Coda

2020 ◽  
pp. 215-222
Author(s):  
Landon Palmer
Keyword(s):  
Popular Music ◽  
First Century ◽  
Music Video ◽  
Recording Industry ◽  
Unique Form ◽  
Moving Image ◽  
Political Expression ◽  
Feature Film ◽  
Medium Specificity ◽  
History Of

This chapter concludes the volume with a concise coda that problematizes the genre and medium specificity of categories such as “rock” and “cinema,” and interrogates their relevance to understanding popular music stardom onscreen in the twenty-first century. By exploring several recent visual albums, this coda demonstrates how the history of rock stardom onscreen paved the way for the unification of the feature film and the music video on display in this unique form. Yet, at the same time, visual albums present musicians with renewed opportunity for overt political expression and aesthetic experimentation not seen since late 1960s rock movies. Visual albums are ultimately the latest intersection between the recording industry and moving image media—an intersection that, as this book demonstrates, has a rich and enduring history.

Junction 48

2020 ◽  
Vol 32 (1) ◽  
pp. 26-43
Author(s):  
David A. McDonald
Keyword(s):  
Hip Hop ◽  
Political Engagement ◽  
Vantage Point ◽  
Music Video ◽  
Feature Film ◽  
Self Reflection ◽  
Palestinian Women ◽  
History Of ◽  
Contested Terrain ◽  
Potential Impact

In the fall of 2012 Palestinian hip-hop group DAM released a provocative music video titled, “If I Could Go Back in Time,” focusing on so-called “honor crimes.” Despite widespread support for their previous work, “If I Could Go Back in Time” drew considerable criticism for de-contextualizing, romanticizing, and by extension disempowering Palestinian women. Through a critical analysis of this music video as well as the ensuing debate surrounding its interpretation and reception, this article argues that the critical interventions made by politically engaged hip-hop artists, such as DAM, offer a unique vantage point with which to better understand the contested terrain of Palestinian activism. By tracing DAM's long history of political engagement this article examines the discourses that determine “acceptable” forms of activism among competing publics, and further demonstrates how the field of popular culture serves to shape (both positively and negatively) the potential impact of, and audience for, any activist intervention. Drawing from the recent release of the bi-national feature film, Junction 48, this article further explores how DAM front man, Tamer Nafar, has attempted to displace the compassionate gaze of international audiences, respond to colonial logics of elimination, and carve out autonomous spaces for self-reflection and radical vulnerability.

Advertising as Commercial Speech: Truth and Trademarks in Testimonial Advertising

2021 ◽  
Author(s):  
Patrick Vonderau
Keyword(s):  
Case Law ◽  
Moving Image ◽  
Feature Film ◽  
Commercial Speech ◽  
Moving Images ◽  
History Of ◽  
American Case

This chapter explores the long history of moving images’ promotional relation to trademarks by focussing on us American case law and a controversy that surrounded a brief moment in the feature film The Hangover II (2011). In the second part, the chapter develops and outlines a typology of moving image testimonials.

scholarly journals "Rapper on a Rampage": Theorising the Political Significance of Aboriginal Australian Hip Hop and Reggae

2009 ◽  
Vol 4 (1) ◽  
Author(s):  
Cameron White
Keyword(s):  
Popular Music ◽  
Hip Hop ◽  
The State ◽  
The Political ◽  
Cultural Hegemony ◽  
Aboriginal Australians ◽  
Political Expression ◽  
History Of

Hip hop is a powerful vehicle for the expression of identity and resistance in contemporary Aboriginal popular music. This paper examines the origins of Aboriginal hip hop and explains the reasons for its cultural and political significance. By looking at the influence of reggae in Aboriginal hip hop, especially in the work of CuzCo (Wire MC and Choo Choo), it locates hip hop’s history in terms of the reggae tradition in Aboriginal popular music, represented here by the work of No Fixed Address in the early 1980s. In this way hip hop is understood as part of a longer history of Aboriginal transnationalism. The paper seeks to understand how and why transnationalism is such an important element of Aboriginal political expression. It concludes by arguing that transnationalism represents a speaking position from which Aboriginal Australians can negotiate the cultural hegemony of the state.

scholarly journals From Bach to Helloween: ‘Teutonic’ stereotypes in the history of popular music and heavy metal

2020 ◽  
Vol 6 (1) ◽  
pp. 87-108 ◽  
Author(s):  
Jan-Peter Herbst
Keyword(s):  
Heavy Metal ◽  
Popular Music ◽  
Music History ◽  
First Century ◽  
Metal Music ◽  
The World ◽  
Outright Rejection ◽  
History Of ◽  
Production Practices ◽  
Popular Music History

Throughout the centuries, German popular music has caused various foreign reactions from admiration to outright rejection. Sometimes, international audiences perceived it as too ‘Teutonic’; other times, this was exactly the reason for its appeal. This article traces ‘Teutonic’ features in 400 years of German popular music history, seeking to identify the emergence and development of ‘Teutonic’ stereotypes as well as their perception inland and abroad. The metal discourse was analysed based on a corpus of nearly 200,000 pages from magazines such as the British Kerrang! and the German Metal Hammer, Rock Hard and Deaf Forever. Stereotypes such as perfectionism, precision and rigidity seem to stem from historical roots, yet their projection onto ‘Teutonic metal’ is over-simplified and often out of context. History suggests that German metal bands were most successful when they exaggerated Germanness. Occasionally, bands became successful because their German features made them sound unique, even though they did not promote their heritage proactively. More often, though, bands that were unintentionally perceived as typically German were less appealing to a foreign audience. In the magazines, discussion of Teutonic attributes almost vanished in the twenty-first century. Global production practices needing to conform to international expectations of ever faster, tighter and heavier records likely made metal artists around the world adopt qualities that previously defined ‘Teutonic music’. It will therefore be interesting to see if or how German stereotypes in metal music will live on.

Early Cinema in Scotland

2018 ◽  
Keyword(s):  
Social History ◽  
Small Towns ◽  
Early Cinema ◽  
Popular Song ◽  
Feature Film ◽  
Local Newspapers ◽  
The Social ◽  
Production History ◽  
History Of ◽  
International Audience

This collection of essays, drawn from a three-year AHRC research project, provides a detailed context for the history of early cinema in Scotland from its inception in 1896 till the arrival of sound in the early 1930s. It details the movement from travelling fairground shows to the establishment of permanent cinemas, and from variety and live entertainment to the dominance of the feature film. It addresses the promotion of cinema as a socially ‘useful’ entertainment, and, distinctively, it considers the early development of cinema in small towns as well as in larger cities. Using local newspapers and other archive sources, it details the evolution and the diversity of the social experience of cinema, both for picture goers and for cinema staff. In production, it examines the early attempts to establish a feature film production sector, with a detailed production history of Rob Roy (United Films, 1911), and it records the importance, both for exhibition and for social history, of ‘local topicals’. It considers the popularity of Scotland as an imaginary location for European and American films, drawing their popularity from the international audience for writers such as Walter Scott and J.M. Barrie and the ubiquity of Scottish popular song. The book concludes with a consideration of the arrival of sound in Scittish cinemas. As an afterpiece, it offers an annotated filmography of Scottish-themed feature films from 1896 to 1927, drawing evidence from synopses and reviews in contemporary trade journals.

Duration, Compression, Extension and Distortion of Time in Contemporary Transgender Cinema

Somatechnics ◽  
2019 ◽  
Vol 9 (1) ◽  
pp. 58-83
Author(s):  
Akkadia Ford
Keyword(s):  
Life Experiences ◽  
Private Life ◽  
First Century ◽  
Short Film ◽  
New Wave ◽  
Privileged Access ◽  
Feature Film ◽  
Theoretical Issues ◽  
Over Time ◽  
Film Change

Cinema provides ‘privileged access’ ( Zubrycki 2011 ) into trans lives, recording and revealing private life experiences and moments that might never be seen, nor heard and after the time had passed, only present in memory and body for the individuals involved. Film, a temporal medium, creates theoretical issues, both in the presentation and representation of the trans body and for audiences in viewing the images. Specific narrative, stylistic and editing techniques including temporal disjunctions, may also give audiences a distorted view of trans bodily narratives that encompass a lifetime. Twenty first century cinema is simultaneously creating and erasing the somatechnical potentialities of trans. This article will explore temporal techniques in relation to recent trans cinema, comparing how three different filmmakers handle trans narratives. Drawing upon recent films including the Trans New Wave ( Ford 2014 , 2016a , 2016b ), such as the experimental animated autoethnographic short film Change Over Time (Ewan Duarte, United States, 2013), in tandem with the feature film 52 Tuesdays (Sophia Hyde, Australia, 2013), I will analyse the films as texts which show how filmmakers utilise temporality as a narrative and stylistic technique in cinematic trans narratives. These are texts where cinematic technologies converge with trans embodiment in ways that are constitutive of participants and audiences' understanding of trans lives. This analysis will be contrasted with the use of temporal displacement as a cinematic trope of negative affect, disembodiment and societal disjunction in the feature film Predestination (The Spierig Brothers, Australia, 2014), providing a further basis for scholarly critique of cinematic somatechnics in relation to the trans body.

LET'S GO TO FRENZY A Brief History of New Zealand Music TV and Music Video

Perfect Beat ◽  
2015 ◽  
Vol 1 (4) ◽  
pp. 111-121
Author(s):  
Bruce Sheridan ◽  
Philip Hayward
Keyword(s):  
New Zealand ◽  
Music Video ◽  
History Of

Between Specters of War and Visions of Peace

2019 ◽  
Author(s):  
Gerald M. Mara
Keyword(s):  
Political Philosophy ◽  
International Relations ◽  
Political Theory ◽  
Democratic Theory ◽  
First Century ◽  
Political Life ◽  
Frames Of Reference ◽  
War And Peace ◽  
History Of ◽  
Western Democracies

This book examines how ideas of war and peace have functioned as organizing frames of reference within the history of political theory. It interprets ten widely read figures in that history within five thematically focused chapters that pair (in order) Schmitt and Derrida, Aquinas and Machiavelli, Hobbes and Kant, Hegel and Nietzsche, and Thucydides and Plato. The book’s substantive argument is that attempts to establish either war or peace as dominant intellectual perspectives obscure too much of political life. The book argues for a style of political theory committed more to questioning than to closure. It challenges two powerful currents in contemporary political philosophy: the verdict that premodern or metaphysical texts cannot speak to modern and postmodern societies, and the insistence that all forms of political theory be some form of democratic theory. What is offered instead is a nontraditional defense of the tradition and a democratic justification for moving beyond democratic theory. Though the book avoids any attempt to show the immediate relevance of these interpretations to current politics, its impetus stems very much from the current political circumstances. Since the beginning of the twenty-first century , a series of wars has eroded confidence in the progressively peaceful character of international relations; citizens of the Western democracies are being warned repeatedly about the threats posed within a dangerous world. In this turbulent context, democratic citizens must think more critically about the actions their governments undertake. The texts interpreted here are valuable resources for such critical thinking.

The Property Species

2020 ◽  
Author(s):  
Bart J. Wilson
Keyword(s):  
Cognitive Linguistics ◽  
Homo Sapiens ◽  
Fundamental Principle ◽  
First Century ◽  
Human Beings ◽  
Full Account ◽  
Symbolic Thought ◽  
Core Property ◽  
The Social ◽  
History Of

What is property, and why does our species happen to have it? The Property Species explores how Homo sapiens acquires, perceives, and knows the custom of property, and why it might be relevant for understanding how property works in the twenty-first century. Arguing from some hard-to-dispute facts that neither the natural sciences nor the humanities—nor the social sciences squarely in the middle—are synthesizing a full account of property, this book offers a cross-disciplinary compromise that is sure to be controversial: All human beings and only human beings have property in things, and at its core, property rests on custom, not rights. Such an alternative to conventional thinking contends that the origins of property lie not in food, mates, territory, or land, but in the very human act of creating, with symbolic thought, something new that did not previously exist. Integrating cognitive linguistics with the philosophy of property and a fresh look at property disputes in the common law, this book makes the case that symbolic-thinking humans locate the meaning of property within a thing. The provocative implications are that property—not property rights—is an inherent fundamental principle of economics, and that legal realists and the bundle-of-sticks metaphor are wrong about the facts regarding property. Written by an economist who marvels at the natural history of humankind, the book is essential reading for experts and any reader who has wondered why people claim things as “Mine!,” and what that means for our humanity.

Cinema Expanded

2020 ◽  
Author(s):  
Jonathan Walley
Keyword(s):  
New Media ◽  
Film History ◽  
Video Art ◽  
Experimental Film ◽  
Art World ◽  
Film Culture ◽  
Moving Image ◽  
Avant Garde ◽  
Expanded Cinema ◽  
History Of

Cinema Expanded: Avant-Garde Film in the Age of Intermedia is a comprehensive historical survey of expanded cinema from the mid-1960s to the present. It offers an historical and theoretical revision of the concept of expanded cinema, placing it in the context of avant-garde/experimental film history rather than the history of new media, intermedia, or multimedia. The book argues that while expanded cinema has taken an incredible variety of forms (including moving image installation, multi-screen films, live cinematic performance, light shows, shadow plays, computer-generated images, video art, sculptural objects, and texts), it is nonetheless best understood as an ongoing meditation by filmmakers on the nature of cinema, specifically, and on its relationship to the other arts. Cinema Expanded also extends its historical and theoretical scope to avant-garde film culture more generally, placing expanded cinema in that context while also considering what it has to tell us about the moving image in the art world and new media environment.

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