Jack Horne Media
Monday, 13 March 2017
Monday, 27 February 2017
Wednesday, 11 January 2017
Examples of Sampling In Music
Sugarhill Gang
Rappers Delight
0:18
Is sampled in:
Chic
Good Times
3:12
Daft Punk
Harder Better Faster Stronger
0:05 & 0:21
Is sampled in:
Edwin Birdsong
Cola Bottle Baby
0:00 & 2:55
Bob Marley & The Wailers
Buffalo Soldier
1:26
Is sampled in:
Banana Splits
The Tra La La Song
0:06
Monday, 9 January 2017
Characteristics of Postmodern Film
Bricolage: the process of assembling
artefacts from bits and pieces of other things
1.Genre Cross-Over
2.recycling old forms
3.mixing high and low culture (kitsch)
Intertextuality: the multiple ways in which
a text is entangled with or contains references to other texts
Pastiche (copying in tribute) and Parody
(copying in jest)
Style over content; the image and visual
excitement over narrative coherence
Confusions over time and space; the
subversion of classical cinematic conventions; fragmented narratives;
time-bending.
Self-reflexiveness / self-referentiality:
texts that openly reflect upon their own processes of artful composition.
Metafiction: fiction that deals, often
playfully and self-referentially, with fiction and its conventions
Flattening of Affect: Technology, violence,
drugs and the media lead to detached, emotionless lives
Hyperreality: Technologically created
realities are often more authentic or desirable than the real world
Altered States: Drugs and technology
provide a darker, sometimes psychedelic, gateway to new internal realities
More Human than Human: Artificial
intelligence, robotics and cybernetics seek to enhance or replace humanity
Features of postmodern films
Pastiche
Self-referential, tongue-in-cheek, rehashes
of classic pop culture
Flattening of Affect
Technology, violence, drugs, and the media
lead to detached, emotionless,
unauthentic lives
Hyperreality
Technologically created realities are often
more authentic or desirable than the real world
Time Bending
Time travel provides another way to shape
reality and play "what if" games with society
Altered States
Drugs and technology provide a darker,
sometimes psychedelic, gateway to new internal realities
More Human than Human
Artificial intelligence, robotics, and
cybernetics seek to enhance, or replace, humanity
Postmodern ideas
We no longer have any sense of the
difference between real things and images of them, or real experiences and
simulations of them.
The distinction between media and reality
has collapsed, and we now live in a ‘reality’ defined by images and
representations – a state of simulacrum.
Postmodernism rejects the idea that any
media product or text is of any greater value than another. All judgments of
value are merely taste.
Culture ‘eats itself’ and there is no
longer anything new to produce or distribute.
All ideas of ‘the truth’ are just competing
claims – or discourses – and what we believe to be the truth at any point is
merely the ‘winning’ discourse.
Postmodern texts are said to be
intertextual and self-referential – they break the rules of realism to explore
the nature of their own status as constructed texts.
In the postmodern world, media texts make
visible and challenge ideas of truth and reality, removing the illusion that
stories, texts or images can ever accurately or neutrally reproduce reality or
truth
Postmodernism and Audience Theory
Two commentators have developed some
interesting ideas about postmodernism and audiences.
Alain J.-J. Cohen has identified a new
phenomenon in the history of film, the ‘hyper-spectator’. ‘Such spectator, who
may have a deep knowledge of cinema, can reconfigure both the films themselves
and filmic fragments into new and novel forms of both cinema and spectatorship,
making use of the vastly expanded access to films arrived at through modern
communications equipment and media. The hyper-spectator is, at least
potentially, the material (which here means virtual) creator of his or her
hyper-cinematic experience’ (157)
‘VCRs and laserdisc-players or newer DVDs
have produced, and are still producing, a Gutenberg-type of revolution in
relation to the moving image.’
Anne Friedberg has argued that because we
now have much control of how we watch a film (through video/dvd), and we
increasingly watch film in personal spaces (the home) rather than exclusively
in public places, ‘cinema and televison become readable as symptoms of a
“postmodern condition”, but as contributing causes.’ In other words, we don’t just
have films that are about postmodernism or reflect postmodern thinking. Films
have helped contribute to the postmodern quality of life by manipulating and
playing around with our conventional understanding of time and space. ‘One can
literally rent another space and time when one borrows a videotape to watch on
a VCR….the VCR allows man to organize a time which is not his own…a time which
is somewhere else – and to capture it.’
Anne Friedberg: ‘The cinema spectator and
the armchair equivalent – the home-video viewer, who commands fast forward,
fast reverse, and many speeds of slow motion, who can easily switch between
channels and tape; who is always to repeat, replay, and return – is a spectator
lost in but also in control of time. The cultural apparatuses of television and
the cinema have gradually become causes for what is now…described as the
postmodern condition.’
Postmodern & Media Industries
Whereas modernism was generally associated
with the early phase of the industrial revolution, postmodernism is more
commonly associated with many of the changes that have taken place after the
industrial revolution. A post-industrial (sometimes known as a post-Fordist)
economy is one in which an economic transition has taken place from a
manufacturing-based economy to a service-based economy. This society is
typified by the rise of new information technologies, the globalization of
financial markets, the growth of the service and the white-collar worker and
the decline of heavy industry.
Postmodernism and the Film Industry
It has been argued that Hollywood has
undergone a transition from ‘Fordist’ mass production (the studio system) to
the more ‘flexible’ forms of independent production characteristic of
postmodern economy.
The incorporation of Hollywood into media
conglomerates with multiple entertainment interests has been seen to exemplify
a ‘postmodern’ blurring of boundaries between industrial practices,
technologies, and cultural forms.
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