Music videos are so 80s/90s, right? They belong with the era when MTV screened wall-to-wall vids instead of 'reality' TV? Try telling that to the millions who bought Gangnam Style; were they really simply loving the music? 1.6bn (and still climbing) have viewed the video on YT, not to mention the many re-makes (school eg, eg2), viral ads + celeb link-ups (even political protest in Seoul) - and it doesn't matter how legit it is, this nightmare for daydream Beliebers is making a lot of money, even from the parodies + dislikes. All this for a simple dance track that wouldn't have sounded out of place in 1990 ... but had a fun vid. This meme itself was soon displaced by the Harlem Shake. Music vids even cause diseases it seems!
This blog explores every aspect of this most postmodern of media formats, including other print-based promo tools used by the industry, its fast-changing nature, + how fans/audiences create/interact. Posts are primarily written with Media students/educators in mind. Please acknowledge the blog author if using any resources from this blog - Mr Dave Burrowes

Tuesday, 18 September 2012

Vids from today's lesson

We looked at Megadeth's Peace Sells, with its ultra-fast paced editing style (to the point of looking like flashing lights - we also mentioned there are regulations on this due to issues around epilepsy) and its deconstruction of the classic/cliched vocalist shots, using an ECU of the singer's mouth alone. Also Daft Punk's Da Funk (from the mind of director Spike Jonze) which is an extreme example of the use of diegetic sound - continuously (we also noted the use of narrative enigma initially, not instantly revealing the dog's head).
Iron Maiden's Can I Play With Madness was another example of TV (or computer/phone) screens being used within the narrative/concept footage to present performance footage, rather than crosscutting between the two.
New Order's True Faith also features this, and is a good example of a concept video: there is no direct tie to the lyrics, but there is a coherent narrative nonetheless.
Weezer's Buddy Holly (Spike Jonze's trademark style again) is a great example of a postmodern text, with multiple layers of intertextuality - and a good example of why French postmodern philosopher Jean Pierre Baudrillard argues there is no coherent reality; everything is a signifier of a signifier in an endless trail with no ultimate true or definable reality. We see a 70/80s US sitcom set in the 50s featuring Weezer through the magic of green screen technology! [Wiki on this vid]

New Order - True Faith by hushhush112

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