Thursday, May 3, 2007
providing for the visual pleasure
Although mp3 files themselves are intangible and therefore appear distanced from the vinyl, cassette or CD fetishism, the argument is that technologies for playing mp3s are instead the devices for offering the object for pleasure for collectors. However, I think that increasingly MP3 players are attempting to allow for the tangible product, especially with the newest generation of video iPods with which you can download album cover art so that songs can be once again more visibly arranged into albums rather than individual mp3 song files. Obviously mp3s still remain intangible and their fandom culture is arguable different from that of vinyl or CDs, but I think companies like Apple with their iPod are recognising that consumers value the visual aspect of music culture as well as the aural and they need to provide for this in order to draw as many groups of consumers as possible.
Digitalisation of media content.
The era of digitilisation in media forms has sky rocketed in the 21st century. Digitalisation of media forms basically means turning what was physically distributed and converting it into a codified and or virtual form in order for people to access and consume using electronic technologies. In the case of this weeks lecture about Vinyl records and fetishism there seems to be this notion of non digitalised forms as some what of an antique, something special to hold onto, a physical object that is cherished.
But i would like to argue that digital forms of media can be cherished. And mystified as a collection of goods and memories. People in this era now have hard drives full of digitalised material from raw copy's and it is equally important to them. Such as collections of DVD movies collected onto hard drive space or digital camera photos of various memories and overtime they become an album of lived life. This ease of space and use is attractive and essential when we face a digital age, being able to compact a physical object into a digital dimension is something that has been of top priority for music / movie / print lovers.
The amount of music that people can store on a device can be fitted into your pocket, literally thousands of songs and images, now imagine having all of the albums, singles and pictures in front of you, it will take physical space and work to compact that into folders or literally store them in a space. This is attractive to users and in a way is fetishized and cherished having a whole music collection in one single device or hard drive is extremely innovative and is easy and has minimal effort. It can be argued that the digitalisation of media forms has taken away our likely hood of collecting and cherishing, having this fetishism and expertise that collecting vinyl, Britannica books or stamp collecting has. It is now almost seen as nostalgic and laughable to the eyes of the modern being. Physical objects must be rendered into digital forms simply because it is so easy to access.
People can now download full albums in mp3 format rather than purchasing it from the local music store. That element of physical presence has been forgotten and removed. We do not grasp the Compact disk and see the cover. We click on the download link wait for thirty minutes and have a full album within our hard drives. If you compared your average music buyer to your digital savvy downloader what will happen?...
Rodney jumps in his car to drive into the city, go to queen street and buy the latest pendulum album. Rodney must put petrol in the car, pay for parking and walk to the store and pay an excess of $30-40 on this new album. He would also have to navigate through thousands of Cd's to find this album in many different sections. A mission for those who are not good at finding music. CD in hand he realises he only has 3 minutes left on his paid parking (being Auckland, parking sucks!). He quickly pays for it, runs out to the car and has been ticketed for $40 for going over the time limit, he was 10seconds overtime. Meanwhile, Rodney has his new CD. And is happy. Regardless of paying all that extra money and time to get there.
Meanwhile, Sarah is on her laptop in the living room, lying down on the couch watching C4 music channel. She sees the advert for the new pendulum album. She simply goes onto her file share program / share network. Types in the album name. Double clicks on the album and within thirty minutes she is listening to the album, still on the couch as the pendulum advert on C4 is played for the second time of the night. She grins, smiles and says to herself, hahahaha, i have the album now as well.
So, my two scenario's pick out the practicality of the digital age. With ease comes popularity, with popularity comes a revolution. It can be argued that digitalisation of media content has become the norm, is easier and more accessible. People simply choose to use these techniques because it is so easy... As guilty as it may sound it has had an impact on the sales of music. And perhaps Napster started this new wave of downloading music. One must realise the nature of downloading music and media forms can never be stopped it will always exist in the digital world. People simply do not see the importance or care for physical forms anymore. Vinyl is perhaps seen as a niche and Hobie type interest, not globally popular like the 1950's era. It would be interesting to see what the music industry will do to target the digital era and the forever future that will happen. It is slowly but surely choking the album sales / physical sale of items to death. And this is at such a rapid rate, at such a huge level. Hard drives are full of material that has been accessed for free rather than in store.
Perhaps the music industry will target this by creating there stores online and demolishing CD stores in order to compete with file share networks, and bombard a mediated response of marketing. Trying to make online music buying as "the new age" the "cool" thing to do. Although this may sound crazy to my readers, but i assure you, this will happen. And even more strangely is that CD stores will start to have this ideology of being items of artifacts. Cd stores will be like those tiny record stores where people buy vinyl. Cd stores will become of age, a niche, underground type of fetishism. Give it time, slowly but surely mp3 will become a new shop title where people can go in with there ipods and pay for tracks to be downloaded behind a large network of music.
You will walk in there and think, hell!, where are all the plastic covers.... As you turn around a see a massive server network of hard drives full of music. And people lining up paying $20 for an album to be put onto there digital devices. As CD lovers and vinyl collectors are pushed off to the side in small niche stores.
You may not believe the digital age to change the market to this extent. But i assure you, it will happen. And when it does, you can come to Matt Wong and say how smart i am.
Wednesday, May 2, 2007
ifood for thought...
One of the main ideas Nabeel put forward to do with record collecting, was the notion of the “visual & tactile sensation of artefacts”, and the aesthetic beauty of the record/vinyl. Vinyl record companies put lot of energy & resources into designing the package of a particular record. On the record itself, there was only small area at the centre of the vinyl where the song’s title, the artist’s name, and the record company’s logo could be placed. However, it is interesting to see how advertising has changed and adapted to the music players, through the different stages of their technological evolution.
For instance, after the record, the cassette came out. The cassette was smaller than the vinyl, & but had slightly more area on physical cassette itself, for labelling to be placed. This was followed by the CD which, thanks to technological advancements in the printing industry, allowed an entire face – a single plain surface, much larger than on vinyl cassette- to be slapped with a colourful, iconic sticker. Furthermore, I don’t think much thought was given into the design of the items themselves, I mean if produced a tape that was shaped like eagle- it wouldn’t work in most tape decks; or produced a CD that was remotely thicker, then the appropriate devices would be unable to play them. So companies were very limited as to how they were able of making their cd’s, vinyls, tapes themselves (ignoring their packaging) unique to their potential buyers, and up until this stage, colourful sticker/inks would have had to have sufficed.
However, up until now, one had something to look at to, to hold; something that physically represented what we spent our money on. Mp3’s on the other hand, don’t provide one with such a pleasure, as an mp3 itself is not a tangible item. Perhaps this is why a 2/3’s of internet users don’t feel guilty downloading music through bittorrents, etc. To quote that ad “you wouldn’t go into a store & steel a CD” as is ethically wrong & would require a lack of commonsensically not worth it. I propose that it is the mp3’s absence of mass/lack of object that eludes one into feeling guilty when downloading. Furthermore, mp3player manufacturing companies (or mp3player manufacturing sectors of companies) profit through downloads, as downloaders need the players to hear the music when they are on the run. Also, these companies profit from the demand for visually pleasing products (as with the aesthetical beauty of vinyl a record) by supplying mp3 players that are fashionable/cool. In Apple’s case, every generation of iPod, has subtly evolved (eg: the removal of unnecessary buttons present on the first & second generations). Through their aesthetic appeal, & brilliant marketing campaigns, Apple has seen their mp3 player ranges become mp3 player trend setters when it comes to mp3. They were designed to look good & work efficiently; for visual appeal & practicality. iPods are status symbols- signifers of cool-ness. When they’re switched on, one can view everything from the song’s lyrics to its album artwork- everything. BUT, what happens when the battery dies? Well, one would not be able to take the music out & play it in a friend’s iPod, nor would one be able to insert new batteries- as the effort required to do so makes it simply not worth it.
Mp3 players have become the physical representation of mp3’s, and because the latter do not have a physical shape/existence of their own, that we have seen companies such a Apple produce mp3 players that look good, fulfil the demand for aesthetically cool artefacts.
PS: for those who don’t know how a vinyl is made, follow this link: So to relate this back to the discussion of
For instance, after the record, the cassette came out. The cassette was smaller than the vinyl, & but had slightly more area on physical cassette itself, for labelling to be placed. This was followed by the CD which, thanks to technological advancements in the printing industry, allowed an entire face – a single plain surface, much larger than on vinyl cassette- to be slapped with a colourful, iconic sticker. Furthermore, I don’t think much thought was given into the design of the items themselves, I mean if produced a tape that was shaped like eagle- it wouldn’t work in most tape decks; or produced a CD that was remotely thicker, then the appropriate devices would be unable to play them. So companies were very limited as to how they were able of making their cd’s, vinyls, tapes themselves (ignoring their packaging) unique to their potential buyers, and up until this stage, colourful sticker/inks would have had to have sufficed.
However, up until now, one had something to look at to, to hold; something that physically represented what we spent our money on. Mp3’s on the other hand, don’t provide one with such a pleasure, as an mp3 itself is not a tangible item. Perhaps this is why a 2/3’s of internet users don’t feel guilty downloading music through bittorrents, etc. To quote that ad “you wouldn’t go into a store & steel a CD” as is ethically wrong & would require a lack of commonsensically not worth it. I propose that it is the mp3’s absence of mass/lack of object that eludes one into feeling guilty when downloading. Furthermore, mp3player manufacturing companies (or mp3player manufacturing sectors of companies) profit through downloads, as downloaders need the players to hear the music when they are on the run. Also, these companies profit from the demand for visually pleasing products (as with the aesthetical beauty of vinyl a record) by supplying mp3 players that are fashionable/cool. In Apple’s case, every generation of iPod, has subtly evolved (eg: the removal of unnecessary buttons present on the first & second generations). Through their aesthetic appeal, & brilliant marketing campaigns, Apple has seen their mp3 player ranges become mp3 player trend setters when it comes to mp3. They were designed to look good & work efficiently; for visual appeal & practicality. iPods are status symbols- signifers of cool-ness. When they’re switched on, one can view everything from the song’s lyrics to its album artwork- everything. BUT, what happens when the battery dies? Well, one would not be able to take the music out & play it in a friend’s iPod, nor would one be able to insert new batteries- as the effort required to do so makes it simply not worth it.
Mp3 players have become the physical representation of mp3’s, and because the latter do not have a physical shape/existence of their own, that we have seen companies such a Apple produce mp3 players that look good, fulfil the demand for aesthetically cool artefacts.
PS: for those who don’t know how a vinyl is made, follow this link: So to relate this back to the discussion of
ifood for thought...
One of the main ideas Nabeel put forward to do with record collecting, was the notion of the “visual & tactile sensation of artefacts”, and the aesthetic beauty of the record/vinyl. Vinyl record companies put lot of energy & resources into designing the package of a particular record. On the record itself, there was only small area at the centre of the vinyl where the song’s title, the artist’s name, and the record company’s logo could be placed. However, it is interesting to see how advertising has changed and adapted to the music players, through the different stages of their technological evolution.
For instance, after the record, the cassette came out. The cassette was smaller than the vinyl, & but had slightly more area on physical cassette itself, for labelling to be placed. This was followed by the CD which, thanks to technological advancements in the printing industry, allowed an entire face – a single plain surface, much larger than on vinyl cassette- to be slapped with a colourful, iconic sticker. Furthermore, I don’t think much thought was given into the design of the items themselves, I mean if produced a tape that was shaped like eagle- it wouldn’t work in most tape decks; or produced a CD that was remotely thicker, then the appropriate devices would be unable to play them. So companies were very limited as to how they were able of making their cd’s, vinyls, tapes themselves (ignoring their packaging) unique to their potential buyers, and up until this stage, colourful sticker/inks would have had to have sufficed.
However, up until now, one had something to look at to, to hold; something that physically represented what we spent our money on. Mp3’s on the other hand, don’t provide one with such a pleasure, as an mp3 itself is not a tangible item. Perhaps this is why a 2/3’s of internet users don’t feel guilty downloading music through bittorrents, etc. To quote that ad “you wouldn’t go into a store & steel a CD” as is ethically wrong & would require a lack of commonsensically not worth it. I propose that it is the mp3’s absence of mass/lack of object that eludes one into feeling guilty when downloading. Furthermore, mp3player manufacturing companies (or mp3player manufacturing sectors of companies) profit through downloads, as downloaders need the players to hear the music when they are on the run. Also, these companies profit from the demand for visually pleasing products (as with the aesthetical beauty of vinyl a record) by supplying mp3 players that are fashionable/cool. In Apple’s case, every generation of iPod, has subtly evolved (eg: the removal of unnecessary buttons present on the first & second generations). Through their aesthetic appeal, & brilliant marketing campaigns, Apple has seen their mp3 player ranges become mp3 player trend setters when it comes to mp3. They were designed to look good & work efficiently; for visual appeal & practicality. iPods are status symbols- signifers of cool-ness. When they’re switched on, one can view everything from the song’s lyrics to its album artwork- everything. BUT, what happens when the battery dies? Well, one would not be able to take the music out & play it in a friend’s iPod, nor would one be able to insert new batteries- as the effort required to do so makes it simply not worth it.
Mp3 players have become the physical representation of mp3’s, and because the latter do not have a physical shape/existence of their own, that we have seen companies such a Apple produce mp3 players that look good, fulfil the demand for aesthetically cool artefacts.
PS: for those who don’t know how a vinyl is made, follow this link: So to relate this back to the discussion of
For instance, after the record, the cassette came out. The cassette was smaller than the vinyl, & but had slightly more area on physical cassette itself, for labelling to be placed. This was followed by the CD which, thanks to technological advancements in the printing industry, allowed an entire face – a single plain surface, much larger than on vinyl cassette- to be slapped with a colourful, iconic sticker. Furthermore, I don’t think much thought was given into the design of the items themselves, I mean if produced a tape that was shaped like eagle- it wouldn’t work in most tape decks; or produced a CD that was remotely thicker, then the appropriate devices would be unable to play them. So companies were very limited as to how they were able of making their cd’s, vinyls, tapes themselves (ignoring their packaging) unique to their potential buyers, and up until this stage, colourful sticker/inks would have had to have sufficed.
However, up until now, one had something to look at to, to hold; something that physically represented what we spent our money on. Mp3’s on the other hand, don’t provide one with such a pleasure, as an mp3 itself is not a tangible item. Perhaps this is why a 2/3’s of internet users don’t feel guilty downloading music through bittorrents, etc. To quote that ad “you wouldn’t go into a store & steel a CD” as is ethically wrong & would require a lack of commonsensically not worth it. I propose that it is the mp3’s absence of mass/lack of object that eludes one into feeling guilty when downloading. Furthermore, mp3player manufacturing companies (or mp3player manufacturing sectors of companies) profit through downloads, as downloaders need the players to hear the music when they are on the run. Also, these companies profit from the demand for visually pleasing products (as with the aesthetical beauty of vinyl a record) by supplying mp3 players that are fashionable/cool. In Apple’s case, every generation of iPod, has subtly evolved (eg: the removal of unnecessary buttons present on the first & second generations). Through their aesthetic appeal, & brilliant marketing campaigns, Apple has seen their mp3 player ranges become mp3 player trend setters when it comes to mp3. They were designed to look good & work efficiently; for visual appeal & practicality. iPods are status symbols- signifers of cool-ness. When they’re switched on, one can view everything from the song’s lyrics to its album artwork- everything. BUT, what happens when the battery dies? Well, one would not be able to take the music out & play it in a friend’s iPod, nor would one be able to insert new batteries- as the effort required to do so makes it simply not worth it.
Mp3 players have become the physical representation of mp3’s, and because the latter do not have a physical shape/existence of their own, that we have seen companies such a Apple produce mp3 players that look good, fulfil the demand for aesthetically cool artefacts.
PS: for those who don’t know how a vinyl is made, follow this link: So to relate this back to the discussion of
A Hard Day's reflection
Since I used the Beatles' A Hard Day's Night for part of my Essay I managed to pick up a little more insight into the film and I want to express some of my views on the film here (warning this may make the Beatles look bad but I swear that is not my intent)
This Film is a brilliant film and I throughly enjoyed it, often doing a jig in my seat as I watched it in the AV library but I have to talk about the scene where George mocks the fashion trend setters. I must of been the only one who saw this and sort of laughed at the double meaning. George is making a mockery of people trying to manufacture trends in the world and yet the Beatles themselves had a huge crew to do the same thing for them. the film itself seemed to be a trendy way to promote the album to go with it. The Beatles did originally set themselves as the 'Fab 4' back in Liverpool and I am sure they were the ones that ultimately agreed to everything but once they became as famous as they did they required similar people to work for them, like setting up dates for their tours and photo ops.
When I saw this scene I was thinking that even though the Beatles were the top of fashion but he sits there and mocks 'nobodies' setting up next season's looks and he sends them to the cleaners surely they should of thought of the people thew Beatles had hired to make sure that they were still the top band next season doing the same sort of thing
what I am trying to say is that the Beatles may tried to mock manufactured fashion and 'Cool' as people tried to predict fashion world and was saying the Beatles didn't need that in the film but in reality they did to plan how to market the band and keep them at the top
anyways that is all I have to say that
cheers
Simon L
This Film is a brilliant film and I throughly enjoyed it, often doing a jig in my seat as I watched it in the AV library but I have to talk about the scene where George mocks the fashion trend setters. I must of been the only one who saw this and sort of laughed at the double meaning. George is making a mockery of people trying to manufacture trends in the world and yet the Beatles themselves had a huge crew to do the same thing for them. the film itself seemed to be a trendy way to promote the album to go with it. The Beatles did originally set themselves as the 'Fab 4' back in Liverpool and I am sure they were the ones that ultimately agreed to everything but once they became as famous as they did they required similar people to work for them, like setting up dates for their tours and photo ops.
When I saw this scene I was thinking that even though the Beatles were the top of fashion but he sits there and mocks 'nobodies' setting up next season's looks and he sends them to the cleaners surely they should of thought of the people thew Beatles had hired to make sure that they were still the top band next season doing the same sort of thing
what I am trying to say is that the Beatles may tried to mock manufactured fashion and 'Cool' as people tried to predict fashion world and was saying the Beatles didn't need that in the film but in reality they did to plan how to market the band and keep them at the top
anyways that is all I have to say that
cheers
Simon L
going back on the old, with some of the new
I want to talk about something that was discussed along time ago and that was the MTV music Video topic, obviously I had a while to think on the matter so I was reviewing the music video shown in class "I want my MTV" I believe it was.
I say this is a bitter sweet pill to swallow for the reviewing if you are to say it is a celebration of the MTV culture. A point missed int he class at the time tho I am sure it has been risen since is that this is the first piece of Computer Generated Imaged animated film in the Western World for the purpose of the technology advancement of music videos. The way we are shown the song is the observers of music videos with the two guys watching and the dog being the outsiders watching in on the TV screens seeing the future looking on us as the computer is symbol of the future back in the 80's so seeing people looking back of how great MTV is by having this computer world reflexing back just that it is the form of current people, but hey by judging the time of the video they looked pretty cool
but people looking from the outside is how the song came about. Dire Straits were in a bar once and a group of repair men noticed Sting and the Police were on TV and a guy yelled out "look at that ****** singing..." so Dire Straits took that conversation and formed the song, this could be a critique of how the performers on the channel are viewed by the public
overall the video can be seen in the two ways, celebration as the future looks back at us and then current people looking at it today can be seen as a bad thing
well that is all I have to say on it
cheers for reading
Simon L
I say this is a bitter sweet pill to swallow for the reviewing if you are to say it is a celebration of the MTV culture. A point missed int he class at the time tho I am sure it has been risen since is that this is the first piece of Computer Generated Imaged animated film in the Western World for the purpose of the technology advancement of music videos. The way we are shown the song is the observers of music videos with the two guys watching and the dog being the outsiders watching in on the TV screens seeing the future looking on us as the computer is symbol of the future back in the 80's so seeing people looking back of how great MTV is by having this computer world reflexing back just that it is the form of current people, but hey by judging the time of the video they looked pretty cool
but people looking from the outside is how the song came about. Dire Straits were in a bar once and a group of repair men noticed Sting and the Police were on TV and a guy yelled out "look at that ****** singing..." so Dire Straits took that conversation and formed the song, this could be a critique of how the performers on the channel are viewed by the public
overall the video can be seen in the two ways, celebration as the future looks back at us and then current people looking at it today can be seen as a bad thing
well that is all I have to say on it
cheers for reading
Simon L
Faceless figures coming out of the walls.
Righty. Where to begin.
Hello everybody. I'll cover this in the lecture as well, but this is the last week where you can still be eligible for maximum marks for the blog by posting 1 post per week, even if you have done nothing until now.
You need to do at least five posts or good-sized replies in five different weeks. After this week, there are only four weeks left. Hence, if you post one a week from this week inclusive, you will do five in five different weeks. Simple.
Also, as the end of the semester approaches, the ranks of the people who aren't on the original class list for the paper swells.
If you are one of these people, please reply or send me an email with your full name and student ID number, otherwise I won't be able to figure out who deserves your grade.
This is not a good thing.
Sarah G
M Liu
Elaine L
Karishma
Madison
Isyana
Ethan/Dennis (??)
Brad
Candicea
Kelly
Josh.
In many cases it's not that you've chosen an obscure name, it's that my class list wasn't updated from the original. But you still need to fill me in on the rest about who you are.
And it'll be much easier to sort things out now than if everybody chimes in right at the end. That road leads to madness, and is a dance I've danced before.
- Kevin.
Hello everybody. I'll cover this in the lecture as well, but this is the last week where you can still be eligible for maximum marks for the blog by posting 1 post per week, even if you have done nothing until now.
You need to do at least five posts or good-sized replies in five different weeks. After this week, there are only four weeks left. Hence, if you post one a week from this week inclusive, you will do five in five different weeks. Simple.
Also, as the end of the semester approaches, the ranks of the people who aren't on the original class list for the paper swells.
If you are one of these people, please reply or send me an email with your full name and student ID number, otherwise I won't be able to figure out who deserves your grade.
This is not a good thing.
Sarah G
M Liu
Elaine L
Karishma
Madison
Isyana
Ethan/Dennis (??)
Brad
Candicea
Kelly
Josh.
In many cases it's not that you've chosen an obscure name, it's that my class list wasn't updated from the original. But you still need to fill me in on the rest about who you are.
And it'll be much easier to sort things out now than if everybody chimes in right at the end. That road leads to madness, and is a dance I've danced before.
- Kevin.
Tuesday, May 1, 2007
singers and fasion.
I think for singers and actors, to be able to sing and act is not the only thing you need to survive in the famous world ..... you need to know how to dress....
fasion is being criticised so much, on tv, magazine, there are ratings and even so called fasion designers to judge others. basically, i think famous people look good because of 3 main reasons.
1- they have outfit assistance/slave to put together outfit for them, or even go shopping for them. therefore, its not their origin, not their idea and not their style.
2- they have big brands and designs to sponsor when attending occasions in the piblics, therefore, poor ordinary people like us don't get freebies like that to look good.
3- some critics to them, they get highly paid trainer to get them into the shape they are in. i believe you all seen those ugly without make up photos when they are not on tours or filming, therefore, again, it is expensive enough to join gym.........not talking about having trainers stand by.
this trend confused the blurred the focus or real talent. singers are often packaged when new album is out, and sometimes, the costumes became the main catchy strategy to attract consumers.
For example, Gwen Stefani - when she was in no doubt, her talent and voice was the reasons the album sole so well. Although after she became solo, her album selling was even bigger and better but her voice is not the focus anymore. shes name fasion icon and won awards for best dress....... and she even has her own brand L.A.M.B launching clothes and accessories. I still think shes a talented and wonderful singer, but its not concentrated by record companies, as well as consumers.
Somehow, i think it is a shame how consumers lost the focus and shame on those poeple who use this blind point to attract attention, popularity and money.
fasion is being criticised so much, on tv, magazine, there are ratings and even so called fasion designers to judge others. basically, i think famous people look good because of 3 main reasons.
1- they have outfit assistance/slave to put together outfit for them, or even go shopping for them. therefore, its not their origin, not their idea and not their style.
2- they have big brands and designs to sponsor when attending occasions in the piblics, therefore, poor ordinary people like us don't get freebies like that to look good.
3- some critics to them, they get highly paid trainer to get them into the shape they are in. i believe you all seen those ugly without make up photos when they are not on tours or filming, therefore, again, it is expensive enough to join gym.........not talking about having trainers stand by.
this trend confused the blurred the focus or real talent. singers are often packaged when new album is out, and sometimes, the costumes became the main catchy strategy to attract consumers.
For example, Gwen Stefani - when she was in no doubt, her talent and voice was the reasons the album sole so well. Although after she became solo, her album selling was even bigger and better but her voice is not the focus anymore. shes name fasion icon and won awards for best dress....... and she even has her own brand L.A.M.B launching clothes and accessories. I still think shes a talented and wonderful singer, but its not concentrated by record companies, as well as consumers.
Somehow, i think it is a shame how consumers lost the focus and shame on those poeple who use this blind point to attract attention, popularity and money.
Madonna - Hung up
Madonna, known for her ambitious music videos and stage performance, was listed by Guinness World Records as the most successful female recording artist of all time in 2000.
In 2005, she brought her new miraculous album "Confessions on a Dance Floor" to the world which sold more than 10 million copies. She took the 70s’ disco, 80s’ house, 90s’ techno, Trance… all of the great musical elements into this album and built the album as a continuous mix of dance songs. No doubt that Madonna belongs to the dance songs, and the energy of the dance songs is coming from her blood, her breath; and that’s why people always lost themselves when dancing with her music.
One of the great song in this album, is “Hung up”, which sampling from ABBA’s Gimme Gimme Gimme(1979). Madonna also samples herself in the song, with references to her previous recordings in the lyrics. As she said, the new breed of female rock stars had been copying her for years, “so I thought it was about time I copied myself!” This pop-dance song is really successful around the world which been ranked as the second most successful single since 1999 by the United World Chart; however, the MTV of this song is not so good, at least in my opinion, it’s just like go back to the 1980s. The quality of this MTV is definitely not match up the quality of the song itself.
And here is ABBA's Gimme!Gimme!Gimme!
In 2005, she brought her new miraculous album "Confessions on a Dance Floor" to the world which sold more than 10 million copies. She took the 70s’ disco, 80s’ house, 90s’ techno, Trance… all of the great musical elements into this album and built the album as a continuous mix of dance songs. No doubt that Madonna belongs to the dance songs, and the energy of the dance songs is coming from her blood, her breath; and that’s why people always lost themselves when dancing with her music.
One of the great song in this album, is “Hung up”, which sampling from ABBA’s Gimme Gimme Gimme(1979). Madonna also samples herself in the song, with references to her previous recordings in the lyrics. As she said, the new breed of female rock stars had been copying her for years, “so I thought it was about time I copied myself!” This pop-dance song is really successful around the world which been ranked as the second most successful single since 1999 by the United World Chart; however, the MTV of this song is not so good, at least in my opinion, it’s just like go back to the 1980s. The quality of this MTV is definitely not match up the quality of the song itself.
And here is ABBA's Gimme!Gimme!Gimme!
Monday, April 30, 2007
Separating promotion from artistry
Adding on to what has already been said about the once humble music video; it seems that such representation in what is inherently a visual society is a somewhat of a gamble for many musicians. The production of formulaic music videos can lead to an often unresponsive audience, and in using the video as a device to set the theme of an album, the strength of an album can ride on the success of a single song.
So how can you produce something complementary to the song yet distinct in its own right? In a reading of the latest video for ‘Dashboard’ by Modest Mouse it would suggest that the song and video, along with the CD insert artwork construct the theme of the album ‘We were dead before the ship even sank’. Yet the appeal of the album rests on the strength of this first song as a representative of a whole, and this is a problem. Fair to say I never judge an album by its first song thought I’m sure many do. Thus avoiding such initial prejudice is ultimately important to the success of an album. This is one of the many reasons that a band will get different directors to direct different music videos off the same album. Effectively it covers all their bases as the next song could appeal to those missed initially.
Surely those who don’t produce music videos end up shooting themselves in the foot. If they can afford to do it then it should be done. The financial importance and imperative associated with the music video is an important element. While it may be derided by some for being the phoney construction of commerciality, its relevance has never been more important.
So how can you produce something complementary to the song yet distinct in its own right? In a reading of the latest video for ‘Dashboard’ by Modest Mouse it would suggest that the song and video, along with the CD insert artwork construct the theme of the album ‘We were dead before the ship even sank’. Yet the appeal of the album rests on the strength of this first song as a representative of a whole, and this is a problem. Fair to say I never judge an album by its first song thought I’m sure many do. Thus avoiding such initial prejudice is ultimately important to the success of an album. This is one of the many reasons that a band will get different directors to direct different music videos off the same album. Effectively it covers all their bases as the next song could appeal to those missed initially.
Surely those who don’t produce music videos end up shooting themselves in the foot. If they can afford to do it then it should be done. The financial importance and imperative associated with the music video is an important element. While it may be derided by some for being the phoney construction of commerciality, its relevance has never been more important.
Zephyr Song
While working on my assignment I was suddenly haunted by an advertisement from the past...the Air New Zealand ad featuring the fictional New Zealand band 'The Zephyrs' who, unable to get a record deal, fly to LA and play on a rooftop opposite the Capital Records building and return home with a record contract.
This advertisement prompted me to think about how ad's featuring pop songs have the ability to launch musicians careers...even if they are fictional. Following the advertisements release on public television Air NewZealand were flooded with phone calls from the public asking where they can buy the song featured on the ad. While the song on the ad became immensely popular what the public did not realize is that The Zephyrs were a fictional band and did not exist outside of the advertisement. Not only were the public convinced that the band was real but at least a couple of major record labels made inquiries about signing the Zephyrs which were actaully comprised of members from 3 prominent NZ bands: Jester, Stellar* and the Screaming Mee Mee's. Due to the huge demand from the public after the advertisement was screened on public television Air New Zealand decided to release the song as a single through record company EMI and was exclusive to the Sounds music store chain. At the peak of its popularity, the song ‘Something New’ ranked number 3 in the New Zealand top 40 and spent a total of 5 weeks in the top 40. Although there are probably millions of examples to prove this point, this particular advertisement goes to show how music careers are able to be launched through the use of the artists songs for non-related advertisements.
This advertisement prompted me to think about how ad's featuring pop songs have the ability to launch musicians careers...even if they are fictional. Following the advertisements release on public television Air New
Pertinence of Music for Everyday Audiences
Hello everyone,
As a media student I was surprised how underrated sound was compared to other media forms. Perhaps this is because we are bombarded with visual images all around us and sound becomes taken for granted as a 'secondary' sense. In media studies sound has also been a 'second cousin' to the visual, especially in film. Music in particular has been neglected as an area for academic study. Without giving special thought to the role of music in various media, I think it passes as taken for granted and as background noise to many audiences. While it certainly adds another depth to many films (even subconsciously), in other media forms its hardly noticeable. Take television for example, unless we are specifically watching a music oriented programme such as C4, we hardly take notice of the music used to cue in programmes such as the news. While watching advertisements, when a catchy tune comes on that I may recognise, I wouldn't give it much consideration beyond the length of the ad. One exception comes to mind for the Sony Bravia television with all the coloured balls bouncing down the very steep road. Obviously the brightly coloured balls are representing the high colour definition of the television, but the music really enhanced the advert to the point where it was mentioned on Campbell Live and also had references on many internet sites. So, while many viewers may not often overtly acknowledge the importance of music in visual media formats, they would seem dull and lifeless without it, just as the early 'silent' films would have lacked a vital component without the piano music which accompanied it.
As a media student I was surprised how underrated sound was compared to other media forms. Perhaps this is because we are bombarded with visual images all around us and sound becomes taken for granted as a 'secondary' sense. In media studies sound has also been a 'second cousin' to the visual, especially in film. Music in particular has been neglected as an area for academic study. Without giving special thought to the role of music in various media, I think it passes as taken for granted and as background noise to many audiences. While it certainly adds another depth to many films (even subconsciously), in other media forms its hardly noticeable. Take television for example, unless we are specifically watching a music oriented programme such as C4, we hardly take notice of the music used to cue in programmes such as the news. While watching advertisements, when a catchy tune comes on that I may recognise, I wouldn't give it much consideration beyond the length of the ad. One exception comes to mind for the Sony Bravia television with all the coloured balls bouncing down the very steep road. Obviously the brightly coloured balls are representing the high colour definition of the television, but the music really enhanced the advert to the point where it was mentioned on Campbell Live and also had references on many internet sites. So, while many viewers may not often overtly acknowledge the importance of music in visual media formats, they would seem dull and lifeless without it, just as the early 'silent' films would have lacked a vital component without the piano music which accompanied it.
If Video Killed the Radio Star, Will Internet Kill the Recording Industry?
In discussing the coinciding ascension of popular music and technology as fuelled by consumerism, one wonders if this in the end will be the undoing of popular music itself. As we have seen thus far in FTVMS323, the demand for consumption has pushed technology and competition within the recording industry through different mediums such as the phonograph, radio and television- partially obliterating the medium preceding it. Thus, the emphasis in society, historically and presently, on consumption and materialism may eventually drive technology so far that greater accessibility to popular music will mean that the recording industries itself, the main source of popular music, may not be able to function financially. A prime example of this is illustrated by the emergence of the internet and, consequently, the consumption of popular music through downloading ‘for free’ and utube. Additionally, who knows what technologies the next 100 years will present in which consumers can get around having to pay for the enjoyment of popular music? One only has to look at the past 100 years to see how supply and demand has forced technological development in the music industry towards this. So, one asks, what is the answer? Well, perhaps nostalgia for more ‘human’ technology, which drives alternative music scenes, will become more prevalent? Or perhaps an emphasis on authenticity will see a rejection of ‘new’ technology such as free downloading? Or maybe the answer is quite simply greater policing through the tightening of competition, intellectual property and criminal laws? Whatever the answer, one only has to examine the past to see that the prevalence of these issues will frame popular music and media discussions in the future.
Laughter or music?
If this course has taught me anything its that music is everywhere, invading all manners of our daily lives, thousands of times a day with varying degrees of annoyance, taste and decency. The buses have radios on them that plays terrible music only to go to ads so we can be subjected to that new radio jingle for cracked windscreens (I bet all of you could sing it as well).
So I was struck with the silence yesterday when I watched Friends in a work break. I haven't seen this show for years and I realised something very important of all sit com's, there is no music when people are speaking. While there is the obligatory theme song (you could all sing that as well, we used to in school) and the 'transitional' music (Seinfeild had some great bass in there), there is nothing while the characters are speaking to assist in these amazingly witty one liners and deep and meaningful story lines.
Why is this? Could we replace the canned laughter with some music and let the characters tell an equally funny story, or is a sitcom never anything but talking heads and dead peoples laughter? It's obviously a style thing that is replicated everywhere I look, Black Books has the same situation but I always liked that show.
It raises another question for me of the importance of music in film/tv for portraying these 'moods' we have spoken of so highly. These shows use 22 minutes of silence to tell a story, while a film tells something, albeit deeper, in 91 mins plus. I always thought music assisted the story in some magical way that I never quite knew, now I'm not so sure, and see it as a system of drawing out boring scenes and filling peoples heads with intended readings for complicated scenes or themes.
So I was struck with the silence yesterday when I watched Friends in a work break. I haven't seen this show for years and I realised something very important of all sit com's, there is no music when people are speaking. While there is the obligatory theme song (you could all sing that as well, we used to in school) and the 'transitional' music (Seinfeild had some great bass in there), there is nothing while the characters are speaking to assist in these amazingly witty one liners and deep and meaningful story lines.
Why is this? Could we replace the canned laughter with some music and let the characters tell an equally funny story, or is a sitcom never anything but talking heads and dead peoples laughter? It's obviously a style thing that is replicated everywhere I look, Black Books has the same situation but I always liked that show.
It raises another question for me of the importance of music in film/tv for portraying these 'moods' we have spoken of so highly. These shows use 22 minutes of silence to tell a story, while a film tells something, albeit deeper, in 91 mins plus. I always thought music assisted the story in some magical way that I never quite knew, now I'm not so sure, and see it as a system of drawing out boring scenes and filling peoples heads with intended readings for complicated scenes or themes.
Sunday, April 29, 2007
Music and Racial Alignment : The character of Buck in Boogie Nights
To what degree do we racially align music ie associate particular musical genres with stereotyped representations of racial identity?
Don Cheadle’s character in 'Boogie Nights', Buck Swope, explores musical identity alignment as he struggles through an identity crisis. During the course of the movie he parades various images and ideas of identity through costume and music. The representation of his identity at the resolution of this crisis is problematic as it suggests that the only way to have your identity accepted is to conform to a stereotyped representation.
Buck’s taste in music is portrayed as a major aspect of his identity. He likes country music. This preference is physically manifested through his Texas-western costume and identification with cowboys. As he goes through his identity transformations, the music around him complies to the representations of identity he adorns. Early on we see him dressed in a red and white cowboy shirt with complementing white cowboy boots at his new place of work. Employed at a hi-fi dealership, he is trying to sell a very expensive model to a rather hesitant customer, under the watchful gaze of his supervisor. In an effort to convince the customer that the hi-fi is worth its high price tag, Buck uses a sample of country music to demonstrate its sound quality. He subsequently looses the customer along with his job. In this instance his identity is questioned by his supervisor who demands an explanation for his supposedly radical behaviour with the question, "What kind of brother are you anyway?". Buck is not seen as a ‘brother’ because he chooses to represent himself in an a-typical manner.
The closing montage sequence reveals the outcome of each character’s plight. Buck is shown to have finally acquired enough money (stolen from a botched doughnut store robbery) to open his own hi-fi dealership. We see him filming a television commercial promoting the opening of the new store. Ironically he is performing a cheesy hip hop/rap styled song and dance number, dressed in the red, white and blue of the American flag. He is clearly not comfortable with this representation of his identity, expressing doubts about the performance to Julianne Moore’s character, Amber/Maggie Waves.
This resolution to his identity crisis is problematic in its racial musical alignment. Buck’s previous attempts to manifest an identity for himself were rejected as a means of representation by those around him. He was encouraged to embrace the stereotyped representation of African American identity and it is only within the hip hop/rap genre that his identity is validated.
Don Cheadle’s character in 'Boogie Nights', Buck Swope, explores musical identity alignment as he struggles through an identity crisis. During the course of the movie he parades various images and ideas of identity through costume and music. The representation of his identity at the resolution of this crisis is problematic as it suggests that the only way to have your identity accepted is to conform to a stereotyped representation.
Buck’s taste in music is portrayed as a major aspect of his identity. He likes country music. This preference is physically manifested through his Texas-western costume and identification with cowboys. As he goes through his identity transformations, the music around him complies to the representations of identity he adorns. Early on we see him dressed in a red and white cowboy shirt with complementing white cowboy boots at his new place of work. Employed at a hi-fi dealership, he is trying to sell a very expensive model to a rather hesitant customer, under the watchful gaze of his supervisor. In an effort to convince the customer that the hi-fi is worth its high price tag, Buck uses a sample of country music to demonstrate its sound quality. He subsequently looses the customer along with his job. In this instance his identity is questioned by his supervisor who demands an explanation for his supposedly radical behaviour with the question, "What kind of brother are you anyway?". Buck is not seen as a ‘brother’ because he chooses to represent himself in an a-typical manner.
The closing montage sequence reveals the outcome of each character’s plight. Buck is shown to have finally acquired enough money (stolen from a botched doughnut store robbery) to open his own hi-fi dealership. We see him filming a television commercial promoting the opening of the new store. Ironically he is performing a cheesy hip hop/rap styled song and dance number, dressed in the red, white and blue of the American flag. He is clearly not comfortable with this representation of his identity, expressing doubts about the performance to Julianne Moore’s character, Amber/Maggie Waves.
This resolution to his identity crisis is problematic in its racial musical alignment. Buck’s previous attempts to manifest an identity for himself were rejected as a means of representation by those around him. He was encouraged to embrace the stereotyped representation of African American identity and it is only within the hip hop/rap genre that his identity is validated.
‘I've Got a Dark Alley and a Bad Idea That Says You Should Shut Your Mouth’
Fall Out Boy… love’em or hate’em you can’t help but notice’em. Crowding (see: polluting) the airwaves with their catchy singles on repeat, MTV and popular local radio stations seem hell bent on flogging this black fringed horse to death.
Songs by Fall Out Boy are easily picked out on the Top 40 Charts by their characteristically long names that read like the warning labels on household detergents (warning if swallowed to not induce vomiting and the like) and their acrobatic playing style dubbed “Trohmania” by fans to describe the spinning top moves of lead guitarist Joe Trohman.
Already a mob gathers, torches lit and pitchforks sharpened ready for another round of ‘emo-bashing’. But…I should warn you, I’m actually rather fond of this band.
Catchy, upbeat, and intertexual to the point of absurdity, their music videos (at least their recent ones) read like arcane texts constantly self-referencing moments in the bands brief but eventful history. The video for the first single from Fall Out Boy’s recent album Infinity On High ‘This Ain’t A Scene, It’s A Goddamn Arms Race’ brims with a variety of ‘Easter egg’ content ready to reward viewers willing to look past the bands ascribed ‘emo’ style.
Directed by Alan Ferguson, the video begins oddly enough during the final sequence of the song ‘Dance, Dance’ which helps orient viewers in the Fall Out Boy universe. The ‘scene’, so to speak, then changes to an underground hip-hop recording studio, which is a reference to the bands collaboration with producers Babyface and Jay-Z. The opening lines of the song are noticeably R&B in tone and are delivered to an audience of typical rap-star stereotypes (see: 50 Cent). The genius of this send-up is the way in which the band use ‘urban’ codes for sound and setting as an intro and build up to for their brand of pop punk or ‘emo’ style of music. From a marketing point of view this method is ingenious in that listeners who would traditionally shy away from Fall Out Boy due to perceptions about ‘rock music’ are nonetheless drawn in by the familiarity of the initial sound and before they know it are tapping their foot along to the incredibly catchy melody and guitar riffs. However, from a critical perspective it becomes clear that the aim of Fall Out Boy’s video is to adopt various genre aesthetics with the intention to deconstruct the codes and conventions of popular music culture.
In order to avoid alienating their old fans outright, Fall Out Boy make sure to include a surplus of in-jokes and allusions to past incidents involving the band. Most notable is a scene in which three girls look on in shock horror/excitement at a nude photo of the bands bassist Pete Wentz that parodies a scandal of the same nature in which nude photos of the musician were leaked over the Internet.
The funeral scene that takes place later in the video contains the most substantial portion of intertexual parody as well as self-reference recognisable to both fans and savvy viewers alike. Characters from the bands earlier music videos appear and reprise their roles as they gather to mourn the passing of Wentz who died in an earlier scene. Patrick Stump, the Fall Out Boy frontman, leads a church chorus while Travis McCoy, recognisable from the band Cobra Starship as well as Gym Class Heroes, stands over Wentz’ grave and pours from a bottle in a brown paper bag, a parody of the Boyz II Men music video ‘On Bended Knee’. Also, Michelle Trachtenberg and Seth Green, recognisable as veterans of the television show Buffy The Vampire Slayer, are among the funeral procession in reference to Internet rumours that Wentz and Trachtenberg were dating at the time. Fall Out Boy’s acerbic parody of the music industry is taken one step further in a scene where the Moon Man, MTV’s customary award trophy, is dancing on the spot amid the numerous tombstones scattered throughout the cemetery to cries of “this scene this scene!” by Stump. The entire sequence culminates with lead guitarist Trohman rising atop Wentz’ casket performing a solo in obvious parody of Synystar Gates and his similar role in the ‘Seize The Day’ music video by Avenged Sevenfold.
Songs by Fall Out Boy are easily picked out on the Top 40 Charts by their characteristically long names that read like the warning labels on household detergents (warning if swallowed to not induce vomiting and the like) and their acrobatic playing style dubbed “Trohmania” by fans to describe the spinning top moves of lead guitarist Joe Trohman.
Already a mob gathers, torches lit and pitchforks sharpened ready for another round of ‘emo-bashing’. But…I should warn you, I’m actually rather fond of this band.
Catchy, upbeat, and intertexual to the point of absurdity, their music videos (at least their recent ones) read like arcane texts constantly self-referencing moments in the bands brief but eventful history. The video for the first single from Fall Out Boy’s recent album Infinity On High ‘This Ain’t A Scene, It’s A Goddamn Arms Race’ brims with a variety of ‘Easter egg’ content ready to reward viewers willing to look past the bands ascribed ‘emo’ style.
Directed by Alan Ferguson, the video begins oddly enough during the final sequence of the song ‘Dance, Dance’ which helps orient viewers in the Fall Out Boy universe. The ‘scene’, so to speak, then changes to an underground hip-hop recording studio, which is a reference to the bands collaboration with producers Babyface and Jay-Z. The opening lines of the song are noticeably R&B in tone and are delivered to an audience of typical rap-star stereotypes (see: 50 Cent). The genius of this send-up is the way in which the band use ‘urban’ codes for sound and setting as an intro and build up to for their brand of pop punk or ‘emo’ style of music. From a marketing point of view this method is ingenious in that listeners who would traditionally shy away from Fall Out Boy due to perceptions about ‘rock music’ are nonetheless drawn in by the familiarity of the initial sound and before they know it are tapping their foot along to the incredibly catchy melody and guitar riffs. However, from a critical perspective it becomes clear that the aim of Fall Out Boy’s video is to adopt various genre aesthetics with the intention to deconstruct the codes and conventions of popular music culture.
In order to avoid alienating their old fans outright, Fall Out Boy make sure to include a surplus of in-jokes and allusions to past incidents involving the band. Most notable is a scene in which three girls look on in shock horror/excitement at a nude photo of the bands bassist Pete Wentz that parodies a scandal of the same nature in which nude photos of the musician were leaked over the Internet.
The funeral scene that takes place later in the video contains the most substantial portion of intertexual parody as well as self-reference recognisable to both fans and savvy viewers alike. Characters from the bands earlier music videos appear and reprise their roles as they gather to mourn the passing of Wentz who died in an earlier scene. Patrick Stump, the Fall Out Boy frontman, leads a church chorus while Travis McCoy, recognisable from the band Cobra Starship as well as Gym Class Heroes, stands over Wentz’ grave and pours from a bottle in a brown paper bag, a parody of the Boyz II Men music video ‘On Bended Knee’. Also, Michelle Trachtenberg and Seth Green, recognisable as veterans of the television show Buffy The Vampire Slayer, are among the funeral procession in reference to Internet rumours that Wentz and Trachtenberg were dating at the time. Fall Out Boy’s acerbic parody of the music industry is taken one step further in a scene where the Moon Man, MTV’s customary award trophy, is dancing on the spot amid the numerous tombstones scattered throughout the cemetery to cries of “this scene this scene!” by Stump. The entire sequence culminates with lead guitarist Trohman rising atop Wentz’ casket performing a solo in obvious parody of Synystar Gates and his similar role in the ‘Seize The Day’ music video by Avenged Sevenfold.
Ultimately I think that Fall Out Boy’s music video for ‘This Ain’t A Scene, It’s A Goddamn Arms Race’ serves to illuminate the dark (see: ‘emo’) corners of the pop punk genre in an attempt to criticise the culture, through parodying it’s champions and genre aesthetics, which ascribed the band it’s genre labels. The result of this is a remixing of genre traditions in order to obtain a kind of ‘personal voice’ discernible through the noise of popular music that will appeal to old fans as well as attract new listeners to this melodic sound.
Punk Videos
In regards to the portrayal of gender in music videos as commented earlier, what must be noted is that major labels are businesses. Their main focus is to maximize profit. While this may seem a like a very pessimistic view, according to my lecturer for pop music this is more or less true. For them if sex sells their videos then they will use it. What also must be noted is that mainstream music is not the only music out there, and if people do not like it no one is forcing them to listen to it.
One thing which I don’t think has been discussed as much as it should is music videos for punk music. Through all my years of watching punk videos, there is certainly a trend. I fail to really see one punk band that hasn’t shot a music video in their house or living area where they grew up formed their band and played their music. It doing so it adds a certain aesthetic value. Through the use of location shooting, hand held cameras and a very limited narrative the videos in a way work to establish the ideals of the punk genre through videos that appear as if they don’t care. Like the Rock documentaries in the Adrian Wootten reading, punk videos are made with ‘little money, often by people with no film-making experience or musical understanding’. However while these videos appear to be done like this to create the punk feel, I wonder how many of these videos have actually been done by people with no film-making experience? And whether this sloppy hand held camera type film making is a way to portray the genre of punk.
NOFX: Leave it alone
Check out http://www.youtube.com/watch?v=vM8EoD7ceIw
One thing which I don’t think has been discussed as much as it should is music videos for punk music. Through all my years of watching punk videos, there is certainly a trend. I fail to really see one punk band that hasn’t shot a music video in their house or living area where they grew up formed their band and played their music. It doing so it adds a certain aesthetic value. Through the use of location shooting, hand held cameras and a very limited narrative the videos in a way work to establish the ideals of the punk genre through videos that appear as if they don’t care. Like the Rock documentaries in the Adrian Wootten reading, punk videos are made with ‘little money, often by people with no film-making experience or musical understanding’. However while these videos appear to be done like this to create the punk feel, I wonder how many of these videos have actually been done by people with no film-making experience? And whether this sloppy hand held camera type film making is a way to portray the genre of punk.
NOFX: Leave it alone
Check out http://www.youtube.com/watch?v=vM8EoD7ceIw
Let's talk about Bollywood!
Firstly, to reply to the blogs regarding Bollywood films as a form of escapism, I would say that it is an undeniable fact which brings most of their narratives into existence. But that is defintely true for most films even if it is in Hollywood. However, I do think that it is unfair to typecast Bollywood cinema and its form of escapism to the third world nature of the country. As mentioned in earlier blogs, Indians are based all over the world and not necessarily in third world countries, so what kind of escapism would they need then to turn to a Bollywood film? Perhaps to escape from Hollywood norms?
I find that Bollywood films carry with them their own culture. Recently I went to watch a Bollywood film at the cinema with a friend. I arrived there to find noisy groups in the audience who would 'ooh' and 'aah' at the actors and sing and clap to the songs. Being an Indian myself, I still found this behaviour quite bizarre to the point of frustration. Although, I believe that the enthusiasts at the movies were enthralled by the experience and it reminded me that the Bollywood culture is very strong and there is an inevitable interaction between the screen and audience at the typical cinema screening Bollywood films.
While some may think that the song and dance numbers come across as cheesy and the fact that the majority of Bollywood films follow the genre on the 1960's Hollywood musical, it shouldn't deter people from the films. There are definitely more controversial issues being confronted such as extramarital affairs in Kabhi Alvida Naa Kehna (as mentioned previously in the Balle Balle blog), pregnancy before marriage in an Indian society in Salaam Namaste and the educational aspirations of a deaf, dumb and blind girl in Black. In these and most other films, music and song/dance are used to create and develop relationships between characters in the same way music can be composed for a Hollyood film to create meaning in a particular scene.
With the 'Hollywood-ization' of many film industries, including Bollywood, there is a growing sense of the modernisation of the Indian culture. Perhaps the most well-known Bollywood style film recently released is Bride and Prejudice, which is a blur of the line between Hollywood and Bollywood with the song and dance sequences yet complete English dialogue is utilised. This is not the first film to pull off the combination and as unavoidable as it is, we can see that it is going to become more and more prominent. Bollywood cinema should not be dismissed as an industry churning out films using an overused recipe. It has under its belt, a culture, and an audience that is quickly learning to accept modern social issues.
Game Over: Fan Culture and Remediation of Video Games
I decided to do my assignment on Video Game music in Popular Culture, (a suicide topic for sure), and while I didn't find anything in the way of Academic literature, I did find alot of interesting and relevant resources on the net.
Theres is a big Video Game Music culture out there with mp3s, sheet music, lyrics, and CDs in big demand. I was surprised in fact to see how big this phenomenon had grown, and how far back it stretched.
I suppose it's not really that surprising considering how our generationg has grown up with Video Games. They are very nostalgic cultural artefacts and that can be seen in the clothing people wear, ringtones on their phones, and net-handles they use. How may of you grew up playing Super Mario on the NES or Sonic the Hedgehog on the Sega Mastersystem? I even find myself humming the theme from Alex the Kid from time to time and am not ashamed to admit that I have the Super Mario theme as my ringtone.
When I thought about it I wasn't so surprised that people still treasured those songs like old TV themes. And it was even less of a surprise when I found bands who were dedicated to playing themes from Video Games, like The Minibosses. This band from Massachusetts do instrumental rock style covers of old Video Game themes from games like, Castlevania, Double Dragon, Metroid, Ninja Gaiden, and Super Mario Bros 2 just to name a few. This is a brief spot they got on alt.news
(I'm sorry but I'm a total techno-dweeb when it comes to blogging and stuff which means I don't know how to embed videos but check the link you nonetheless)
http://www.youtube.com/watch?v=kjmZ8LoWMys
But they are not the only fan-band for Video Game Music, you can find more on Myspace
http://www.myspace.com/theoneups
http://www.myspace.com/megadriver
Also there are several orchestral groups who tour worldwide performing concerts of Video Game music, one http://www.videogameslive.com/index.php?s=home which recently graced Wellington in February that I did not know about and missed, by Zeus's beard!
There is certainly a sub-culture out there for Video Games Music and it's one that I think is only growing into it's own legitimate genre. It may not be for everyone but I must say I was definately sucked in and my mp3 player is packed with Video Game Music now, haha =)
If anyone has any thoughts on this emerging sub-unit of Pop music post some comments, I'd be interested to hear what ideas you have.
Caleb
Theres is a big Video Game Music culture out there with mp3s, sheet music, lyrics, and CDs in big demand. I was surprised in fact to see how big this phenomenon had grown, and how far back it stretched.
I suppose it's not really that surprising considering how our generationg has grown up with Video Games. They are very nostalgic cultural artefacts and that can be seen in the clothing people wear, ringtones on their phones, and net-handles they use. How may of you grew up playing Super Mario on the NES or Sonic the Hedgehog on the Sega Mastersystem? I even find myself humming the theme from Alex the Kid from time to time and am not ashamed to admit that I have the Super Mario theme as my ringtone.
When I thought about it I wasn't so surprised that people still treasured those songs like old TV themes. And it was even less of a surprise when I found bands who were dedicated to playing themes from Video Games, like The Minibosses. This band from Massachusetts do instrumental rock style covers of old Video Game themes from games like, Castlevania, Double Dragon, Metroid, Ninja Gaiden, and Super Mario Bros 2 just to name a few. This is a brief spot they got on alt.news
(I'm sorry but I'm a total techno-dweeb when it comes to blogging and stuff which means I don't know how to embed videos but check the link you nonetheless)
http://www.youtube.com/watch?v=kjmZ8LoWMys
But they are not the only fan-band for Video Game Music, you can find more on Myspace
http://www.myspace.com/theoneups
http://www.myspace.com/megadriver
Also there are several orchestral groups who tour worldwide performing concerts of Video Game music, one http://www.videogameslive.com/index.php?s=home which recently graced Wellington in February that I did not know about and missed, by Zeus's beard!
There is certainly a sub-culture out there for Video Games Music and it's one that I think is only growing into it's own legitimate genre. It may not be for everyone but I must say I was definately sucked in and my mp3 player is packed with Video Game Music now, haha =)
If anyone has any thoughts on this emerging sub-unit of Pop music post some comments, I'd be interested to hear what ideas you have.
Caleb
Can sound be primary in narrative film?
I agree with the previous post about sound in film and that it plays an important role nowadays.
On my own train of thought: we need to take into account that film is a VISUAL medium primarily (celluloid at the beginning had no sound strip and first film performances had no live backing either…) So film with sound is really like a multi-media projection as opposed to film, per se – if we were to be picky about distinguishing. So even though sound or lack of it in film is very important IMO it cannot be primary.
On my own train of thought: we need to take into account that film is a VISUAL medium primarily (celluloid at the beginning had no sound strip and first film performances had no live backing either…) So film with sound is really like a multi-media projection as opposed to film, per se – if we were to be picky about distinguishing. So even though sound or lack of it in film is very important IMO it cannot be primary.
In the films of French/Algerian director Tony Gatlif, I’d say music plays an irreplaceable role.
He has just recently done the film
In a speech he gave in
The film kind of collapsed on itself, in terms of reception and critique. Those spectators, obviously, did not take any note of the musical intention. And why should they? They went to SEE a film and instead were served up (generalized) visual representations with a nice soundtrack. The imagery was generalised by the author and the film lost focus as a result. Those who praise the film, were either seeing his work for the first time or were just dazzled by the exotic appearance of the content – cinematography and music.
My reasoning? Precisely because in
Why would I complain? Well, at (many) times it almost felt like watching a VERY LONG music video (no hostility towards music video, but a statement/realisation that this is intended as a narrative feature film). Sure the images and music are dazzling enough, but they work INDEPENDENTLY. I often found myself forgetting about or ignoring one and focussing on the other. Sure it had moments but the synergy wasn’t there. Moreover a number of times during the speeches during the Czech premiere, the soundtrack was heavily ‘advertised’ and it made me think that the film was really just a vehicle for the soundtrack…
IMO
I’d say that Transylvannia is a step down from his (perhaps best to date) 2004 film Exils because the latter is a great example of image WORKING WITH sound WORKING WITH image... In Exils, the sound is sometimes diegetic, sometimes not, sometimes it moves the story, sometimes it develops a character, and sometimes it sets the place or comments on a situation. The image performs similar tasks but it is on a par with the sound – it is never drowned by it. So together they COOPERATE to create the meaning of the film.
The imagery is highly symbolic, and at many points of the film without re-editing the sequence, the image and/or story would not make sense without the music. Likewise the music is many times re-defined so that, like Amanda B’s entry which showed music created by kitchen utensils, it would not make sense on a soundtrack (for example) without the image accompanying it (in the film Gatlif uses windshield wipers, bottles and other objects in the characters’ surrounding to suggest music – moreover, he almost completely erases the diagetic/non-diegetic divide)
One other point of interest is that lyrics are almost always given subtitles if the country of screening does not speak the language of a particular song – showing how important the lyrics are – sometimes they are almost like dialogue and sometimes almost like narration. I think that lyrics in his films play such an important role, that if you missed them, you would be left in a vague position as to what the film was about thematically and sometimes narratively (see Vengo)
His films raise interesting issues – always – whether he intends it or not. Gender, authorship and origin, authenticity vs representation, music and image relationship…I’d recommend seeing his films. Ones which I know are available in NZ are: Latcho Drom, Vengo, Gadjo Dilo, Swing, Exils. I also recommend seeing them in order of production because then you understand the latter films better and get to see the exploration, development, maturation and further experimentation of Sound and Image. It isn’t revolutionary but IMO it is successful.
A BIT OF A SPOILER:
The most rewarding part of Exils is the second to last scene which is about a 5-minute single take of a Sufi gathering in
The first scene is also interesting, because it’s ‘full frontal’ male nudity, yet IMO it is mostly devoured of sexual glamour – precisely because of the music and lyrics at that point which still don’t overpower the image. The nude body thus represents something else because the sound guides our interpretation.
You may also want to see one of the last scenes in Gadjo Dilo where the scream of a woman in her burning village is not her voice but the voice of a well known singer singing a very potent and well known song which is in sync with the character’s actions and feelings… It appears at first as non-diegetic sound, so to speak, but on closer inspection of themes it could just as well be diegetic… Gatlif creates no distinction…
Phew! Hope I didn’t bore you! xxx
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