scholarly journals Analogue video in the age of retrospectacle

2017 ◽  
pp. 39-58
Author(s):  
Jonathan Rozenkrantz
Keyword(s):  
Magnetic Tape ◽  
Hip Hop ◽  
Video Art ◽  
Digital Culture ◽  
Short Film ◽  
Music Video ◽  
Media Technologies ◽  
Visual Variable ◽  
Material Conditions

This article explores the various manifestations of analogue video in digital culture. Introducing the framing concept of an aesthetics of remanence, it argues that the “society of the spectacle” (Debord) has entered an age of retrospectacle, a dominant signifier of which is the remediation and/or simulation of analogue videography. The concept of remanence connects the material conditions of magnetic tape with analogue video’s aesthetic expressions, and the cultural situation in which analogue video finds itself today. By looking at three different cases related to retro gaming, contemporary hip hop, and “old skool” rave, the article shows how the aesthetics of remanence remains highly susceptible to subcultural sensibilities—while it also functions as their shared visual variable. The short film Kung Fury (David Sandberg, 2015) is a playfully post-ironic recuperation of failed media technologies. The music video “Fromdatomb$” (David M. Helman, 2012) is a complex exploration of the idea(l) of the historical real. And the work of video art Fiorucci Made Me Hardcore (Mark Leckey, 1999) is a creative treatment of nostalgia which invites us to reconsider the medical origins of the term.

scholarly journals The Wonder Years

2017 ◽  
pp. 59-77
Author(s):  
Kathleen Williams
Keyword(s):  
Magnetic Tape ◽  
Hip Hop ◽  
Video Art ◽  
Digital Culture ◽  
Short Film ◽  
Music Video ◽  
Media Technologies ◽  
Society Of The Spectacle ◽  
Visual Variable ◽  
Material Conditions

This article explores the various manifestations of analogue video in digital culture. Introducing the framing concept of an aesthetics of remanence, it argues that the “society of the spectacle” (Debord) has entered an age of retrospectacle, a dominant signifier of which is the remediation and/or simulation of analogue videography. The concept of remanence connects the material conditions of magnetic tape with analogue video’s aesthetic expressions, and the cultural situation in which analogue video finds itself today. By looking at three different cases related to retro gaming, contemporary hip hop, and “old skool” rave, the article shows how the aesthetics of remanence remains highly susceptible to subcultural sensibilities—while it also functions as their shared visual variable. The short film Kung Fury (David Sandberg, 2015) is a playfully post-ironic recuperation of failed media technologies. The music video “Fromdatomb$” (David M. Helman, 2012) is a complex exploration of the idea(l) of the historical real. And the work of video art Fiorucci Made Me Hardcore(Mark Leckey, 1999) is a creative treatment of nostalgia which invites us to reconsider the medical origins of the term.

scholarly journals Body Surrogates: Mannequins, Life-Size Dolls, and Avatars

2016 ◽  
Vol 38 (2) ◽  
pp. 1-20
Author(s):  
Francesco Spampinato
Keyword(s):  
Early Years ◽  
First Century ◽  
Digital Culture ◽  
Human Being ◽  
Twenty First Century ◽  
Material Conditions

One of the tropes of these early years of the twenty-first century is that of the avatar, a virtual representation of a human being used for entertainment, educational, technical, or scientific purposes. The avatar is a product of digital culture, but its origins are coeval with those of the human being and its evolution is affected by material conditions and the level of technology currently achieved by a given society. The origin of the word “avatar” has a spiritual connotation: It was associated with Hinduism and used to describe a deity who took a terrestrial form. More generally, however, whether in terms of religion or computing, we could define the avatar as a surrogate, a body—real or virtual—that replaces another.

Proximate Forms and Sites of Encounter : Music Video and Experimental Tradition

Fanvids ◽  
2020 ◽  
Author(s):  
E. Charlotte Stevens
Keyword(s):  
Video Art ◽  
Reference Points ◽  
Music Videos ◽  
Fan Studies ◽  
Television Studies ◽  
Music Video ◽  
Found Footage ◽  
Moving Images ◽  
Definition Of

Vids resemble music videos and found footage films. They have the form and appearance of a music video, and they re-use existing moving images in a way that appears to meet the definition of found footage work or remix video art. This chapter establishes some parameters within which the vid can be viewed in relation to proximate forms. This chapter works through specific academic framings of similar forms such as found footage films in the experimental tradition and music video before discussing canons of vids that are formed through recent gallery contexts. These additional lenses—beyond fan studies and television studies—offer further reference points through which to understand vids.

scholarly journals Swipe-Technology’s Influence in Born Digital Culture: Redesigning Pedagogy in Early Childhood Education

2021 ◽  
Author(s):  
Ashley Tencer
Keyword(s):  
New Media ◽  
Learning Styles ◽  
Digital Literacy ◽  
Social Consequences ◽  
Digital Culture ◽  
Educational Institutions ◽  
Media Technologies ◽  
The Social ◽  
Digital Language ◽  
The Impact

This essay examines the ways in which technology defines and divides generations and considers how swipe-­technology (touch-­screen technologies) shape emerging learning styles. Specifically, it focuses on the research currently being investigated on how forms of digital literacy represent a radical shift, away from traditional forms of literacy (Prensky, 2001a, b; Frand, 2000; Prensky, 2001b; Tapscott, 1997; Franco, 2013; Plowman & McPake, 2013; Infante, 2014; Passey, 2014) and evaluates various claims made about the social consequences of such change. This paper emphasizes the impact that swipe-­technology has on young children during early stages of their development and seeks to answer the following question: what are the consequences of digital language becoming the Born Digital’s (Franco, 2013) primary form of expression? The paper draws on some traditional theories such as those of Mannheim (Kecskemeti, 1952) and Vygotsky (1929, 1962, 1978) to provide a broader contextualization. In so doing, it hopes to contribute to the dialogue about how educational institutions should be redesigned to accommodate new media technologies.

Denaturalizing Coco’s “Sexy” Hips

2014 ◽  
Author(s):  
Chih-Chieh Liu
Keyword(s):  
East Asia ◽  
Video Analysis ◽  
Hip Hop ◽  
Chinese American ◽  
The Body ◽  
Body Politics ◽  
Music Video ◽  
Star Image ◽  
Cultural Boundaries ◽  
Complex Power

This chapter, starting from a seemingly standardized dance promotion in Mandarin pop, one of the dominant music genres in East Asia, attempts to reveal the cultural logics and to denaturalize the corporeal discourses behind what is commonly perceived as the “naturally” spectacular hip movement of a Chinese-American superstar, Coco Lee, whose dance is, in Taiwan, often linked with the idea of “sexiness” and “American-ness.” Calling upon Judith Butler’s idea of performativity (1990) in tandem with Richard Dyer’s notion of star image (1979) and the concept of the dancing body (Thomas 1995; Foster 1996), this chapter, using music video analysis (Vernallis 2004; Beebe and Middleton 2007), delineates Coco’sHip Hop Tonight(2006) to point out the contradictions and reversals of the body in contemporary multimedial context in that “sexiness” is desexualized, “American-ness” is Sinocized, and the meaning of “Chinese-ness” continues to shift according to local cultural and political sensibilities. In this process, music video becomes an intersecting point in which cultural boundaries negotiate and body politics fight to gain the upper hand, revealing a web of complex power struggles in Taiwan where meaning of the body is locally produced yet globally contested.

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.

Fashion Image Classification and Make-up Design in Kill this Love from BLACKPINK

2019 ◽  
Author(s):  
Fariha Azalea ◽  
Adib Rifqi Setiawan
Keyword(s):  
Image Classification ◽  
Hip Hop ◽  
Video Image ◽  
Music Video ◽  
Design Features ◽  
Hair Style ◽  
Image Screen ◽  
Musical Feature

This work aims to study actual cases of idol girl groups’ fashion styling by examining fashion image types, make-up designs, and hair styles of ‘BLACKPINK’ shown in music video image screen of ‘Kill this Love’. As a result of studying make-ups and fashion images in ‘Kill this Love’, the musical feature of BLACKPINK is ‘electronic’ but costumes in music video show a variety of styles such as ‘retro, mannish, military, punk, and ethnic’ styles avoiding typical hip-hop style. Their make-ups also show various make-up design features using the elements of ‘color, shape, and texture. In particular, individual and strong images are delivered effectively through bold variations (thickness, length, and direction of eyeliner, and slanted eyes’ shape) avoiding typicality of gel & liquid eyeliners. Also, by performing the changes of false eyelashes and hair colors actively, kitschy elements are expressed. In addition, it is indicated that rather than conceptualization of uniformed fashion styling for all members in one music, each member has own and differentiated fashion style, make-up, and hair style according to each voice color and each role in their music.

Hip-hop Identity in the Music Video

2020 ◽  
Vol 42 (4) ◽  
pp. 275-300
Author(s):  
Dohyoup Lee ◽  
Hanno Lee
Keyword(s):  
Hip Hop ◽  
Music Video
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