justin Timberlake's “What goes around comes back around” uses the notion of narrative in the music video. The video begins with a film opening introducing the two protagonists, the girl that is played by Scarlett Johanson and Justin Timberlake himself. By using the artist in the film as an actor, another narrative is already created where there are two running alongside each other in the video. Justin is the guy in the film and also the performer. We see him peforming at the bar as a concert but he looks like a guest by his casual dress compared to the other performers in their fancy clothes. Then we see him backstage with the dancers and Scarlett Johanson's character. The shots cut back and forth from the film narrative and the bar narrative but both can also be worked in together. The music sometimes seems like background focus and we are more drawn into the film narrative (includes a beginning, middle and end) that is playing before us.
At a certain point, the music stops completely altogether and we are allowed to focus on the film itself. This is the scene where she is caught with the other male character at the top of the stairs. Here we fully focus on the narrative through most of the video as the rest of the story unfolds and she gets into her car and drives away. Unlike most music videos where the characters lack dialogue - the characters in this video are able to speak and we are able to maybe understand the appropriation of the video and the lyrics more clearly.
The video itself is about 10 minutes long and therefore being more of a film narrative than just a music video. Also I think, it is a way to introduce Justin Timberlake into the acting arena since he has started starring in some films recently and the crossover that most music artists make into the acting side.
Love the video!
At a certain point, the music stops completely altogether and we are allowed to focus on the film itself. This is the scene where she is caught with the other male character at the top of the stairs. Here we fully focus on the narrative through most of the video as the rest of the story unfolds and she gets into her car and drives away. Unlike most music videos where the characters lack dialogue - the characters in this video are able to speak and we are able to maybe understand the appropriation of the video and the lyrics more clearly.
The video itself is about 10 minutes long and therefore being more of a film narrative than just a music video. Also I think, it is a way to introduce Justin Timberlake into the acting arena since he has started starring in some films recently and the crossover that most music artists make into the acting side.
Love the video!
Tuesday, March 27, 2007
EL-P 'Smithereens'
This recent music video is a post-911 Guantanamo Abu Ghraib military torture narrative/spectacle/scene.
The OC effect in NZ
In thinking about how evident is the OC effect in the New Zealand content.
Just as a question out into the open domain. How many people whom check this blog know the band death cab for cutie, or postal service and the decemberists. If you do please leave a comment in this post. Because I have asked all my close friends some of whom are advent myspace users and they still don’t know who they are. So I ask how effective is the OC effect in New Zealand. I guess you can say that we all know who the killers are but that, I think is mostly to do with how the record companies got the radio stations to promote the song. This in effect cause the wave of popularity for the band in New Zealand. It seems as though New Zealand still remains in the dark ages when publicity of generation of popularity is concerned. We still use the normal respected channels of promotion, either though radio stations, free gigs or Music Television. I guess this might have already been picked up by the government and that is why the charter was brought up to overcome this hurdle in technological advancement and distribution of music media. Would shows such as Ponsonby at War, Being Eve or even Shortland St be able to peddle music as effective as The OC, actually are we as a nation of audiences be able to comprehend this phenomenon.
Just as a question out into the open domain. How many people whom check this blog know the band death cab for cutie, or postal service and the decemberists. If you do please leave a comment in this post. Because I have asked all my close friends some of whom are advent myspace users and they still don’t know who they are. So I ask how effective is the OC effect in New Zealand. I guess you can say that we all know who the killers are but that, I think is mostly to do with how the record companies got the radio stations to promote the song. This in effect cause the wave of popularity for the band in New Zealand. It seems as though New Zealand still remains in the dark ages when publicity of generation of popularity is concerned. We still use the normal respected channels of promotion, either though radio stations, free gigs or Music Television. I guess this might have already been picked up by the government and that is why the charter was brought up to overcome this hurdle in technological advancement and distribution of music media. Would shows such as Ponsonby at War, Being Eve or even Shortland St be able to peddle music as effective as The OC, actually are we as a nation of audiences be able to comprehend this phenomenon.
Thinking About Research Essay Topics
Blog Title: Thinking About Research Essay Topics!
Hi Everyone,
My blogger name is ‘Andrea Francesca’. This is my first entry into the FTVMS 323 - Popular Music on Screen Blog 2007’.
I’m taking this Special Topic paper, as the final paper of my BA degree (as an FTVMS major), because I am interested in how 'popular music' is pervasive in modern society, through all forms of new media.
As Nabeel Zuberi suggested, our Research Essay Assignment has lots of scope for us. We can select from many different areas & media formats… to consider how popular music interfaces with all the areas of multi-media including TV, Film, Advertising, the Web, Video/DVD, Radio, I-Pods, Cell phone technology… etc, etc!
I’m interested in obvious media forms, as well as the not so obvious ones. And, I'm interested in how a 'popular song' by a pop-group can end up on TV in more than one advert. Just think of the NZ band 'Goldenhorse' and their smash radio hit ‘Maybe Tomorrow’... it is used in a ‘Watties’ sauce TV advert, and in the ‘Inter-islander Cook Strait ferry TV adverts, and, in some other adverts too.
Also, I'm thinking about how some pop songs are turned into instrumentals… or are simply ‘dumbed down’, with the riff of the song (minus the chorus or lyrics) only being played in a TV advert... and why it is remediated this way?
I’ll put up a short list of examples in my next blog, of pop songs that are featured in different TV adverts, which hopefully will generate some on-going discussion… and may help to kick off some research ideas for us all, as we need to be thinking about our Research Essay Question now!
bests,
Andrea Francesca
Student – FTVMS 323
Hi Everyone,
My blogger name is ‘Andrea Francesca’. This is my first entry into the FTVMS 323 - Popular Music on Screen Blog 2007’.
I’m taking this Special Topic paper, as the final paper of my BA degree (as an FTVMS major), because I am interested in how 'popular music' is pervasive in modern society, through all forms of new media.
As Nabeel Zuberi suggested, our Research Essay Assignment has lots of scope for us. We can select from many different areas & media formats… to consider how popular music interfaces with all the areas of multi-media including TV, Film, Advertising, the Web, Video/DVD, Radio, I-Pods, Cell phone technology… etc, etc!
I’m interested in obvious media forms, as well as the not so obvious ones. And, I'm interested in how a 'popular song' by a pop-group can end up on TV in more than one advert. Just think of the NZ band 'Goldenhorse' and their smash radio hit ‘Maybe Tomorrow’... it is used in a ‘Watties’ sauce TV advert, and in the ‘Inter-islander Cook Strait ferry TV adverts, and, in some other adverts too.
Also, I'm thinking about how some pop songs are turned into instrumentals… or are simply ‘dumbed down’, with the riff of the song (minus the chorus or lyrics) only being played in a TV advert... and why it is remediated this way?
I’ll put up a short list of examples in my next blog, of pop songs that are featured in different TV adverts, which hopefully will generate some on-going discussion… and may help to kick off some research ideas for us all, as we need to be thinking about our Research Essay Question now!
bests,
Andrea Francesca
Student – FTVMS 323
Mix Tapes
So the readings from last week got me thinking as to why I own, specifically, the soundtracks to Boogie Nights, Forest Gump AND Pulp Fiction. There's nothing for me to be nostalgic about because I'm a child of the 80s, so is it at all possible to be naive and pretend that soundtracks aren't just a means of synergy and making more money? Take Pulp Fiction for example (or in a broader sense, soundtracks to Quentin Tarantino films). If Quentin Tarantino isn't lying when he says that he comes up with the songs for a film before he even completes the idea of a film, then damn, he knows how to put together a good mix tape. Dusty Springfield, Ricky Nelson, Al Green... on one album? Priceless. I'm sure the dialogue bits are there to sell the movie, but I find myself skipping over them. In a perfect world I'd like to believe that I buy a soundtrack to a film because I see the film and think to myself "I would love to have all of those songs on one CD" not that someone is subliminally selling me a movie and soundtrack. Good music is good music and I think that can make it not necessarily about a product but about an appreciation. Much of the time, songs on a soundtrack will definitely bring you back to a moment in the film. Maybe subliminally that's motivation for buying a soundtrack - always desiring to think of Mia Wallace overdosing when listening to "Girl You'll Be a Woman Soon" by Urge Overkill. Many times though, like in the case of Forest Gump, it's been so long since I've seen the movie that I just listen to the soundtrack because it is such a good compilation of songs from anyone who was anyone in the 60s and 70s. I'd listen to it for the same reason I would listen to any compilation of music from that time period - just because it's good music. Then again, would certain songs be as good as they are without a visual image to associate them with? "Bang Bang (My Baby Shot Me Down)" by Nancy Sinatra isn't nearly as powerful without the memory of "The Bride" being brutally shot by Bill in the beginning of Kill Bill, vol. 1 and every time I do hear "Girl, You'll Be a Woman Soon" I do think of Mia Wallace's overdose. But think of what the drug dealer in Boogie Nights said about mix tapes: "I put all my favorite songs together... When you buy a tape or an album... the bands put the songs in some fucking order... like they want you to listen to it in that order. I hate that. I don't like to be told what to listen to... when to listen to it..." Maybe that can hold true for soundtracks as well. Maybe compilations are a director's way of showing the world what they like to listen to and when they like to listen to it.
Just because it's still kinda legal... "Girl You'll Be A Woman Soon".
Just because it's still kinda legal... "Girl You'll Be A Woman Soon".
Preferred invisibility
Canvasing people's thoughts on the prominence of sound in film or the heirarchy of sound vs vision debate, I thought it was interesting to note Kim C's "Film Music Goes Live" post on how presenting the music to a film in a 'live' situation, i.e. with orchestra in front of the screen, can really help to enlarge the experience of the music for the viewer and thus enhance the world of the film and its communication to the audience. I have experienced this myself for example, with live Wurlitzer organ in front of the screen and, and in a more extreme example where actual dominance of sound over the visual medium has occured. I.e.- In various local 'live' band settings over the years, a few images are screened at the back of the stage (usually partially obscured by the drum-kit) that play along with the music and are adding to the ambience of the music not the other way around as has been discussed by many class bloggers. Perhaps this effect was more to do with the lack of inspiring images or in my opinion, a kind of 'afterthought' approach in mapping the images to the music. Or simply these live gigs were more of the 'music and dancing kind'... not to say that this can't be re-engineered in a different way so all the media and people within it are working more seamlessly etc. but that's another blog!
What I wanted to highlight in Kim C's blog were her final words "...perhaps help[ing the music]to become more significant and less invisible". This issue of invisibility I think deserves more investigation from the point of view that some award winning sound designers and composers (names long since lost in the memory banks sorry) are actually basing their reputations on their creations being "invisible". Whereby, if the audience 'notices' or becomes aware of the sound then you're not doing your sound job properly. The craft or the spell of the 'heard but not seen' aesthetic is broken.
I thought this argument essentially about the craft of the sound maker and what they are often trying to acheive was beautifully illustrated in Nabeel's example of "American Graffitti" (1973), where we saw the sound designer being interviewed about applying different recording methods to mimic several acoustic sound environments. This was born out of a requirement to fufill the director's wish of having "wall-to-wall" sound throughout the movie as an important device in creating the 'teenage world' inside the movie. The sound designer then tried to meet this directive in interesting ways.
For example, the radio playing a song in the car was different acoustically to when the character fell out of the car and the song on the radio continued, but sounded acoustically different. Another example is when we hear music playing as the "love couple" dances. The music environment is slowly changed acoustically from sounding distant as if in a gymnasium, which enhances the audience's sense of 'spectacle', to one where the music reflects the characters 'inner world' and their intensity for each other, hence a subtle transformation to a more initimate sound acoustically.
The point is I never really noticed before... and that's great because the American Graffitti case makes me think of how many composers and sound designers are crafting their work to sit just under the radar of perception. I think this perspective can go a long way when thinking about which mediem needs to be noticed more or which medium is dominating. Some artisans are actually doing their best to remain in the background.
Peace
fiFA
What I wanted to highlight in Kim C's blog were her final words "...perhaps help[ing the music]to become more significant and less invisible". This issue of invisibility I think deserves more investigation from the point of view that some award winning sound designers and composers (names long since lost in the memory banks sorry) are actually basing their reputations on their creations being "invisible". Whereby, if the audience 'notices' or becomes aware of the sound then you're not doing your sound job properly. The craft or the spell of the 'heard but not seen' aesthetic is broken.
I thought this argument essentially about the craft of the sound maker and what they are often trying to acheive was beautifully illustrated in Nabeel's example of "American Graffitti" (1973), where we saw the sound designer being interviewed about applying different recording methods to mimic several acoustic sound environments. This was born out of a requirement to fufill the director's wish of having "wall-to-wall" sound throughout the movie as an important device in creating the 'teenage world' inside the movie. The sound designer then tried to meet this directive in interesting ways.
For example, the radio playing a song in the car was different acoustically to when the character fell out of the car and the song on the radio continued, but sounded acoustically different. Another example is when we hear music playing as the "love couple" dances. The music environment is slowly changed acoustically from sounding distant as if in a gymnasium, which enhances the audience's sense of 'spectacle', to one where the music reflects the characters 'inner world' and their intensity for each other, hence a subtle transformation to a more initimate sound acoustically.
The point is I never really noticed before... and that's great because the American Graffitti case makes me think of how many composers and sound designers are crafting their work to sit just under the radar of perception. I think this perspective can go a long way when thinking about which mediem needs to be noticed more or which medium is dominating. Some artisans are actually doing their best to remain in the background.
Peace
fiFA
Girly Films etc.
I'm a slef confessed fan of girly movies, when I'm sick, when I can't be bothered thinking they are perfect dribble. Using a few hundred examples I want to point to some of the music use in these films, which is interesting for a few reasons.
The use of a pop song is a tried and true method of romantic comedy's, for product placement I'm sure but also to really push the audience to think one particular thing. Notting Hill uses Ronan Keating over and over again that ties the lovers relationship together, it's an easy trick, just like using the same music every time the bad guy is about the enter the room.
Four Weddings and a Funeral starts with 'Love is all around', setting up the style of film from the outset, while the director used the same song slightly changed in his other film, Love Actually. It not only keeps the films tied to themselves but also ties them to the genre and the director, treating them as extentions of each other, not seperate films.
Garden State has always interested me in the way it used specific bands, different songs to move the movie through it's various stages. Whenever the main character 'Andrew' is thinking about something or going somewhere there is another pop-rock track to guide us through. As the movie is all about a sudo journey he takes to find what he is really looking for it fits that the music is not the same and finally ends with a different band of similar music.
The use of a pop song is a tried and true method of romantic comedy's, for product placement I'm sure but also to really push the audience to think one particular thing. Notting Hill uses Ronan Keating over and over again that ties the lovers relationship together, it's an easy trick, just like using the same music every time the bad guy is about the enter the room.
Four Weddings and a Funeral starts with 'Love is all around', setting up the style of film from the outset, while the director used the same song slightly changed in his other film, Love Actually. It not only keeps the films tied to themselves but also ties them to the genre and the director, treating them as extentions of each other, not seperate films.
Garden State has always interested me in the way it used specific bands, different songs to move the movie through it's various stages. Whenever the main character 'Andrew' is thinking about something or going somewhere there is another pop-rock track to guide us through. As the movie is all about a sudo journey he takes to find what he is really looking for it fits that the music is not the same and finally ends with a different band of similar music.
Monday, March 26, 2007
Music in horror films Pt. 2
Picking up from Jxuo63's post (this one), I definitely concur that music plays a seemingly more prominent role in films of the horror genre.
(BTW, One Missed Call is definitely one of the scarier Asian horrors out there, that ringtone haunted me for days too!!)
I was just watching Scream before and I couldn't help paying attention to the score - it's pretty cliched and predictable particularly during the scary bits, but I have to say, it works aye. The fluctuations in volume and build-up of intensity is juxtaposed perfectly with what is happening on screen. You are, for the most part, kept at the edge of your seat.
Eleven years on, viewers are beyond spoilt for choice when it comes to horror films. The recent obsession being that of the sadistic violence type, ie the Saw trilogy and Hostel. That being said, audiences are thus becoming more and more immune to the "cues" music orchestrates in these sort of films. Many a time when I am watching a horror flick, I find I can somewhat predict that something scary is going to happen solely from the music and how it progresses in a scene.
This gives music composers quite a challenge, doeesn't it? Marco Beltrami, who does the score for Scream did an admiral job, in my opinion. As I've said, the music flows and weaves with the action on screen seamlessly. I think, especially considering when it was released, the effect would have paid off tremendously.
I thought the score used in the non-scary scenes were pretty good too. Lots of ethereal-esque sounds which was pretty interesting and refreshing. A good break from the "scary track". It showed versatility which mirrors Beltrami's filmography. I'm now really keen on re-watching some of the movies in his list just to hear other stuff he's done!!
But yeah, music in horror films...paramount in helping provide the chills (and squeals) but also, I believe, could work equally as well in smaller doses. As I mentioned earlier, audiences of today are becoming immune and more akin to music's part and role in a scary movie. Something that I think should be explored more in this genre is the use of no music - what a lot of Asian horror films pull off really well. I always tell people, if they want a really good scare, to not waste their time with a Hollywood horror flick, but to watch an Asian horror instead.
I watched One Missed Call about 3 years back (I think) when it featured at the film festival, but I'm pretty sure there were quite a few scenes that were extremely scary not only because of the story or clever cinematography, but also because there was no music - there was nothing to pre-empt and cue audiences that something terrible was about to happen.
I have a few other thoughts to share from reading other entries from you guys but it'll have to be for another day... ;)
(BTW, One Missed Call is definitely one of the scarier Asian horrors out there, that ringtone haunted me for days too!!)
I was just watching Scream before and I couldn't help paying attention to the score - it's pretty cliched and predictable particularly during the scary bits, but I have to say, it works aye. The fluctuations in volume and build-up of intensity is juxtaposed perfectly with what is happening on screen. You are, for the most part, kept at the edge of your seat.
Eleven years on, viewers are beyond spoilt for choice when it comes to horror films. The recent obsession being that of the sadistic violence type, ie the Saw trilogy and Hostel. That being said, audiences are thus becoming more and more immune to the "cues" music orchestrates in these sort of films. Many a time when I am watching a horror flick, I find I can somewhat predict that something scary is going to happen solely from the music and how it progresses in a scene.
This gives music composers quite a challenge, doeesn't it? Marco Beltrami, who does the score for Scream did an admiral job, in my opinion. As I've said, the music flows and weaves with the action on screen seamlessly. I think, especially considering when it was released, the effect would have paid off tremendously.
I thought the score used in the non-scary scenes were pretty good too. Lots of ethereal-esque sounds which was pretty interesting and refreshing. A good break from the "scary track". It showed versatility which mirrors Beltrami's filmography. I'm now really keen on re-watching some of the movies in his list just to hear other stuff he's done!!
But yeah, music in horror films...paramount in helping provide the chills (and squeals) but also, I believe, could work equally as well in smaller doses. As I mentioned earlier, audiences of today are becoming immune and more akin to music's part and role in a scary movie. Something that I think should be explored more in this genre is the use of no music - what a lot of Asian horror films pull off really well. I always tell people, if they want a really good scare, to not waste their time with a Hollywood horror flick, but to watch an Asian horror instead.
I watched One Missed Call about 3 years back (I think) when it featured at the film festival, but I'm pretty sure there were quite a few scenes that were extremely scary not only because of the story or clever cinematography, but also because there was no music - there was nothing to pre-empt and cue audiences that something terrible was about to happen.
I have a few other thoughts to share from reading other entries from you guys but it'll have to be for another day... ;)
Music Video Belonging to the Commercial Enterprise
I like what Rebecca said: "The music video belongs to the realm of commercial enterprise; and this can be hard for “legitimate” bands to contend with." As a metal enthusiast, I believe bands that play heavy music aren’t just challenged by the fact that there sound isn’t commercial. They are also challenged by the visual representation constructed on behalf of commercial enterprises. Music videos of the commercial realm generally stick to the stereotypical nature of a particular genre discourse. For example, emo music videos mostly contain high school kids with fringes. In the case of metal, ever since the 1980's the genre has been scarred with the imagery of bands such Metallica, Cradle of Fith, Marylin Manson and more recently Avenge Sevenfold and Slipknot. Believe it or not, there are lots of metal bands, both underground and commercial, that don't dress like Goths or mongolo Bougans. Unfortunely, only the people who listen to metal and attend metal gigs are aware of this, thus making it harder for non metal listeners to on one level, appreciate the positionality and subjectivity of members of the metal community and on an other, make it harder for non-metal members of the audience to uncover the better (or”legitimate”) bands of the genre. The mythologices constructed around metal ideology it seems, are distorted by the few metal videos you see on commercial television. C4's The Steel Mill does show a great variety of metal videos, not just the image couscous efforts of certain Thrash and Black metal bands. But I am left wondering, are there better metal bands out there? Is the only reason better metal bands aren’t on commercial television because they don’t aspire religiously to a visual "metal discourse"? If there is such thing as metal discourse...
Language and Music.
Here's some more example MP3s to chew on. For the record, the Mad Bastards songs I posted earlier are still available for download, but I'll take them down at the end of the week.
The sample songs this week are from Yokko Kanno, a multilingual Japanese artist. The songs themselves include lyrics in a number of different languages, including Russian, Japanese, English and the odd bit in Latin, and I was struck by how distinctive it makes the songs.
Any anime fans out there will have encountered these as the theme music to seasons one and two of the Ghost in the Shell television series.
Yokko Kanno - Inner Universe.
Yokko Kanno - Rise.
What do people think?
- Kevin.
The sample songs this week are from Yokko Kanno, a multilingual Japanese artist. The songs themselves include lyrics in a number of different languages, including Russian, Japanese, English and the odd bit in Latin, and I was struck by how distinctive it makes the songs.
Any anime fans out there will have encountered these as the theme music to seasons one and two of the Ghost in the Shell television series.
Yokko Kanno - Inner Universe.
Yokko Kanno - Rise.
What do people think?
- Kevin.
Admin Stuff and Roll-Call.
Greetings everybody.
I just wanted to note that my office-hours on Friday this week will go 1-3pm due to essay timetabling for FTVMS100, so I'll be there longer than usual if anyone wants to talk.
Here's the current list of posting names I can't associate with Actual People on the blog, so if one of these is you please put up a hand or send me an email with your ID number and the like.
Sarah G
Hye-Young
Elaine L
M Liu
VNess
Kelly
Josh
In many cases it's because my class list is out of date rather than because you've chosen weird names.
- Kevin.
I just wanted to note that my office-hours on Friday this week will go 1-3pm due to essay timetabling for FTVMS100, so I'll be there longer than usual if anyone wants to talk.
Here's the current list of posting names I can't associate with Actual People on the blog, so if one of these is you please put up a hand or send me an email with your ID number and the like.
Sarah G
Hye-Young
Elaine L
M Liu
VNess
Kelly
Josh
In many cases it's because my class list is out of date rather than because you've chosen weird names.
- Kevin.
The Pinnacle of the downfall of society
I read Katherine Dieckmann's article "MTV Killed The Music Video Star" with a smile spread on my face and after re-reading it I decided she's my new favourite person. Thanks goes to Nabeel for including my exact feelings about MTV and their 'culture' creation since the early 80's.
I just wanted to include this news article:
MTV To Change Name
At a meeting last month for the heads of the company, MTV have decided to alter the brandname of their internationally successful television channel.
"It's the final step in a process that's been underway for some time," admits a representative. "We have come to the realisation that we do not, in fact, screen much music content at all anymore."
Because of this, the company has decided to change their name from "MTV" (Music Television) to, quite simply, "TV".
"Quality programming like 'Date My Mom' continues to set us apart from other channels," the representative proudly claims.
"Our name change in no way compromises this individuality."
---
Actually from my own website www.bigstarnews.com, I thought it was a happy coincidence.
Ben
I just wanted to include this news article:
MTV To Change Name
At a meeting last month for the heads of the company, MTV have decided to alter the brandname of their internationally successful television channel.
"It's the final step in a process that's been underway for some time," admits a representative. "We have come to the realisation that we do not, in fact, screen much music content at all anymore."
Because of this, the company has decided to change their name from "MTV" (Music Television) to, quite simply, "TV".
"Quality programming like 'Date My Mom' continues to set us apart from other channels," the representative proudly claims.
"Our name change in no way compromises this individuality."
---
Actually from my own website www.bigstarnews.com, I thought it was a happy coincidence.
Ben
Andy Warhol- The undefinable man
Andy Warhol the worlds fascination with the man who helped define a decade
but yet we find it hard to define the man. Who was he? A painter, a celebrity, a commercial illustrator, writer, avant-garde filmmaker, an artist. His origin of birth Pittsburgh, but the birth of Andy, began in the sixties with the famous painting of a soup can, Campbell’s Soup Can, which was the beginning of his “15 minutes of Fame”, and the start of many paintings immortalizing famous American products. “The Factory” an underground studio, embroiled in controversy, rebellion and revolution; musicians, artists and celebrities alike sort refugee, sanctuary within the Studio walls, where Pop Culture flourished, as Warhol’s work revolved around the very essence of Pop Culture, it is what fed him metaphorically speaking. Andy used the ‘The Factory’ literally as a factory where he thought of himself as a machine his desire to make art of mass-produced items but to mass produces the art itself (Murray, 2006). The ideal of production work and limitation of creative thought was the objective; this seems reminiscent of Fordism.
What's great about this country is that America started the tradition where the richest consumers buy essentially the same things as the poorest. You can be watching TV and see Coca-Cola, and you know that the President drinks Coke, Liz Taylor drinks Coke, and just think, you can drink Coke, too. A Coke is a Coke and no amount of money can get you a better Coke than the one the bum on the corner is drinking. All the Cokes are the same and all the Cokes are good. Liz Taylor knows it, the President knows it, the bum knows it, and you know it.
– The Philosophy of Andy Warhol: (From A to B and Back Again), 1975, ISBN 0-15-671720-4
This quote seems to sum up Andy’s feelings towards popular culture and the ambiguous nature of his perspective and the person he is. Andy Warhol seem to be all about art and be able to relate art to life in all its facets "Making money is art, and working is art and good business is the best art."(Wikipedia, 2007).
Andy used art as a means of defining him, he explained his work expressed and meant nothing and that "If you want to know all about Andy Warhol," he said, "just look at the surface of my paintings and films and me, and there I am. There's nothing behind it." (Murray, 2006). A man that seemed so unaffected and emotionless, is a way to define him, but doing that would be what he would want to be defined as defining him would define him through his art, but he was much more than that, as I think there is much more
to him than just the surface and what lies behind it.
but yet we find it hard to define the man. Who was he? A painter, a celebrity, a commercial illustrator, writer, avant-garde filmmaker, an artist. His origin of birth Pittsburgh, but the birth of Andy, began in the sixties with the famous painting of a soup can, Campbell’s Soup Can, which was the beginning of his “15 minutes of Fame”, and the start of many paintings immortalizing famous American products. “The Factory” an underground studio, embroiled in controversy, rebellion and revolution; musicians, artists and celebrities alike sort refugee, sanctuary within the Studio walls, where Pop Culture flourished, as Warhol’s work revolved around the very essence of Pop Culture, it is what fed him metaphorically speaking. Andy used the ‘The Factory’ literally as a factory where he thought of himself as a machine his desire to make art of mass-produced items but to mass produces the art itself (Murray, 2006). The ideal of production work and limitation of creative thought was the objective; this seems reminiscent of Fordism.
What's great about this country is that America started the tradition where the richest consumers buy essentially the same things as the poorest. You can be watching TV and see Coca-Cola, and you know that the President drinks Coke, Liz Taylor drinks Coke, and just think, you can drink Coke, too. A Coke is a Coke and no amount of money can get you a better Coke than the one the bum on the corner is drinking. All the Cokes are the same and all the Cokes are good. Liz Taylor knows it, the President knows it, the bum knows it, and you know it.
– The Philosophy of Andy Warhol: (From A to B and Back Again), 1975, ISBN 0-15-671720-4
This quote seems to sum up Andy’s feelings towards popular culture and the ambiguous nature of his perspective and the person he is. Andy Warhol seem to be all about art and be able to relate art to life in all its facets "Making money is art, and working is art and good business is the best art."(Wikipedia, 2007).
Andy used art as a means of defining him, he explained his work expressed and meant nothing and that "If you want to know all about Andy Warhol," he said, "just look at the surface of my paintings and films and me, and there I am. There's nothing behind it." (Murray, 2006). A man that seemed so unaffected and emotionless, is a way to define him, but doing that would be what he would want to be defined as defining him would define him through his art, but he was much more than that, as I think there is much more
to him than just the surface and what lies behind it.
Sunday, March 25, 2007
music&visuals in music videos
Referring to “Image Supremacy” about image dominance in film based media. In terms of music videos I believe image can be secondary, although I guess it can depend on whether one was introduced first to the song, or the music video. It is known that the images to music videos are rarely a visual narration to its song. So I believe that we do at times question ‘how an image fits into the structure of a narrative’, where in this case the song is the narrative. Most often songs don’t have storylines that can have a direct visual narration, but I believe that we still often try and interpret music videos via the words of the song.
However in some other music videos where there are references to existing media such as film or TV series where the visuals and song have no connection whatsoever except for synergy. For example ‘Lights surrounding you’ by Evermore, the visual narrative is the life story of a Home&Away character, and the song is about a relationship. Here in one way I think the visuals can be powerful when watching the music video because the images don’t relate to the words at all. “Image Supremacy” states how image forms the basis of understanding and here I see the visuals as creating a narrative of their own because the music video uses a montage of images to tell the story of Sally the H&A character, but not an understanding of the song itself. I think the music still drives the music video because the music has an engulfing presence where the visuals don’t because there is no dialogue or sound effects for the visuals so it is the music and lyrics that are primary and controls the way we try and understand the visuals in terms of its relation with the song.
However in some other music videos where there are references to existing media such as film or TV series where the visuals and song have no connection whatsoever except for synergy. For example ‘Lights surrounding you’ by Evermore, the visual narrative is the life story of a Home&Away character, and the song is about a relationship. Here in one way I think the visuals can be powerful when watching the music video because the images don’t relate to the words at all. “Image Supremacy” states how image forms the basis of understanding and here I see the visuals as creating a narrative of their own because the music video uses a montage of images to tell the story of Sally the H&A character, but not an understanding of the song itself. I think the music still drives the music video because the music has an engulfing presence where the visuals don’t because there is no dialogue or sound effects for the visuals so it is the music and lyrics that are primary and controls the way we try and understand the visuals in terms of its relation with the song.
Music in horror films
Hi everyone, I just saw a Japanese horror film called “Chakushin ari” or “one missed call” yesterday. The film is all about cell phone. People mysteriously start receiving a strange message from the future with a terrific ringtone. Anyone who gets this message would die in several days mystically. Therefore, all the characters consider that ringtone as the premonition of death. After watching, I kind of had some new thoughts of movie soundtrack. Compare with other genres, music usually plays a more significant role in the horror movies. Take this film as an example, although there are a few horrible scenes when the evil spirit comes out, the most impressive element still is the ringtone. Even several hours after you watch the film, you cannot get that weird tone out of your mind. I guess this is what director want. In horror movies, some suitable music and sound effects are necessary. They may create the ambience and evoke audiences’ emotion. Apart from the strong visual impact, a good horror film would take its impressive soundtrack as its secondary weapon to achieve the goal of scariness.
By the way, I downloaded that ringtone to my cellphone as an incoming tone. But my roommate finally get annoyed. : ) I have to change it now. Anyway, I still think it is a really good tone. Anyone who is interested in the film or the ringtone can check it out. Click here
Jxu063
By the way, I downloaded that ringtone to my cellphone as an incoming tone. But my roommate finally get annoyed. : ) I have to change it now. Anyway, I still think it is a really good tone. Anyone who is interested in the film or the ringtone can check it out. Click here
Jxu063
Film Music Goes Live
There’s been a lot of discussion lately that questions the position that sound occupies (or, perhaps more appropriately, is relegated to) in film. Darren is indeed correct when he says that, even when it remains in the background, a film score can be very effective. But something interesting happens when that score is remediated, brought out from behind the screen, and performed by live musicians – as I discovered on two occasions last week, first of all when I attended a performance/screening of A Throw of Dice (Franz Osten, 1929) at the Civic last week.
The interesting thing about this film is that it has been re-scored by Nitin Sawhney, and so has already been remediated before it reaches an audience. I think that this in itself is an attempt to make the silent film’s score play a more significant part in the viewing experience – its modern yet ethnic twist has more relevance to a contemporary audience. Having it performed by a live orchestra gives the music even more prominence – as well being able to see it being performed, you can’t beat the acoustics of a concert hall. The music envelops you in a 3-dimensional way that draws you even further into the world of the film, enhancing the overall experience.
Still on the AK07 trail, I also went to a performance by The Spaghetti Western Orchestra. Contrary to what their name suggests, this group is neither an orchestra, nor a wayward group of American bandits. The 5-piece band is a tribute to the music of the spaghetti westerns, and is an example of how film music can come to have meaning in its own right. I think they’re also an extension of the ‘nostalgia culture’ that Pauline Reay mentions in her article. Delightful Foley compositions were interspersed among their interpretations of signature pieces from films including Once Upon a Time in the West and the Dollars trilogy. One performer strutted across the stage with his microphone in a box of cornflakes to simulate gravel, while another clinked metal rods together to evoke the sound of a railway being built. So as well as being nostalgic, the orchestra brought some transparency to the sound design process of western films.
If my experience at these performances is anything to go by, I think they are the kind of things that will help people develop a greater appreciation for film music, and perhaps help it to become more significant and less invisible.
The interesting thing about this film is that it has been re-scored by Nitin Sawhney, and so has already been remediated before it reaches an audience. I think that this in itself is an attempt to make the silent film’s score play a more significant part in the viewing experience – its modern yet ethnic twist has more relevance to a contemporary audience. Having it performed by a live orchestra gives the music even more prominence – as well being able to see it being performed, you can’t beat the acoustics of a concert hall. The music envelops you in a 3-dimensional way that draws you even further into the world of the film, enhancing the overall experience.
Still on the AK07 trail, I also went to a performance by The Spaghetti Western Orchestra. Contrary to what their name suggests, this group is neither an orchestra, nor a wayward group of American bandits. The 5-piece band is a tribute to the music of the spaghetti westerns, and is an example of how film music can come to have meaning in its own right. I think they’re also an extension of the ‘nostalgia culture’ that Pauline Reay mentions in her article. Delightful Foley compositions were interspersed among their interpretations of signature pieces from films including Once Upon a Time in the West and the Dollars trilogy. One performer strutted across the stage with his microphone in a box of cornflakes to simulate gravel, while another clinked metal rods together to evoke the sound of a railway being built. So as well as being nostalgic, the orchestra brought some transparency to the sound design process of western films.
If my experience at these performances is anything to go by, I think they are the kind of things that will help people develop a greater appreciation for film music, and perhaps help it to become more significant and less invisible.
Timbaland: Producer or Reproducer?
Timbaland re-tunes artists with the popular sound of the day. His influence helps artists who are struggling to keep cool with their tired song styles. Although, manufacturing a pop star is old news to the music industry, its even a public phenomenon. American Idol has is entering its sixth season. Except, American Idol forms new stars from the roots up. Timbaland uses existing high profile stars that are still within the public eye but need to move along faster to keep with the times. Highly mediated artists like Nelly Furtado and Justin Timberlake are such artists. They boast numerous number one hits but need to move beyond 'I'm like a Bird' and 'Bye Bye Bye'. Nelly Furtado's second album crashed. The folky Pourtegese world-music sound of 'Folklore' just wasn't cool enough. Timberlake never really lost fame but entered risky territory as he adopted a hip hop flavour. His reputation with N Sync might have lost him credibility as a rapper. But beyond Timbaland's studio, Furtado's new album Loose was a smash as with Timberlake whose new hip hop inspired album was accepted and praised. Timbaland rekindled their fame. His work with the famous proves that he isn't a producer who markets the unknown, rather he reproduces and remediates. He is a reproducer not a producer.
A night at the movies (without the movies)
So this is kind of relevent to those who appreciate classical film scores.
The Auckland Philharmonia is presenting a concert on the 2nd of June called a night at the movies featuring well know movie scores presented in such a way as so that one can appreciate the music without those pesky images getting in the way.
This is a really good opportunity for everyone to see how orchestras work to create for the ear what images create for the eye.
programme includes:
Herrmann's North by Northwest Overture, Vertigo Prelude and Psycho Suite,
Various music from James Bond films
Schifrin's Mission Impossible
Rota's La Strada Suite
Williams' Harry Potter theme and music from the Star Wars trilogies.
As well as music from Gladiator and Spiderman.
It should be a great night.
Tickets from tiketek.
Andrew
The Auckland Philharmonia is presenting a concert on the 2nd of June called a night at the movies featuring well know movie scores presented in such a way as so that one can appreciate the music without those pesky images getting in the way.
This is a really good opportunity for everyone to see how orchestras work to create for the ear what images create for the eye.
programme includes:
Herrmann's North by Northwest Overture, Vertigo Prelude and Psycho Suite,
Various music from James Bond films
Schifrin's Mission Impossible
Rota's La Strada Suite
Williams' Harry Potter theme and music from the Star Wars trilogies.
As well as music from Gladiator and Spiderman.
It should be a great night.
Tickets from tiketek.
Andrew
Image Supremacy
In Wednesday's lecture when we watched the clip from American Graffiti, Nabeel was talking about how music had been worked into the film's diegesis and the short clip was talking about the concept of the world of music that was used to try and evoke the era etc. What struck me as interesting about these comments and past commentary I have read that mentioned the use of diegetic and non-diegetic sound and music was how this showed the supremacy of the image in the world of film-based media.
Perhaps this only shows a bias within critical circles, however what I mean by this is that we never (or perhaps I have not come across it yet) refer to an image is being strictly diegetic or non-diegetic, and how it fits into the narrative, but only really for music and sound. It seems the way our visual culture and language in terms of story-telling is based primarily around the image in this sense - what we see is a basepoint from which what we hear can add to or alter this. We very rarely question how an image fits into the structure of a narrative because the image that we see forms the structure of the narrative, the basis of understanding, from which sound is a secondary functionary. The only common occurence that I can think of that strays from this image-based dominance is in the use of a montage (cue Team America music), where the music more consistently carries the story while the image changes.
Can images non-diegetic, or is it a symptom of our current visual language that prevents this from really being the case? At least this is true for mainstream filmmaking, perhaps avantgarde cinema more readily embraces the idea of letting music take a more dominant role than the image. Also this is a bit like the Tarantino idea of wrapping a narrative around a selection of songs or music and basing image upon this, although this occurs prior to the making of the film and does not in a storytelling sense allow the music to strictly dominate the narrative.
I was wondering if there are many ways in which image can be non-diegetic, allowing sound to primarily hold the narrative. Is it possible for an image to be diegetic?
Perhaps this only shows a bias within critical circles, however what I mean by this is that we never (or perhaps I have not come across it yet) refer to an image is being strictly diegetic or non-diegetic, and how it fits into the narrative, but only really for music and sound. It seems the way our visual culture and language in terms of story-telling is based primarily around the image in this sense - what we see is a basepoint from which what we hear can add to or alter this. We very rarely question how an image fits into the structure of a narrative because the image that we see forms the structure of the narrative, the basis of understanding, from which sound is a secondary functionary. The only common occurence that I can think of that strays from this image-based dominance is in the use of a montage (cue Team America music), where the music more consistently carries the story while the image changes.
Can images non-diegetic, or is it a symptom of our current visual language that prevents this from really being the case? At least this is true for mainstream filmmaking, perhaps avantgarde cinema more readily embraces the idea of letting music take a more dominant role than the image. Also this is a bit like the Tarantino idea of wrapping a narrative around a selection of songs or music and basing image upon this, although this occurs prior to the making of the film and does not in a storytelling sense allow the music to strictly dominate the narrative.
I was wondering if there are many ways in which image can be non-diegetic, allowing sound to primarily hold the narrative. Is it possible for an image to be diegetic?
Music and Directors
German director Wim Wenders once stated that music for film is one of the most important elements in the film making process, and he said that he devotes at least 50% of his efforts on getting the right music to go with the visuals. He's one of a few directors who uses music directly to inspire narrative and cinematography either before shooting begins or during the shoot, whereas many directors find the music in post-production or leave it to a composer to score. Many of the directors like Wenders have a real passion and understanding for music, and the power of the medium in relation to combining it with images. Whenever a Wender's film is going to be released, you just know that you'll get a great compilation of music on the soundtrack, like for example "Until the End of the World", "Wings of Desire", and "Faraway, So Close" where you'll find artists such as Tom Waits, Lou Reed, Nick Cave and the Bad Seeds, U2, David Byrne and many more great musicians. The success of his marriage of music and image comes from the way he uses the music to create mood and atmosphere, yet also convey the emotions of his characters in relation to their surroundings, usually in a stark and quite often foreign landscape. This might have to do with him being a German director who mostly works in America and other parts of the world.
I guess the main point here is that directors like Wim Wenders, David Lynch, and Jim Jarmusch in particular use and choose their music so carefully, making sure that the music or sounds used are appropriate to the visual. In a Lynch film, you'll find a wide variety of music used from different genres and time periods that are juxtaposed together to reflect the characters feelings or convey parts of their character in a setting. It's a highly intuitive process for Lynch, but he'll spend a lot of time making sure he gets it just right.
Having a love for all the elements of film making, and taking a holistic approach to the process really pays off. The films are not only an aural and visual feast, but the resulting soundtracks are infinitely more interesting and coherent than most of the disjointed compilation soundtracks on the market.
I guess the main point here is that directors like Wim Wenders, David Lynch, and Jim Jarmusch in particular use and choose their music so carefully, making sure that the music or sounds used are appropriate to the visual. In a Lynch film, you'll find a wide variety of music used from different genres and time periods that are juxtaposed together to reflect the characters feelings or convey parts of their character in a setting. It's a highly intuitive process for Lynch, but he'll spend a lot of time making sure he gets it just right.
Having a love for all the elements of film making, and taking a holistic approach to the process really pays off. The films are not only an aural and visual feast, but the resulting soundtracks are infinitely more interesting and coherent than most of the disjointed compilation soundtracks on the market.
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