Saloniemi Olli-Pekka Gradu 2013

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Saloniemi Olli-Pekka Gradu 2013 SATANISTIT, VIIKINGIT JA KANSALLISROMANTIKOT Norjalaisen 1990-luvun black metallin diskurssien representaatioita levynkansissa Lapin yliopisto Taiteiden tiedekunta Graafinen suunnittelu Syksy 2013 Olli-Pekka Saloniemi Lapin yliopisto, taiteiden tiedekunta Työn nimi: Satanistit, viikingit ja kansallisromantikot: Norjalaisen 1990-luvun black metallin diskurssien representaatioita levynkansissa Tekijä: Olli-Pekka Saloniemi Koulutusohjelma/oppiaine: Graafinen suunnittelu Työn laji: Pro gradu -tutkielma X Laudaturtyö Sivumäärä: 66 Vuosi: 2013 Tiivistelmä: Tutkimus käsittelee levynkansia. Laajempana lähtökohtana on selvittää kuinka musiik- kia kuvitetaan ja millä tavoin tämä ilmenee levynkansissa. Levynkannet kertovat meille jotain olennaista musiikista. Suunnitelun ja kuvitusten avulla ne välittävät käsityksiä siitä, miltä tietty musiikinlaji kuulostaa ja miltä sen kuuluu näyttää. Fokuksena tässä tutkimuksessa on norjalainen 1990-luvun black metal ja sille tyypilliset visuaalisen esittämisen keinot. Tarkastelen norjalaista black metallia kriittisen diskurssianalyysin viitekehyksen avulla ja pyrin luomaan tutkimusaineiston pohjalta eräänlaisen kokonaiskuvan black metal- lin taustalla vaikuttavista näkökulmista ja diskursseista. Analyysiosassa hahmottelen millä tavoin satanistiset, mytologiset ja kansallisromanttiset diskurssit representoituvat levynkansitaiteessa. Tutkimuksen tuloksena on eräänlainen visuaalinen läpileikkaus 1990-luvun norjalai- sesta black metallista ja sen taustalla vaikuttavista ajatuksista ja niiden ilmenemisestä levynkansissa. Black metal ei ole vain yksi ehyt tyylilaji, vaan joukko erilaisia versioita suuremmasta diskurssien ja näkökulmien kokonaisuudesta. Avainsanat: black metal, levynkannet, levynkansitaide, musiikki, musiikin kuvittaminen, diskurssianalyysi, multimodaalisuus, populaarikulttuuri Muita tietoja: Suostun tutkielman luovuttamiseen kirjastossa käytettäväksi X Suostun tutkielman luovuttamiseen Lapin maakuntakirjastossa käytettäväksi X (vain Lappia koskevat) Sisällysluettelo 1. Johdanto ...................................................................................................................2 1.1. Aikaisempi tutkimus .........................................................................................3 1.3. Oma tutkimus ja tutkimuksen tavoite ...............................................................4 1.3.1. Tutkimusaineisto .....................................................................................5 1.3.2. Tutkimuksen rakenne ja kulku ................................................................5 2. Tutkimusmenetelmistä .............................................................................................6 2.1. Representaatio ja diskurssi ................................................................................6 2.2. Tekstien multimodaalisuus ................................................................................7 2.3. Kriittinen diskurssianalyysi ..............................................................................9 2.3.1. Viestintätilanne ......................................................................................10 2.3.2. Diskurssijärjestys ..................................................................................13 2.3.3. Intertekstuaalisuus .................................................................................14 3. Levynkansista ........................................................................................................16 3.1. Levynkansitaiteen historia ..............................................................................16 3.2. Populaarimusiikki ja visuaalisuus ...................................................................20 3.3. Levynkansitaiteen tehtävä ...............................................................................21 4. Norjalainen black metal .........................................................................................23 4.1. Mitä norjalainen black metal on? ....................................................................24 4.2. Norjalaisen black metallin juuret ....................................................................25 4.3. Black metal diskurssijärjestyksenä .................................................................35 5. Norjalaisen black metallin diskurssit .....................................................................37 5.1. Satanismi .........................................................................................................39 5.2. Mytologiat .......................................................................................................43 5.3. Kansallisromantiikka .....................................................................................47 6. Black metallin diskurssien representaatiot levynkansissa .....................................49 7. Lopuksi ..................................................................................................................59 Lähteet ja liitteet 1. Johdanto Levynkannet ovat olleet kiinnostuseni kohde jo lapsesta asti. 1980-luvulla Iron Maide- nin ja Loudnessin värikkäät LP-levyjen kannet fantastisine kuvituksineen tekivät mi- nuun suuren vaikutuksen ja tuntuivat kertovan itse musiikista jotain olennaista. Levyjen kannet pienenivät huomattavasti 1990-luvulla musiikin pääasiallisen julkaisuformaatin siirtyessä CD-levyyn, mutta mielenkiintoni musiikin kuvittamisen keinoihin säilyi. CD- levyjen erikoispainokset toivat lisäarvoa musiikille ja syvensivät musiikin luomia mie- likuvia ja merkityksiä. Olen itsekin päässyt suunnittelemaan muutamia levynkansia ja tekemään yleisempää visuaalista sisältöä pikkubändeille keikkajulisteiden, nettisivujen ja flyereiden muodossa. Suunnittelu musiikkia silmälläpitäen ja musiikin näköiseksi on ollut haasteellista, mutta samalla erittäin mielenkiintoista. Norjalainen 1990-luvun black metal on yksi hämmentävimmistä, mutta samalla myös kiinnostavimmista ilmiöistä musiikkimaailmassa. 1990-luvun alussa Norjasta kantau- tuvat uutiset palavista kirkoista ja saatanaa palvovista yhtyeistä olivat pelottavia, mutta samaan aikaan myös todella kiehtovia. Black metal on musiikillisena ja kulttuurisena ilmiönä äärimmäisimpiä ja korostaa kyseenalaisiakin näkökulmia. Tämä tekee ilmiöstä myös mielenkiintoisen ja tutkimisen arvoisen. Erityistä norjalaisessa black metallissa on se, kuinka tyylilaji on kietoutunut erilasiin mytologisiin ja ideologisiinkin näkökulmiin ja miten se näitä sekä musiikillisesti, mutta myös visuaalisesti ilmentää. Musiikin kuvittaminen on 1990-luvulta 2000-luvulle tultaessa muutenkin mielenkiin- toinen aihe musiikkiteollisuuden ollessa eräänlaisessa murroskohdassa erilaisten tekno- logioiden kehittymisen vuoksi. Ensinnäkin lähes kenellä tahansa on nykyisin mahdolli- suus tehdä ja julkaista musiikkia pienestä kotistudiosta käsin. Musiikin levittäminen ja jakaminenkaan ei ole enää sidottu fyysiseen tallennemuotoon: Pienetkin yhtyeet voivat julkaista musiikkia helposti nettisivuilla kuten Bandcamp tai Soundcloud. Koska mu- siikki ei ole enää sidottu fyysiseen julkaisuformattiin, levynkannen ja levynkansitaiteen muoto ja merkitys ovat eräänlaisessa murroskohdassa. Formaattien uudelleenmuotoilut eivät ole sinänsä uusi ilmiö musiikkiteollisuudessa ja kulttuurissa, koska vastaavanlai- nen tilanne oli siirryttäessä valtavan painopinta-alan omaavasta vinyylilevyn kuoresta huomattavasti suppeampaan CD-levyn kanteen. Painopinta-ala pieneni merkittävästi ja levynkannen suunnittelijan piti keksiä uusia ratkaisuja saadakseen kansitaiteen toi- mimaan uudessa julkaisuformaatissa. Tulevaisuudessa levynkansitaiteen käsite tulee varmasti uudelleenmuotoiluksi ja perin- teinen käsitys levynkannesta siirtynee vähitellen syrjään. Vaikka vinyylinen LP-levy 2 on tehnyt pienimuotoista comebackia 2000-luvun aikana, on valtaosa musiikin julkai- semisesta ja täten myös musiikin kuvittamisesta siirtymässä verkkoon. Tämänkin takia on mielenkiintoista tarkastella, minkälaisia ajatuksia musiikin kuvittamisen taustalla lähimenneisyydessä on vaikuttanut. 1.1. Aikasempi tutkimus Norjalaista 1990-luvun black metallia ja sen visuaalisen esittämisen keinoja on tutkittu jonkin verran. Aikaisimpia yleisesti black metal-kulttuuria käsitteleviä dokumentteja aiheesta lienee Norjan yleisradio NRK:n 1994 tuottama Det Svarte Alvor.1 Eräs edel- leen merkittävimmistä black metallia käsittelevistä kirjoista on Michael Moyhinahin ja Didrik Søderlindin vuonna 1998 julkaisema kirja Lords of Chaos: The Bloody Rise of the Satanic Metal Underground, jossa käydään lajityypin historiaa ja tunnusmerk- kejä melko kattavasti läpi. Lisäksi kirjassa käsitellään paljon genren ympärillä olevia lieveilmiötä. Daniel Ekerothin kirja Swedish Death Metal käsittelee lähinnä ruotsalai- sen death metallin historiaa, mutta sivuaa myös norjalaista black metallia. Brittiläisen Black Dog Publishingin toimittama kirja Behind the Darkness (2012) käsittelee black metal-kulttuuria, sen visuaalisia käytäntöjä ja uudempia ilmenemismuotoja. Yleisemmin metallimusiikkia ja metallimusiikin kulttuuria käsittelevä dokumentti Me- tal: A Headbangers Journey (2005) käsittelee lyhyesti black metallia, mutta elokuvan DVD-julkaisun lisämateriaalien mukana tulee erillinen, tosin melko lyhyt dokumentti norjalaisesta black metallista. Varsinaisessa elokuvassa norjalaiselle black metallille annetaan valitettavasti lähinnä tragikoominen sivuosa. Aaron Aitesin ja Audrey Ewel- lin dokumentissa Until the Light Takes Us (2008) tutkitaan norjalaisen black metallin historiaa ja sen taustalla vaikuttavia
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