Music Video: a Historical Perspective/ P - DocsLib

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Nome Cognome

Titolo Sottotitolo Introduction

1. DID THE VIDEO KILLED THE RADIO STAR?

/THE MUSIC VIDEO: A HISTORICAL PERSPECTIVE/ P. 1 1

/THE BIRTH OF MUSIC TELEVISION/ P. 1 6

/THE DIGITAL AGE/ P. 1 9

2. RETHINKING THE MUSIC: MUSIC VIDEO

/MATERIAL GIRL IN A POSTMODERN WORLD/ P. 2 9

/THE CONTEXT OF INCREASING CONVERGENCE/ P. 3 1

/MUSIC VIDEO & YOUTUBE/ P. 3 5

3. MUSIC VIDEO IN EDUCATION

/THE INFLUENCE OF MUSIC&MUSIC VIDEO/ P. 4 5

/STUDENTS DEVELOP DIGITAL VIDEO PROJECT/ P. 4 9

4. LEARNING FROM RE-MAKING: PAOLA DI ROSA IS HAPPY

/THE WORLD’S FIRST 24-HOUR MUSIC VIDEO/ P. 6 2

/ BOARDING HOUSE “PAOLA DI ROSA”/ P. 7 2

/LEARNING FROM RE-MAKING/ P. 8 1 I consider myself lucky to be a high school teacher, and ten years of teaching in high school motivated me to find my unique teaching style. From this reason I wanted to enrich my experience of teacher with new skills so I started the Academy of Fine Arts “Santa Giulia” in Brescia. During my companion- ship with young people I realized how music maters to them, and it is hard to understand them without a serious understanding of music impact on their life. With the adoption of new skills in media and graphic design I decided to make one final project that will help me understand the role of music in education even more. My project is designed for “Paola Di Rosa”, a state-recognized private Catholic boarding house for girls in Croatia, led by female religious congregation Servants of Charity. Introducing into boarding house a new activity of filmmaking I wanted to experiment with positive impact on behavior, motivation, and relationships between pupils and staf. From that reason the making of one music video remake it seemed to me the right choice in work with teenagers. In this paper I want to describe all steps that led me to conclusion that one music video could be useful in education and promotion. Music has always been a huge part of human culture. It has changed and evolved over the years, and today it is hard to find a current top music hit without being accompanied by the music video. How did we get to this point, where it is almost necessary to have a music video along with the songs, we can read in first chapter. The most significant event in the evolution of the music video was the invention of MTV that opened possibilities for any further digital format. Search for music over

7 the Internet suddenly increased, and the new home for music video now is the World Wide Web. Chapter One This paper is about music video. So what is a music video? The writing on music video has had two distinctive moments in its brief history. One wave of writing came from those people who were interested in theoretical reading of television as a cultural form, and the other from those who were primarily interested in the relationship between sound and image and popular culture itself. Therefore, the second chapter points out the two representative theories. One is postmodern theory that tries to deﬁne music video as an original genre, and other that disagreed with this postmodern interpretation trying to locate music video within its contexts of production and consumption. Today’s parents face new challenges in education, because their children are immersed in media. The average adolescent has more than six hours of daily media use. The growing phenomenon of “media multitasking” - using several media concurrently - multiplies that ﬁgure to eight and a half hours of daily media exposure. Moreover, parents are concerned about the messages young people get from music videos in popular culture. What parents and educators should do, and why the digital literacy is so important we can read in third chapter. Finally the fourth chapter describes the main project of music video and experience that came out from learning while we were remaking Pharrell Williams’ Happy.

8 Chapter One 1.1. The Music Video: a Historical Perspective

Music has always made a huge part of human culture. It has changed and evolved over the years, and today it is hard to ﬁnd a current top music hit without being accompanied by a music video. How did we get to this point, where it is almost necessary to have a music video to go along with the songs of our favorite artists?

The Cambridge Dictionary defines Music Vid- Certainly, all viral music videos do not nec- eo as a “short film made to advertise a popular essarily sell records, and the music video is song”.1 Today, with the spread of viral videos, much more than just an advertisement for a everyone on the Internet has the possibility to popular song. Before we try to redefine the be seen. Even a non-celebrity can tweet a pic- term of music video we should discuss the ture of his cat and trust that his 5000 Twiter history and development of music video followers will faithfully click. through the filter of media concepts. The first song broadcast on MTV: Buggles - Video Killed The Radio Star, With this in mind, it is easy to understand how Music has always made a huge part of human some videos have become an overnight sen- culture. It has changed and evolved over the sation. Going back to our definition from the years, and today it is hard to find a current Cambridge Dictionary we could ask ourselves: top music hit without being accompanied by DID Are all Music Videos made to advertise a song? the music video. How did we get to this point, where it is almost necessary to have a music video to go along with the songs of our favor- THE VIDEO KILL - ite artists? THE RADIO STAR?

11 Thirty years ago today, the television net- The sound on film. The next major step in work MTV launched, marking the dawn of the history of music videos was the develop- what many consider the music video today. ment of sound on film. In 1922, a New Yorker Although, the genre itself has a much longer named Lee De Forest developed the Phono- timeline that stretches as far back as the late film system. He added an audio tube to the 19th century. sound-on-film system and made it much easier to amplify sound through the speak- th Late 19 century. The first proto-music video ers in theaters. It is much closer to what we was likely created in early 1890’s when George do with movies and sound today. The rival Thomas was hired to promote sales of song of sound system, called Vitaphone (sound-on- Edward B. Marks and Joe Stern. He combined disc) used by Warner Brothers, coordinated music and images on glass slides. That was the filmed images with sound recorded on large earliest recorded instance where a song has phonograph disks. Vitaphone’s strength was been preformed with a set of pictures for the an amplified speaker system that could fill sole purpose of promoting the song itself. These large theatres with relatively clear sound. “illustrated songs”, designed for public view- This new technology allowed films to have ing in theatres, rapidly became a popular, and more than simple piano accompaniments. turned into great profit for music publishers. The first hit song from that time was Char- Few years later Eadweard Muybridge came to maine from a Fox Film Corporation movie Thomas Edison with new idea. He wanted to called What Price Glory. The first full-length create a device that plays sound and moving ‘talkie’, The Jazz Singer (1927), followed the images simultaneously by merging his zoo- genre’s development with some more spo- praxiscope with Edison’s phonograph. This ken dialogue, sound efects and music. The collaboration was never realized. Instead, 1920s also saw the creation of ‘bouncing ball’ The 60s. Cinebox and Scopitone. Edison made his plan to come up with an in- sing-along films, featuring a bouncing ball vention that would do “for the Eye what the over lyrics to encourage the audience to sing phonograph does for the Ear. In early 1889, along. They became a wide success from 1929 he finally gave a name to his planned inven- onwards when Paramount Pictures took over tion in a second claim: kinetoscope, from the production and distribution, calling them Greek words kineto (“movement”) and sco- ‘screen songs’. The bouncing ball is still used Crying For The Carolines is a unique work, was a three minute long musical film that 4 pos (“to view”), but the invention didn’t have today, particularly in children’s musical film. especially so considering that this short is featured dance sequences in a similar fash- 2 the only one in the series to have survived ion to modern music videos. This format a brilliant future. The music and images were At the beginning of 1930s Warner Brothers to the present day. According to animation included famous and unknown performers not in sync, and breaks in the film would produced a series of music shorts called the historian Jerry Beck, the other ‘Spooney Mel- performing a gamut of musical genres from cause the motion picture to get out of step ‘Spooney Melody’ series. These were a mix- odies’ made were Just a Gigilo, Say A Litle jazz to patriotic tunes. Over 1800 Soundies with the phonograph record. Edison realized ture of art-deco animation and live footage Prayer For Me, When Your Lover Has Gone, were produced from 1940 to 1946, yet their that the Kinteophone will never become pop- much like a music video today. Main ani- and For You. popularity eventually faded due to World ular and the future of moving images will be mation played the title song with simple and War II and the limitations of the technol- in projection, so he moved his eforts onto his kaleidoscopic animation. While stylistically 3 The 40s and 50s. Musical film was not only ogy. Since their invention, Jukeboxes have next invention. they are very diferent, they mixed story, per- shown in the cinemas. In the 1940s ‘soun- been a staple of many public places such as formance, and cool visuals in the same way dies’ were created for a film jukebox called bars, restaurants, and nightclubs, especially Thomas Edison and the Kineto- many modern music videos do. The video the Panoram. This was a coin-operated ma- scope in the 1930s to the 1950s.5 - chine that played music synchronized with Film Sound History, On-line ar- film projected onto a glass screen. By placing Edison Sound Record- ticles timelines books- a coin—usually a nickel—into the machine, Soundies: A Musical His- ings- customers could listen to a song. Soundie tory

12 13 While the Panorama Soundie jukebox The 60s. The Panoram ended afer being classic in U.S. was Neil Sedaka’s Calendar Beatles, The Stones, The Kinks, Bowie, Roxy played film clips over popular songs of the out-competed by the two diferent ma- Girl. By the end of the 60s the popularity Music and Warhol, were not troubled by the 1940s, rock and roll films of the 1950s in- chines, one in Italy and one in France. The of the Scopitone had faded, although Sco- existing division of art and commerce. Al- troduced audiences to the idea of band French one was the Scopitone. The Scopi- pitone films continued to be produced until though this may be true, time created a space as late as 1978. Hence, the films were shot in for more ephemeral forms of pop journalism. performances. Although it started life as tone, invented in France, used 16mm film Technicolor, they are so colorful even today. In the late 70s, the style in pop music became a B-movie, Rock Around the Clock, star- to play music videos and became popu- more important than content, bringing new ring Bill Haley, was one of the biggest hits lar across Europe and the United States The 60s saw further developments in mu- through the 60s. When Scopitones were in- fashion in make-up, clothes, hair, etc. Hence- of 1956. The film is composed principally sic videos with the release of several feature troduced to the U.S. in 1964, there were ac- forth, it launched the new magazine Smash of band performances by Haley, The Plat- length films by The Beatles such as A Hard tually no American films for the machines. Hits in 1978, catering for a younger audience ters, Alan Freed and Freddie Bell and the Day’s night and Help. The Beatles had a strong in a smaller magazine format. Its focus was on The visual concept of those machines was influence on the music business. Although Bell Boys. All those dynamics caused the similar to the Soundies, with the diference ‘trivia’ – favorite colors, food, pop-musician’s transformations in youth culture at the end short music-film already existed, the Beatles lifestyles, etc. It included fan club informa- of Scopitone films being prety exotic, de- were the pioneers of puting the two ideas of the 50s, increasing the purchase of high- tion, lyrics, posters, free gifs on the covers, signed to appeal men audience in bars. into the concept we now know as the music ly symbolic popular music products. Music While, films made for Scopitones in France contact with readership, etc. Music land- video. They made a short, stand-alone film of scape changed the color, emerging new pop shows like Top of Pops in the UK, Ameri- were featured by the famous French pop a musical act presenting a current song that stars like Duran Duran, Adam and the Ants, can Bandstand in the US and Beat Club in stars, American Scopitones needed gim- may or not be a live performance. The idea Spandau Ballet and Culture Club. These were Europe were centre pieces in the emergent micks like Technicolor and jiggling bikini of music video is seen as a help to their very artists who understood that visual style was youth culture revolution. girls to survive. One of the first Scopitone tight schedule. Instead of the appearances as important as the music – and sometimes on TV and in shows around the world, they more so. Consequently, their promotional could send their music videos. Their music videos will lead us to the early days of MTV. videos took a format very similar to modern music videos. These videos become increasingly surreal, featuring heavy post-production The Beatles were the pioneers of puting the two ideas into the concept we now know as the music video. much like modern music videos. Since then, Bob Dylan, The Rolling Stones, The Who and many other artists began to make promotional clips leading up to the 1970s. The 60s also brought the transformation of clothing codes and convention from the Beatles suit to the longhaired rebellion of the hippy era. On the other side, the popular music television defined the forms and conventions of the music video: carefully choreographed performances, synchronized to a studio recording of an individual track; close-up shots, taken from high and low angles, edited in time with the music. The press. The first music magazine, The New Musical Express was published in 1952. As the 60s brought many transformations in youth culture, it created a fortnightly publi- cation, called the Rolling Stone, which contained a mixture of current afairs, celebrity interviews and coverage of the music industry. Bands, influenced by the 60s, The

14 15 The first transmission of MTV was on August nels spread around the world. Music videos 1st 1981.1 The first song broadcast from Bug- kept their popularity with more money invest- gles Video Killed The Radio Star, directed by ed in their production. Music videos kept push- Russell Mulcahy, has announced a new era in ing boundaries, with videos such as Dire Straits history of music video – the MTV era. Iron- “Money For Nothing”, which made pioneering 1.2. The Birth of ically, this time the video won over the ra- use of computer animation. MTV played music dio. MTV’s success was evident when record videos 24 hours a day, 7 days a week, with com- Music Television stores started selling music that customers mentary by on-air video jockeys. Innovations had discovered on MTV, and not on the radio in video recording and visual efects meant that station. Music video was the new media that more and beter music videos were constantly everyone was talking about and there was no being made. Portable color video cameras were risk of it fading into history like the Scopitone making it easier for artists to record their own in the 1960s. The new service allowed art- DIY (do-it-yourself) music videos and avoid the ists to reach out to new audiences, and new big budget of professional film productions.2 British artists such as Billy Idol, Bonnie Ty- ler, and Duran Duran gained again a massive Redefining music video. If we follow those success in America. Music video industry de- the aforementioned social changes we can no- veloped into a sensation when the 14-minute tice how the music video is one of the original artifacts of its time and can be observed only The Monkees (a band put together by US long video of Michael Jackson, Thriller (1983) under postmodernist conditions. Postmod- television for a television sitcom of the turned out in production worth of $800,000. ernism brings the hybridization of modes and same name) brought out the concept of Undoubtedly, Michael Jackson belongs to crossover of artistic forms so characteristic for music video television. Afer producing a the constellation of fascinating dance stars this time. Though music video began as a pro- video in 1977 for his solo single ‘Rio’, Mike of nineteenth-century through Earl Tucker motional and advertising medium for record Nesmith sold the idea of a music video to James Brown. In fact, thanks to the music companies, it has developed and transformed television show to Times Warner as a pro- video the world could see the great dancing into an artifact, which is art and advertisement, motional device for their record division. form displayed by Michael Jackson. This mu- and at same time, avant-garde and kitsch. Its Warner Cable invented the interactive sic video confirmed new pop culture and it structure is music, dance and performance technology with Sight and Sound that al- was the first video to show the importance combined with the elements of television, live lowed audiences to interact with the broad- of advertising form and profit-making video. musical performance and film.3 Therefore, the cast by voting for their favorite artists. The music video Thriller made the selling of forty million copies of the Thriller album pos- difculty of approaching the music video relays sible, and generated one hundred and eighty in fact that music videos demonstrate particu- million dollars for CBS/Epic record compa- lar genre characteristics. So while this genre ny. Beside this form of advertising and prof- includes the rock idiom and live performance it-making, Jackson’s music video Bad, was it also embraces many other genres: documen- the first video to show the ideological potency tary (Ratle and Hum, U2, 1987), animation of this medium in postmodernist conditions, (“Money For Nothing”, Dire Straits, 1985) as well carrying the strong social message. as more abstract routines (Subterranean Home- sick Blues, Bob Dylan, 1966). From its infancy MTV expanded over the years with the MTV MTV’s success was evident when record stores started selling music that Video Music Awards (1984), VH1 (1985) Yo! MTV Raps (1988), and MTV2 (1996). Other TV The History of Music Videos: Part 4. customers had discovered on MTV, and not on the radio station... stations imitated MTV’s style and music chan-

Pitzer College. The Incomparable Postmodernist Dancing Feet Media Magazine of Michael Jackson: pp. 6-11

16 17 1.3. The digital age

Michael Jackson conﬁrmed new pop culture and showed the importance of advertising form and proﬁt-making video.

in the late 1970s one of the defining features of As Hollywood style cinematography entered in the music video is its satiric impulse. Analyzing business with music video, the big music video No, video did not kill the radio, as movies did not kill paintings, and TV the music video, Stephen Hill underlines how productions became more about ‘star afrma- did not kill movies, just like the Internet did not kill TV. But the Internet popular music video is relentlessly parodic in its tion’ and less about experimentation within the did change them. It did open up new avenues. sensibility: borrowing and reworking other texts medium. Over night, the music videos became with knowing irony and self-consciousness.4 an auteur’s medium. Directors such as Chris Popular example of this is Mary Lambert’s video Cunningham, Michel Gondry, Spike Jonze, Flo- for Madonna’s “Material Girl” (1985) interpreting ria Sigismondi, Mark Romanek and Hype Wil- Marilyn Monroe’s performance of “Diamonds liams brought their own, unique vision and are a Girl’s Best Friend” (1953). style to the videos they directed. Some of them became the directors of feature films. This The most significant event in the evolu- happens is the World Wide Web, where the From parody to production. As we said before, trend started with directors such as Lasse Hall- tion of the music video was the invention most diverse audiovisual pieces are trans- the music video is child of its postmodern era. ström and David Fincher.5 On the other hand, of MTV that opened possibilities for any formed into ‘internet videos’ and subjected Therefore, it can be observed only under post- the 1990s were allusive years when the alter- further digital format. Even though some to the dynamics of digital social networks. modernist conditions and its hybridization of native became mainstream. Some subgenres, traditions of video production persist, Those videos share the condition of that modes, where dividing line between parody and such as hip-hop became the guiding light for digital technologies for media production which Duchamp termed a ready-made ob- pastiche is a fine one. Lately, with bigger budget a new generation. The Northwest American moved the boundaries of any audiovisual ject, with their autonomy in a procedure investment, the purpose of music video became punk scene evolved into grunge trough bands format. The CD-R became a commercial of clipping. 1 Transformations in the con- less pop culture and more the production itself. with radical approach such us Nirvana, Green reality. The technology of duplicating CDs ventions and representations of popular That was the case with a whole series of epic Day and Linkin Park. This entrance of grunge developed rapidly, making CDs a quicker, music video, however, did not happen in music videos in early 1990s, such as Guns and into popular culture continued until the death easier, and cheaper product to duplicate Roses’s November Rain (1992, directed by An- of Kurt Cobain in 1994. drew Morahan) and Meat Loaf’s I Will Do Any- than most other forms of sound recording. - Search for music over the Internet sudden- Video thing For Love (1993, directed by Michael Bay). Rewind, Play, Fast For- Vortex Reader II, MOVING IMAGES BEYOND YOUTUBE ward, The Past, Present and Future of the Music Video. Biele- ly increased, with the introduction of the - Idem. new MP3 format. The place where all this

18 19 Transmedia: the technique of telling a story over a variety of media.

a vacuum. Digital technology, broadband from established artists. Other new for- tions achievable by the audience them- media coverage and unit sales, but all vid- and mobile phones changed the way in mats, however, proliferated: karaoke-style selves. Even the mainstream stars like eos do not necessarily sell records. which audiences consume music video. miming to well-known songs, montages of Moby, continued with same trend: com- Today the companies try to create new still images, as well as live concert footage missioning of alternative low-budget vid- businesses, from music videos on Internet. From MTV to YouTube. According to taken on mobile phone video cameras are eos for the YouTube market. They pre- Danny Goodwin of Search Engine Watch, miered on YouTube their promo for the In 2009 is launched a new service in the examples of the way in which audiences U.S. called Vevo. It ofers music videos of- YouTube (founded in 2005), is the second are redefining the conventions of popular ofcial music video New York, New York most used search engine that serves four (2006), in collaboration with Debbie Har- ficially, and 100% professionally produced, music video. Sorting material by the date trying to monetize their content. billion videos daily. added enables the user to view material ry for $1000 of cost. For example, OK Go’s self-made video for the single Hear It Goes Transmedia storytelling. Today a sin- Overnight, YouTube became one of the within seconds of the footage being uploaded. Therefore, YouTube influenced the Again (2006), which features the band per- gle type of media such as the music al- main online video streaming sites, espe- understanding of popular music video. On forming a choreographed dance routine bum, or music video is no longer sufcient cially for music videos. YouTube is de- on syncopated treadmills, propelled the one side we have had the big productions to capture the full atention of a viewer for fined as shortly, mostly humorous, and band into the limelight afer clocking up (such as 21-year-old Flowrock’s Hung Up a prolonged time. easily accessible.2 Fans could post archive one million views on YouTube within six on Crack, 2006, a parody of Johan Renck’s clips from TV shows, as well as television days of its initial posting.3 YouTube’s most The technique of telling a story over a va- promo for Madonna’s Hung Up, 2005) recordings of professional music videos viewed video of all time is Psy’s ‘Gangnam riety of media is called transmedia. pointing out the conventions of the pop Style’ with a ridiculous 2 billion views. The music video: lip-synching, choreographed If we take a look at the most liked Face- expectation, of course, is that success on book pages, we will find that the musi- A Thesis Pre- dancing, urban locations etc. YouTube will translate into mainstream sented to the FACULTY OF THE USC GRADUATE SCHOOL cians are still on the top. The pop stars are UNIVERSITY OF SOUTHERN CALIFORNIA.- On the other side, we have had the rising the best celebrities: instead of selling the of new DIY aesthetic with low-fi produc- Idem.

20 21 records they sell the stories. In era of sto- Did video kill the radio star? No, video rytelling, the more the stories you have, did not kill the radio, as movies did not kill the more power you have. When Chrysler paintings, and TV did not kill movies, just Chapter Two hired Eminem in an advertising campaign, like the Internet did not kill TV. But the the enquiries about Chrysler’s cars went Internet did change them. It did open up up 1,200% afer the ad. new avenues. The father of the term ‘transmedia’, H. Jenkins, defines “transmedia storytelling” as a process where integral elements of a fiction get dispersed systematically across multiple delivery channels for the purpose of creating a unified and coordinated entertainment experience. Ideally, each medium makes it own unique contribution to the unfolding of the story. A lot of these examples have to do with breaking up big chunks of the story into diferent media”. 4 Trasmedia storytelling in music has unique kind of options, such as a live appearances or dance moves linked to a song, etc, which are only available for music. Rammstein – a German rock band has a very high live reputation because they provide highly spectacular shows. Music video can be used to give visual elements to a song, or to tell a story. A well-known example is Interstalla 555 – The 5tory of a 5ecret 5tar 5ystem, project of band Daf Punk that shows a visual realization of the star system. Each track of the album Dis- covery has a video clip, which displays as an episode of the story. Today the possibilities for transmedia storytelling in music are bigger than in any other form of transmedia storytelling, therefore transmedia story world could be a big trend in the music industry.

Confession of an Aca-Fan : -

22 23 E. Ann Kaplan, in her book Rocking Around the Clock, takes the position Chapter Two of Marxist critics and underlines how postmodernist texts like MTV refuse to take up any critical position from which to speak.

RETHINKIG THE MUSIC: 2.1. Material girl MUSIC VIDEO in a postmodern world

In the previous chapter we could see the music video as a new genre, emerging in its historical contest. In this chapter we will introduce some theories about the music video. According to Will Straw, writing on music video has had two distinctive moments in its brief history. One wave of writing came from those people who were interested in theoretical reading of television as a cultural form, and the other from those who were primarily interested in the relationship between sound and image and popular culture itself. There are two representative readings from each side: E. Ann Kaplan Rocking Around the Clock, and Andrew Goodwin Dancing in the distraction factory: music television and popular culture. While E. Ann Kaplan develops a postmodern approach of pop culture as a cultural form, Andrew Goodwin sees the gaps in the same approach, providing a new reading that goes “...our society is not one of spectacle, but one of surveillance we are neither in the ampi – theater, beyond the postmodernism. nor on the stage, but in the panoptic machine”. | Michel Foucault |

25 resentational, music didn’t actually have to details rather than the big picture, and looks sound like music, and books didn’t have to to avoid anything that provides an answer to use proper sentences or in some cases, prop- all life’s questions (destruction of the Grand er words. As an illustration of modernism, Narrative).2 we could take paintings by Picasso, books by James Joyce and poetry by T.S. Eliot. Since Rocking Around the Clock. One of the best modernist texts were very dense, and com- known readings of postmodernist approach , plicated, postmodernism came as reaction to music video is Rocking Around the Clock of E. Ann Kaplan, professor of English and on modernism, trying to be less serious and Comparative Literatures and founding Di- more ironic, playful, and nostalgic. rector of the Humanities Institute at the Postmodernism: key ideas. French phi- State University of New York. Playful post- losophers Lyotard and Baudrillard and the modern artistic elements in music video American Frederic Jameson were pioneers don’t make everyone enthusiastic about the Postmodernism breaks rules of genre and makes fun of it, borrows from other styles and rearranges them. among others to observe today’s culture un- impact of MTV on today’s culture. der the umbrella of postmodernism. They This form of pastiche brings a new lack of pointed out some key ideas about postmod- orienting boundaries, a tendency to incor- ernism. porate rather than to ‘quote’ texts. As the 1) Revolting against authority and signification. phenomenon, postmodernism is here to postmodernism, because it includes ‘parody’ stay, and Kaplan is not happy about it. She 2) Pastiche and parody. A pastiche is a work According to E. Ann Kaplan television is the and ‘pastiche’. They rely on the imitation of continues to document the number of unde- of art, which incorporates several diferent most typical medium of post-modern cul- an earlier text or object, trying to imitate a sirable qualities in her description of post- 1 styles borrowed from several diferent eras ture. Before analyzing this approach, it may particular work, style, genre or author. Julia modernist videos in MTV, such as: (non)nar- in order to make a new product. be useful to explain the term of postmod- Kristeva is first to use the term of ‘intertex- rative, (non)centered, ofering (no)position ernism. tuality’, in diferentiation between creativity 3) Performance rather than product. One for the spectator, etc. It seems that there is no escape from experience of mass consum- Postmodernism. Postmodernism can’t be and productivity. According to Kristeva the thing that distinguishes postmodern texts er culture that surrounds us and invades explained as a single theory, so we can’t find creativity does not assume the existence of from modern is in their tendency to focus it in dictionaries as a definition. It’s more of an earlier process, material and model, while on the process or performance involved in with its images. Those images do not help a set of key concepts collaboratively put to- the productivity does. making an artefact rather than the artefact us to distinct between image and reality, be- itself. tween inside and outside. Within the MTV gether, to describe the way that art, music, Modernism. When we talk about post-mod- fashion, film, TV, literature and architec- universe, artistic criticism is also obsolete. ernism we also take modernism in our con- 4) The simulacrum. French postmodernist ture have been produced in the late twen- That is the reason why she does not ofer cept. Postmodernism is related to modern- Jean Baudrillard has suggested that one of tieth and early twenty-first centuries. The any aesthetic critique of MTV, because of ism as ‘the legalization of illegal parts of the features of postmodern culture is that more of these concepts there are, the more what she perceives as the ‘obliteration of modernism’. Modernity and postmodernity it is dominated not by original artefacts and aesthetic distinctions’ in a medium, which of a postmodern text it becomes. This in- appear and reappear in philosophical, liter- ter-involvement of one text with other texts texts, but by copies of them. constructs subjects unable any more to dis- ary and other texts in what is at first a sight tinguish an ‘inside’ from an ‘outside,’ ‘fiction’ through allusions, citations, assimilation has As it can be seen, postmodernism breaks of a bewildering array of guises. By the term from ‘reality’.3 always existed. Any text, therefore, is an ‘in- of modernism we define the main character- rules of genre, and makes fun of it (parody) tertext’ to other texts that has already been istics of culture in the first half of the twenti- borrows from other styles (intertextuality, writen and that are going to be writen in eth century. That culture was influenced by eclecticism, pastiche) and rearranges them. the future. Understanding the phenomenon the darkness of World War One, The Spanish It acts against reason, orthodoxy and logic - of ‘intertextuality’ is important for culture of Civil War and World War Two. During this to bring us a text that is rich with surreal- Media Magazine 9. time, approach to art, music, film and liter- ism and unpredictability. Postmodernism Rocking Around the Clock: Music Television, Post Modernism and Consumer Cul- Popular music ature has changed a lot. Poetry didn’t have doesn’t take its surrounding seriously, in- ture. to rhyme, paintings no longer had to be rep- cluding itself. It concentrates on the small

26 27 Jean Baudrillard has had a major inﬂuence tion of ‘self’ to ‘image’ could permanently re- on Kaplan’s work. She cites his model of the duce the female body to merely an ‘image’.7 ‘hot’ and ‘cold’ universe as an example of In other words for Kaplan, MTV is about how television has changed communication nothing but consumption. Therefore, Amer- and divided the era of classic Hollywood ica is covered with a uni-dimensional, com- ﬁlm and era of MTV. mercialized youth culture, not organized by itself, but by commercial agents. In this What makes music videos distinctively way, Kaplan takes the position of Marxist postmodernist is the random borrowing or critics and underlines how postmodernist simulation of motifs from others. According texts like MTV refuse to take up any critical to E. Ann Kaplan the music video trough position from which to speak. They believe MTV atracts the society with visual com- contemporary youth culture is in danger munication. Therefore, music video takes because it does not take an explicitly criti- its part in cultural media that uses technol- cal stance toward on-going events. Kaplan

ogy to stimulate the consumption. Kaplan herself agrees that decentering, or the loss 2.1.1. Madonna’s Material girl: uses the metaphor of Foucault’s Panopticon of any position from which to speak — of analyzing music video in which the guard surveys a series of pris- mechanisms for critical evaluation of social oners through their windows. The TV pro- structures and ideologies — that character- ducer has the role of guard, and the prison- izes postmodernism, is something to worry Kaplan sees Madonna’s Material Girl video as an example of er has the role of spectator. The spectator/ about”. 8 prisoner has a remote control to flip chan- ‘co-opted postmodernism’, which ofers a pastiche of well- known Marilyn Monroe’s performance in Gentlemen Prefer nels. Desiring for plenitude, the spectator/ Idem prisoner is controlled by the watching and Blondes, namely Diamonds Are a Girl’s Best Friend. A label postponing of flipping the channel.4 MTV Idem the ‘material girl’ is usually used by Marxist/Socialist to show keeps us in an excited state of expectation, their view of capitalist society. It describes the prostitute’s promising something that never fulfills. This economic motivation and necessity to earn a living. The same desire for plenitude, which we think to fulfill term serves as a large metaphor of a capitalist society as one with consumption, distances us from reali- in which most persons are prostituted in various ways. ty, and keeps in the consuming mode more Kaplan uses Madonna’s Material Girl as an example of intensely than other medium because music rock video phenomenon that establishes intertextual rela- 5 video is short. tionship with a specific movie. Shot-by-shot she analyses The new postmodern universe, with its cel- the visuals of music video, but she doesn’t say much about ebration of the look, the surfaces, threatens soundtrack. to reduce everything to the image/represen- Kaplan’s theory is developed from feminist film theories and tation/simulacrum. Trough MTV’s fabricat- she speaks of videos that have quite conventional narra- ed imagine influenced by the materialism, tives, although they do not correspond strictly to Hollywood racism and sexism, women are the target codes.1 According to Kaplan, Material Girl’s music video 6 of objectification and commodification. shows the ambiguous representation of the female image. Kaplan says it is important for feminists to The music video shows a typical male gaze, where the girl confront the postmodernist challenge in is the object of desire for both sides. On one side, there is MTV because the reduction of the old no- a male spectator in the movie’s audience and on other side there is the spectator in the theatre watching the film. Idem

Idem

6 Cfr. Idem 1 Cfr. Idem.

28 29 The song is about a girl who only wants to date a rich man, and while the song goes in one direction, the story goes in another. The soundtrack and image track are not linked for that story. The lyrics are about a ‘nice’ girl, and the performance is about the ‘bad’ girl. The entire video 2.2. The context of is subordinated to the words that refer only to the stage performance. In the classic musicals of Hollywood the dance underlines the main story. In this music video it is increasing convergence opposite: the performance is central, while the love story is simple narration. Music video violates the conventions of classic Hollywood, together with its relations between sound and image. This points out the rock uniqueness as artistic form in video, where sound and lyrics have prior- ity over the images. The uniqueness is connected to ar- bitrariness of the images used along with song, with the extremely rapid montage-style, and with the precise re- According to A. Goodwin, postmodern interpretation is not a complete lationship of sound to image. This relationship involves: (a) the links between musical rhythms and significations framework for reading the phenomenon of the music video. In order to of instrumental sounds, and images provided for them; (b) understand music television, it is necessary to locate music video within links between the significations of the song’s actual words its contexts of production and consumption. and images conjured up to convey that “content”; (c) links between any one musical phrase and the accompanying words, and the relay of images. 2 Music video continues to confuse us in a shot where Ma- donna is clothed in white (a play on Hollywood signifiers for innocence), in her dressing rooms. Madonna walks se- ductively out of the studio, and enters into a man’s car. The last shot is taken through the glass, showing their embrace. The visual track points out two distinct discourses, Seduction of the visual. The arrival of iconography. Even extremely basic musico- that involve the man’s desire for Madonna I (good girl), Queen’s six-minute clip Bohemian Rhapso- logical terms like rhythm and timbre are usu- and Madonna II (‘material girl’), but discourses are not hi- dy (so ofen cited as the ‘first’ music video) ally missing from the lexicon of music video erarchically arranged as is it is in Hollywood. created the heavily theorization of music analysis. Consequently, the postmodernism According to Kaplan, Madonna’s Material Girl is a typical video. As seen in the previous chapter, Ka- created its paradigm; in which the seduction representation of the postmodern feminist heroine, in her plan used film and postmodern theory to of the visual is dominant in contemporary odd combination of seductiveness and a gutsy sort of in- define music video as an original genre. Ac- culture.1 According to A. Goodwin postmod- dependence. She has the opportunity to switch from one cording to Goodwin, music itself is missing ern interpretation is not a complete frame- commination to another, whenever she wants. in this kind of discussion. It is impossible to work for reading the phenomenon of music analyze music video with no reference to video. Existing theories based on readings Idem the song’s music, lyrics or performers. This of music video as a cinematic genre (Hold- kind of analysis ofen looks only at the cam- stein, 1984; Mercer, 1986), advertising (Auf- era angles and edits in music video, as if it derheide, 1986; Fry & Fry, 1986), new forms is a purely visual form. Under those circumstances, it is extremely difcult to theorize SOUND AND VISION: The Music Video Reader. video clips without an adequate conceptu- alization of the music and its relation to pop

30 31 of television (Fiske, 1984), visual art (J. Walk- in itself but also an essential adjunct to the er, 1987), ‘electronic wallpaper’ (Gehr, 1983), business of selling T-shirts, records, tapes, dreams (Kinder, 1984), postmodern texts and compact discs. The emergence of pro- (Fiske, 1986; Kaplan, 1987; Tetzlaf, 1986; motional music videos must be understood Wollen, 1986), nihilistic neo-Fascist propa- in light of this fact: that pop performance ganda (Bloom, 1987), metaphysical poetry has always had a largely promotional role. (Lorch, 1988), shopping mall culture (Lew- Music television. Afer having located is, 1987a, 1987b, 1990), LSD (Powers, 1991), music video clips in the context of perfor- and “semiotic pornography” (Marcus, 1987), mance and promotion, Goodwin tried to not consider the music as important ele- explain the emergence of music television, ment in music video. Therefore, he tries to which has its roots in five developments in ofer the alternative frameworks for beter the music and media industries: (a) changes understanding of music video and its con- in the pop music performing and recording text. He atempts to explore the context of processes; (b) shifing ideologies of pop, or- music production with its possible relations ganized around the development in Britain among music, image, and popular music of the “New Pop”; (c) expansion of television narratives. Goodwin underlines how it is services, especially in cable television in the impossible to understand the music video United States; (d) recession in the music in- without the context of mass media and the dustry and related concern about the rise Music video, like all advertising systems, works according to its nature: ideologically sustains the existing power. pop music industry, the context of increas- of competing audiovisual leisure services; ing convergence. and (e) changing demographic paterns in Context of increasing convergence. Mu- rock and pop music consumption.2 Conse- sic television is a classic case of such fusion quently music moved to marketing and the Furthermore, with the rise of new digital tech- against ‘postmodern depthlessness’, and loss of two separate media. Therefore, in order manufacture of image on music television. nology, the audiences became more varied. of reality. When we talk about music tele- to understand music television, it is neces- On one side, the new technologies enabled Therefore, the Internet became overwhelmed vision as cultural form, postmodernism is sary to probe the ways of combining anal- lip-syncing to be read as a legitimate part with the archive footage, where audience has productive, but in relation to music and the yses normally lef to their own devices - in of pop performance, and on the other the had the opportunity for interactivity. music industry, the arguments of postmod- pop music. It is necessary to locate music side music video crated new strategies used ernism are weak. video within its contexts of production and in promotional clips. These two shifs made Gaps in the postmodern approach. The consumption. Both sides - sound and its the development of video and television as postmodern approach has been extremely Through time, music television has changed. organization are important in the industry an integral part of pop culture a real possi- productive and revealing for pop culture as We can’t deny that this kind of television of popular culture. Pop music always has bility. Music video, itself did not create the a cultural form, but there are some missing brings the pleasure and benefit in the econo- been, a multidiscursive cultural form, in conditions of its own success; that success links in postmodern approaches to music my. From that point of view, music television which no one media site is privileged. The was made by changes in the music indus- television. According to A. Goodwin, there makes sense for consumers and the institu- implication of this for music video analysis try. Moreover, promotional video clips were are three gaps in the postmodern analysis of tions that control its production. Afer all, the 3 is that it becomes impossible to understand made because there was an audience. MTV music television and they refer to: politics of music television is essentially the has had a massive impact on the evolution the meaning of any individual clip without - account of ‘pastiche’; politics of pop music itself. From the perspec- considering its relation to the wider world of the pop music video genre and clearly the tive of consumerism, and negative influence, of pop culture, such as TV, radio, cinema, 1980s were a time of intensive development - absence of historical context for shifing MTV doesn’t keep the primate over other publishing, advertising, etc. These observa- within the medium. ideological forms; television. Comparing to other contemporary broadcastings and movie malls the pres- tions also demonstrate why isolated analy- - debates about actual, lived social relations sis of individual texts is inadequate for our Dancing in the distraction fac- ence of voyeurism, violence and pornogra- tory: music television and popular culture. of power. understanding of the increasingly intertex- phy in music videos is inherent. Some critics

tual processes of the mass media. Pop per- Idem., pp. 36-37 Pop culture goes beyond the fragments of of MTV maintain that videos construct false formance is therefore not only a commodity ‘pastiche’, providing new reading that goes images of physical “perfection”.

32 33 YouTube and music video include new forms of cross-cultural exchange, shifing ideological content, changing professions and forms of participation for industry personnel, media makers, musicians, and audiences; budget, bandwidth and screen size. In this big confusion the YouTube link is forced to respond at every detail on the page and everything else on the monitor’s screen...

However, the video image has always been a The future. The future of music video de- fabrication of unreality, but this is not only pends on how the current generation of mu- 2.3. Music Video & MTV phenomenon. This fabrication is influ- sicians and consumers react to it, whether or enced by aesthetic and politics. Music video, not videos can become economically inde- like all advertising systems, works according pendent of their promotional function, what YouTube to its nature: ideologically sustains the exist- kinds of competition emerge to challenge ing power. MTV wasn’t first to commodify the cultural dominance of MTV, and how the popular music. Rock and pop were com- the new technologies of music production modified practices of mass mediation long and consumption negotiate the sound-vi- before the introduction of music television. sion relation that has always been at the Music video has always been mutable, and social interaction, from early experiments in All those symptoms reveal general change heart of popular music. even today continues to undergo multiple virtual reality, text-based communities, and in popular culture and not some mysterious transformations. It seems that Internet with role playing games to today’s saturation in influence of MTV on other cultural insti- its simultaneous windows also shapes music social media. The capacity of fast connect- tutions. Due to lack of contexts production video aesthetics. It’s not clear whether the C ing, commenting, tagging, and sharing - fa- and consumption postmodern approach stands for “consumer,” “connected,” “con- cilitate a huge growth of complex networks fails to explain the nature of music televi- tent” or all three, but that’s the leter Niel- among people.1 Carol Vernallis in his work sion. Without a successful encounter with sen and NM Incite’s State of the Media have Music Video and YouTube: New Aesthetics the audience for music, there is no funding chosen to represent the generation born be- and Generic Transformations tries to rede- for promotional video clips. The analysis of tween the launch of the VCR and the com- music video must be grounded in an under- mercialization of the Internet (generation C Newswire: Introducing Generation C standing of how it works promotions: this is - Americans 18-34). Indeed, the past three Americans 18-34 Are The Most Connected. - an economic as well as an aesthetic issue. decades mark tremendous growth in digital

34 35 fine music video of today and she can’t de- dramas occur and meaning is negotiated.3 For be considered a connoisseur who classifies we can activate, click through, resize, move, cide where video’s true home now resides: same reason YouTube and music video in- clips as high - art and elite, the indie, quirky, hide and experience the spatial transfor- in the film trailer, the mashup, the wedding clude new forms of cross-cultural exchange, and the outsider. Beside all those theoriza- mations of the environment like in video 5 video, the visual arts flash project or the DIY shifing ideological content, changed profes- tions, YouTube still remains open territory. game. This brings us a new sense of power aesthetic. She underlines how in the 80s and sions and forms of participation for industry Carol Vernallis suggests understanding mu- and possibly relations. Music video can raise 90s people knew what a music video was. It personnel, media makers, musicians, and sic video as a part of a new mode and plat- questions of cause and efect, foregrounding was a song set to memorable imagery, paid to audiences; budget, bandwidth and screen form with the aesthetic features that defines relations so ambiguous that the music seems promote the song or musicians, and screened size; and so on. In this big confusion the YouTube such as: to be the engine mobilizing people, objects on cable. Now, however it is hard to draw a and environments. YouTube link is forced to respond at every Reiteration and pulse. It seems that reiter- border between what is and is not a music detail on the page and everything else on the ation is the predominant feature of today’s Parametric volubility and intertextuality. video. Beside the fact that music video has monitor’s screen. media. It suits to our time and reflects socio- YouTube enables intertextuality and hy- made a strong return because of YouTube, cultural changes: demands of business and bridization across platforms, among users, the abundance of clips, DIY aesthetics, and According to the last YouTube statistics leisure time have been accelerating. On the and within clips. It continues to speak in- new digital cinema’s musical segments, it more than 1 billion unique users visit You- other hand the competition among media ternally within a clip, fracturing its contents has blurred the boundaries.2 This reputation Tube each month and over 6 billion hours encourages obsessive repetition. Reiteration even more than music video ever did. The and sharing economy has shifed our tra- of video are watched each month on You- could have an aesthetic function as well. film trailer The Spirit (2008, Frank Miller) ditional understandings of authorship, and Tube – which is almost an hour for every 4 possesses key features of the new audiovi- finally blurred the boundaries between the person on Earth. Videos are embedded in Irreality and weightlessness. Diferent from blogs, websites and online stores. Competi- sual aesthetics. We can see the clip that is producer and consumer. On the other hand the analog media, the digital media has new hyper-stylized, follows a series of afective it has brought some complications related to tors emerged such as Vimeo, Hulu and Blip. properties. The grid, with layers and pixels tv to try and catch the action. Some have flashpoints, nimbly crossing media. Us- the social contexts involving humans, web remains constant. The electronic light con- ing intermediality it creates an experience 2.0 technologies, and smart, mobile devices. survived and others have struggled against tinually oscillates, appearing and vanishing, the mind and market share of YouTube. All in which we shif our atention so rapidly Such complications involve: yet never completely rests. One way to give among media that keep us always busy. over the world fans with no training want to this digital weightlessness, life, is through 1. Boundaries between self and other are make something with their favorite materi- phantasmagorically embodying it, making it Sardonic humor and parody. Parody may be ofen unclear, particularly when informa- als. They go beyond the cultural forms like musical. The digital music in tandem with the so prevalent today because it is acceptable tion develops a social life of its own, beyond the pop song, and start to create immediate- digital image creates a monstrously hybrid for untrained prosumers. It easy to take the one’s immediate circumstances. ly, transforming it into global culture. automaton (The Golden Army, Transformers: commercial and redo it. YouTube enables 2. Boundaries of situations and identifica- Landscape of YouTube. Some scholars Revenge of the Fallen, The Avengers, etc.) the anonymity where video makers can se- tion of contexts are ofen unclear as dramas lect a group of viewers or fans to ofer their wanted to mark the landscape of YouTube, Scale and graphic values. YouTube clips play out in setings and times far removed original material, using parody and sarcasm. but even for them it is not clear what You- tend to feature simplistic and evocative from the origin of interaction. Naturally, the parody, tied to original con- Tube is. Alex Juhasz describes it as a space representations shapes with strong graphic. for crass commercialism and further reifica- tent, tends to grab atention. 3. Agency is not the sole property of individ- Clearly legible objects trigger rich afective tion of mainstream media. Michael Wetsch, ual entities, but a temporal performative ele- responses, and help quickly give the per- Condensation. Music video has always on the other hand, writes on how much ment that emerges in the dynamic interplay former a pseudo-context (chairs, cups). Col- worked with condensation and a plurality of YouTube fosters community and acts as an of people and their technologies for commu- or schemes difer from television and space meaning. YouTube is full of puns, jokes and agent for self-expression: the site makes nication. contracts. While long-form media take us returns to childhood (such as Numa Numa new identities, sexualities, and modes of in- in and out of corridors, alleys, countrysides that gives subtle allusion to Humpty Dump- 4. Performativity can be linked not only to interaction possible. Virginia Hefernan could and intimate spaces, YouTube sticks to sin- ty). One clip can conjures the childhood fan- dividuals but actions of the devices, interfaces, gle frontal views. tasies, along with control of sexual desire. and networks of information through which Unusual causal relations. Our experiences Formal replication of the web. YouTube clips Global Dimensions of Qualitative Inquiry . of screens have changed with the comput- atempt to embody, depict, and participate er’s multiple windows. With multitasking in the network, trying to sync up with oth- Rewind, Play, Fast Forward, The Past, Present YouTube: Statistics. and Future of the Music Video. - ers. Viewers with their content construct . global media library with various subjects

36 37 from healthcare crisis, religion, latest pop mashups the practice of quoting is more concert, to the most banal topics. extended, especially since most online videos are not produced for profit. The Digital As suggested above the new approach to Millennium Copyright Act (DMCA) usually YouTube should help us identify the ways requires removals from the site of material music video is changing and the ways You- to which a copyright owner objects. Despite Tube reflects a new mode and platform. those preventions, it seems sufcient efort Fair use. While creative practice with on- has not been invested regarding the unli- line video production is expanding, de- censed copyrighted works online. 2.3.1. Music video re-make cision-makers are shaping the YouTube To prevent the unauthorized copying, on- platform with regulation and legal actions, line video platform providers have estab- Given, the advantages of fact that music video has always regarding copyrighted material. lished their own guidelines that articulate been in process of continuous transformations, outlined Fair use is a right to reuse copyrighted works the filtering of content. On the other hand in the previous paragraph, it is quite predictable that, mu- without a license in some circumstances. nonprofit organizations led by the Electron- sic video re-make was inevitable. Indeed, Weird Al Yan- This feature of the law is grounded in the ic Frontier Foundation have introduced al- kovic released his first single and video, Ricky, a spoof on purpose of copyright itself in U.S. law: to en- ternative guidelines, creating space for new Toni Basil’s Mickey, in 1983, two years afer MTV has been courage the production of culture. Today fair content creation using copyrighted works launched. Evidently, this video re-make invited atention use is the major way that new makers can while honoring the concerns of copyright and participation of audience. According to John Shiga get unlicensed access to the cultural produc- holders. These guidelines, however, do not music video re-make makes part of other forms of digital tion of their own society. Due the constantly yet have industry support. culture, along with remixing, sampling and mashing-up in music. Mash-ups involve usually two songs spliced to- The parody on Katy changes of cultural production, the codify- Creating their contents, many YouTubers are gether showing new reality with both songs. Remixes can ing of fair use were intentionally made non- simple “pastiche or collage” creators that are Perry’s I Kissed a Girl, involve similar techniques, but usually modify beats and specific. The statute refers to four consider- developing practices near the boundaries of by Venetian Princess sound efects. ations that should, at a minimum, be taken fair use analysis. Nevertheless, the tradition- has received 17 million into account: al fair use analysis would neither definitively Re-make technique. Music video re-make is diferent views, which is more - the purpose and character of the use; exclude nor include them; new fair use doc- from mash-up, sample and remix, in the way it chang- than the ofcial video trine continues to expand its creative prac- es the original clip. Instead of changing the music in the on the site. According - the nature of the copyrighted work; tice. New fair use practice tends to recognize clip, music video re-make usually changes the visual. John those creators as new forerunners of a new to Venetian Princess, - the amount and substantiality of the por- Shiga notes in his study of a mash-up that involvement interactive media era. Today’s makers are 1 tion used; in the group is crucial to obtain a respect on YouTube. she had to write her the pioneers of an emerging media economy Diferently, music video re-make do not necessarily pro- own music and lyrics - the efect on the potential market for or and society. Recognition of the importance duces “ironic combat” among its groups. Many re-makes because YouTube has value of the copyrighted work. of fair use, within the copyright law toolkit lack any sense of irony, exhibiting mere reverence for its for cultural creation, is both prudent and subject. Like remixes, samples and mash-ups, music video prohibited the use of Besides those four ‘factors’ it is important forward-looking for those concerned with re-makes represent some form of cultural critique. Law- the original music. to note that Courts analyzes fair use on a 6 maintaining an open society. rence Lessig states in his work Making Art and Commerce case-by-case basis afer the specific cultural Thrive in the Hybrid Economy how those forms evolve practice in which the use occurs. Therefore from the interpretation of everyday life and cultural ar- it is not easy to decide what constitutes fair tifacts we consume. Similar as remix, sample and mash- use. For example, documentary filmmakers, up, music video re-make democratizes video production, peered with other content producers, estab- and according to Lessig it marks the distinction between lished their own principles, with limitations, ‘read-only’ and ‘read/write’ culture (culture that do not al- to guide their choices for fair use. Some online creators use copyrighted material for User-Generated Video media critique or for short illustration. In Critical Studies in Media Communication, 24

38 39 Remix culture allows users to modify and participate with their work on consumption and production.

Categorization. Since YouTube is receiving a numerous low users to modify and culture that allows users to par- clicks per day it is hard to find appropriate model for cate- ticipate with their work on consumption and production).2 gorization of its content. However we will try to categorize Motivation. From the previous paragraphs it is evident the music video re-makes by their visual and aural strate- how music shapes the everyday lives of young people. gies and by their atitude toward the source material. Here Correspondingly, the music and music videos need fans. are some strategic categories: The rise of YouTube, created the space for all those fans that became the center of this global culture. While some Visual/Aural Strategies Atitude YouTubers do make money on the site, lots of them are not paid for their contributions. For example, there are 1. Uses original music and atempts to 1. Parody hundreds of YouTube partners earning 6 figure incomes replicate original look or feel of original from their presence on a free video channel. Before being 2. Uses original music but re-edits, dubs 2. Satire purchased by Google, YouTube declared that its business or splices video with other content model was advertisement-based, making 15 million dollars 3. Uses original music but visually per month. However, music and music video re-make has 3. Homage distinct other benefits, especially if it comes to atention. 4. Re-sings original and/or uses new 4. Disruption music/lyrics but visually similar 5. Re-sings original and/or uses new 5. Skill music/lyrics but visually distinct

40 41 Parody. Parody is usually a comment or cri- dies – released right before President Barack tique on original work. In Britney Houston’s Obama’s inauguration. Venetian Princess is music video Lipgloss we can see the original clear parody, while Alphacat is satire.3 Chapter Three music from Lil’ Mama’s video and fair use atempts to redo the visuals in similar way, As seen in preceding paragraphs, music vid- trying to reverse the gender constructions. eo re-make has a ‘transformative’ nature. It This re-make uses ‘parody’ as comment on is important to note however, that despite the original work. all this diversity among re-makes, they have one common characteristic: replacing or Satire. Diferent from ‘parody’, ‘satire’, is a reconstructing the celebrity in the original. derivative work that uses an original work to This absence of celebrity is crucial to their comment on something else and not ofen transformative nature. Without the celebri- covered under fair use. ty, the re-make has a diferent function; it changes the meaning from a user’s perspec- Homage. Use of the original work with pur- tive. For the same reason the ‘transforma- pose to celebrate the author and its musi- tive’ departure from the original is the most cal or visual virtuosity is called ‘homage’. important rule in judging an object’s fair use. When Beyoncé released the song Single La- Here, the history and theory of music video dies in 2008, it was most performed dance meets practice of copyright holders online, among YouTubers. One of the most notable trying to find the best way for video music ‘homage’ performers was Shane Mercado, a re-make as fair and permissible forms of young male who atracted millions of views production. for redoing the complete dance steps from music video, adding to the dance a new di- mension and meaning. - Disruption. The surrealist reediting of the original work to render it incoherent is known as disruption. The clearest cases of this are the numerous re-makes of Britney Spears’ videos using characters from the computer game The Sims – the impulse is to show something unexpected done well. Skill. Two examples of video that fit into the fourth and fifh strategic categories are those from popular prosumers Alphacat and Vene- tian Princess. Video re-make on Katy Perry’s I Kissed a Girl, by Venetian Princess has received 17 million views, which is more than the ofcial video on the site. According to Venetian Princess, she had to write her own music and lyrics because YouTube has been

prohibited the use of the original music. De- spite its diferent theme – kissing an elderly woman – Princess’ version is similar to the original work. Alphacat, on the other hand, came up with his own lyrics to Single La-

42 43 Chapter Three

MUSIC VIDEO Music Video IN EDUCATION

As seen in the previous chapter, Goodwin underlined how it is important to understand Although music lacks the visual element of film, it connects deeply with the music video in the context of mass media adolescent’s life and influences its identity, more than any other medium. and the pop music industry. With time Music is one of the most popular media for adolescents, dedicating circa the context of mass media became more four and five hours a day listing to music and watching music videos. complex. Today’s parents face new challenges in education, because their children are immersed in media. They have television sets in their bedrooms, personal computers in Prof. Dr. Nesrin Kalyoncu dedicated his Music and adolescent’s consumption. research to the adolescent population and Large media structures have centralized nu- their family rooms, and digital music players the impact of music programs on their con- merous business and industries such as mu- and cell phones in their backpacks. The sumption behavior.1 He noticed how presen- sic/film/advertisement producing, banking, average adolescent has more than six hours tation techniques, such as rapid fractions, automotive, energy, tourism, insurance, of daily media use. The growing phenomenon interim fractions, dissolutions, overlap or textiles, and they are monopolizing enter- special efects, used in music videos is regu- tainment mechanisms. Undoubtly, the ado- of “media multitasking” - using several media lar commercial music packaging. This pack- lescents with the constant need for express- concurrently - multiplies that figure to eight aging potentially induces adolescent’s con- ing their own personalities and emotional sumption behaviors. In fact, there is a fine and a half hours of daily media exposure. worlds are the main target group for music line between entertainment and advertise- industry. Advertisements have become an Moreover, parents are concerned about the ment regarding music video. messages young people get from popular integral part of contemporary music programs. Music channels principally promote culture. musical (and other) production for com- - r International Journal of Business and Social mercial purposes together with controlling Science the music market. Moreover, the sponsor’s The most popular media. Despite these re- who are already troubled. Thus, it is import- searches, the question remains: is popular ant not to underestimate the power of mu- music as dangerous as it appears? How does sic in enhancing bad moods. Therefore, we it afect adolescent’s behavior? cannot ignore this use of music, as we cannot ignore the causes of homicide because Although music lacks the visual element of only a tiny minority ever commits murder. film, it connects deeply with adolescent’s Those facts have led some to conclude that life and influences its identity, more than music encourages suicide, violence against any other medium. Music is one of the most women, or other violent crimes. Some mass popular media for adolescents, dedicating media reports tend to over-emphasize such circa four and five hours a day listing to mu- extreme examples, Christenson said, but sic and watching music videos. Peter Chris- In adolescent’s world “sound” of music maters more to them than the lyrics, the evidence suggests that music is more tenson, Professor of communication at Lew- likely to energize listeners than to de-ener- is & Clark College in his book It’s Not Only gize or mellow them out. Adolescents also Rock and Roll: Popular Music in the Lives products are included in the narration of Explicit content. Beside the adolescents’ use music to create friendships, social set- of Adolescents together with Donald Rob- tings and personal identity. Indeed, music the clip. Significantly, same research un- consumption behaviors, it is important to erts, Professor of Communication at Stan- influence at adolescents’ moods, borrowing derlines the relationship between the con- note however, that some adults are concerned ford University, documents their research them their slang and dominating their consumption images in popular music clips and about graphic sex, morbid violence, racism in about adolescents and pop music. In their versations, and it reinforces the group they music genres. Dance Music videos showed popular music lyrics and videos. “One in three research they asked adolescents to choose belong to. The choice of music and music in USA contained more fashion images in- popular songs contains explicit references to what media they would take with them if taste depends of academic success. Accord- cluding clothing, jewel, lingerie, hairstyles, drug or alcohol use, according to one report they were stranded on a desert island. Most ing to authors there is relationship between and make-up, while „darkside products are in The Archives of Pediatrics and Adoles- of them choose music over other media. academic successes and music taste. Stud- cent Medicine,” says in his article Tara Park- contained more intensively in Rap videos. Many scholars in their research pointed out ies indicate early school achievement influ- er-Pope.2 Researchers from the University of Research points out the following consump- television as the central medium in life on ences later music choices, not the other way Pitsburgh School of Medicine studied the tion images according to music genres: fash- adolescents, while according to Christenson around. Lower school commitment is gener- 279 most popular songs from 2005, based on ion products in Dance Music, food products adolescents devote more time and intensity ally associated with heavy metal, and in the reports from Billboard magazine, which tracks in Classic Rock, darkside products in Rap, to music. Indeed, music maters to adoles- view of at least one British researcher they popular music. Only 9 percent of pop songs and tatoos and musical instruments in cents, and they cannot be understood with- cite, low-achievers embrace heavy metal as had lyrics relating to drugs or alcohol. The Heavy Metal. The music genres use these out a serious understanding of music impact a “cultural solution” to their low standing in number jumped to 14 percent for rock songs, consumption images in adolescents’ music on their life. At an adolescent party, the key the traditional school pecking order. preferences, and that’s reason why the sing- 20 percent for R&B and hip-hop songs, 36 question is not what you do but what music ers are the most atention-grabbing people. percent for country songs and 77 percent for you listen to. Some interesting notions. Authors point rap songs. The average adolescent is exposed out further, some interesting notions about The imitation of these people takes place in Music helps. The authors underline how the form of buying the same products, used to approximately 84 references to explicit music and youth and perhaps the most sur- substance use per day and 591 references per music doesn’t appear to have massive neg- prising are these: by popular singers. Adolescents (10-18) and ative efects. The efects parents fear most, young adults (19-24) have higher tenden- week, or 30,732 references per year. The average adolescent listening only to pop would such as violence, rebelliousness, drug use, - Label warnings of explicit lyrics on record- cy compared to older adults for consum- ings prompt adolescents in general to like be exposed to 5 references per day, whereas sexual behavior, are not substantial. Ado- ing products presented in music clips, like lescents use music, mostly to control their the music less. They see it as “tainted fruit” the average adolescent who listens just to rap creating hair style, buying clothing items, mood and emotional states. Music helps to rather than “forbidden fruit” they must try, would be exposed to 251 references per day. buying products bearing images of singers/ escape from bad feelings, building a “good Christenson found in the only study done musicians, etc. Therefore, the music videos mood”. For most people, adolescence is a on music labeling. Not everyone in the study mostly influence the consumption behav- Music? period of normal and gradual development. reacted negatively to the labeled music, iors of adolescents intending to create ap- - On the other hand, music does appear to be however. An advisory sticker might well be pearance and image. dangerous for some youth, particularly those a come - on for some kids who are alienated

46 47 from their parents, their school or the main- have no serious efects simply because it’s stream peer culture. “only entertainment,” or to argue that art can be uplifing but not the reverse. At the same - Music videos are a “powerful new force” time, authors advise teachers and admin- in adolescent culture, but they don’t seem istrators to avoid stigmatizing peer groups to hold adolescents’ interest nearly as long based on music. That only drives the wedge as the music itself. It is the youngest adoles- deeper between the adolescents who need cents who watch MTV and other music vid- to be reached the most and mainstream cul- eos the most, but older adolescents devote ture. more total time to music. Learning from listening. From a sociologi- - When kids tell their parents that the cal perspective, the period of adolescence is 3.2. Students develop “sound” of music maters more to them than viewed as a time of transition and risk. On the lyrics, there is considerable evidence to the other hand adolescents are in a period of support them. Averages, however, conceal life also marked by positive energy, idealism a digital video project ranges, and the more involved adolescents and a belief in the possibility of changing the are with music, the more they listen to the world. Any educational strategy to develop lyrics. For many youth, however, music is of- young people must count with these pos- ten a secondary, background activity rather itive capacities of adolescents. Therefore, than a primary foreground one. It serves as a the adults could gain important information Digital literacy is key to teaching in order to provide the skills, knowledge backdrop to other activities such as reading, from listening and observing the adoles- studying, talking, housework, driving. cents’ music, such as: and understanding for young people to enter the workplace, further and higher education. At the current digital time it seems inevitable to have - Parenting books, psychoanalysts and mass - Information about adolescents’ cultural is- media all portray the adolescent stage of sues or social/romantic relationships. teachers according to the needs of their students, within highly ambitious life as full of crisis, rebellion against adult education policy aims. authority and conflict, the authors say, but - Diversion, relaxation, release, distraction, research doesn’t support the stereotype. For intensifying mood in adolescent life. most kids adolescence is a period of normal, - About adolescents’ social relationships, ei- gradual development in considerable har- ther solitary, imagined experiences or shar- Nowadays, digital technologies are giving original content, and use the Internet and mony with parental values and cultural ex- ing musical experiences with others. pectations. For about 10 percent of families, people new opportunities to shape their technology tools to achieve many academic, serious generational conflicts dominate and - Withdrawal or escape into one’s own pri- own destinies together with global commu- professional, and personal goals. vate listening experience nications environment. In this way people another 25 percent find the period less hap- Digital literacies in education. There are py for their families than earlier years. are forced to learn how to use constantly - Defining adolescents ‘personal identities. diferent, changing literacies in diferent changing technologies, in order to keep up- What should adults do? domains of activity, such as educational, Christenson and Roberts underline that if dated. This practice through which people workplace and everyday. For the purpose Christenson and Roberts believe it is the par- culture is important to people, then it has are learning to use constantly changing dig- of this thesis I will dedicate my atention to ents’ role to be the final arbiter of the values, some influence on them as well. “Some of its ital technologies is called ‘digital literacies’. digital literacies in education. While read- beliefs, and behaviors each family defines. consequences are positive, some negative, Digital literacy is more than knowing how ing books and paper resources and manual They suggest adults to adopt a respectful and some neutral, but there is no question to send a text or watch a music video. It in- writing remains fundamental, it is also im- distance and disagreement with the nega- that popular music has important conse- cludes knowledge about use of technology portant to move towards digital communi- 3 tive values they see in some music, knowing quences. It’s not ‘only’ rock and roll.” tools for varied purposes. A digitally literate cation. Digital literacy is key to teaching in that is impossible to censure music. They person can use technology strategically to order to provide the skills, knowledge and also remind music industry apologists that - find and evaluate information, connect and understanding for young people to enter the it is disingenuous to argue that music can collaborate with others, produce and share workplace, further education and higher ed-

48 49 ucation. At the current digital time it seems taking up a senior management post at the inevitable to have teachers according to the college. Among other interesting projects, he needs of their students, within highly am- is now working on a three-year doctoral re- bitious education policy aims. The roles of search project about the experience for stu- classrooms, teachers and the education sys- dents and teachers of media studies at A lev- tem itself have to change as classroom walls el, subscribed to Media Magazine. Enriched become more permeable, while knowledge with new topics and students’ suggestions, and expertise become more distributed and blog tries to teach, educate and connect. fluid. Skills continue to be vital but are best developed in meaningful activities where As it can be seen, the recent convergence teamwork and peer support are fostered. of video and computer technologies pres- 3.2.1. Five Key Aspects The existing traditional individualistic ap- ents new opportunities and challenges in for Good Music Video proach separates children’s engagements in education. Video production resources such ‘real’ from the engagements in ‘virtual’ en- as cameras and video editing sofware are vironments. Teachers and educators have to now widely available in many schools and In order to help students Fraser has turned ‘see’ the singing voice in the first place, and find out the solution to diminish these gaps homes. According to Fraser the best way to the ideas from Goodwin’s book, Dancing in a band that plays in background. The artist’s between informal practices and formal pro- understand the way that media in the on- the Distraction Factory, into checklist form, voice is presented as unique and this allows cedures, merging children’s online and of- line age works is to try it in practice. Many to evaluate the quality of one music video. the song to form identification or trademarks. fline experiences. people shoot some footage and upload it on According to Goodwin a good music video is The ‘grain of voice‘ of an artist is totally YouTube, but a major part of it is unplanned a clip that responds to the pleasures of mu- unique, like a fingerprint. For instance Mi- ‘Digital classroom’. One of the good solu- and random. Some turns out to be interest- sic, and accentuates existing visual associa- chael Jackson’s yelp has become prominent tions for merging students’ online and ofine ing or funny and some does not. The real tions. Therefore, Pete Fraser suggests that the and has set him aside from other artists. These experiences is ‘digital classroom’ of Profes- challenge is to make something that other sound is the basis of a process of visualiza- trademarks work in favor of the individual’s sor Pete Fraser. Pete Fraser taught Media people will watch and get something from. tion that serves to enhance, not restrict, the star image, and help us to remember what the Studies for nearly 25 years, most recently Instead of PowerPoint presentations Fraser original pop sound efect. With this in mind, artist looks like. The song can be seen as story in Cambridge (UK), as Head of Media Stud- wanted to use video presentations, upload- he points out five key aspects that audienc- and the artist as the storyteller, making the ies at Long Road Sixth Form College, with ing them to YouTube. In that way he chal- es should be aware when watching a music music video a communicational device, with one of the largest cohorts of students tak- lenged the students to make post-it videos video. 1 the target audience being the ones listening to ing Film and Media in the country, before useful for everyone. the story. If a song’s lyrics are narrative ofen 1. Thought beats or synesthesia. That in- the music video will be narrative to the lyrics. cludes a psychological process of picturing This makes the video stand out as the artist is the sounds in the mind, otherwise known as performing in the first person narrative, rath- being able to see sound. Music has the power er than the invisible ‘fourth wall’ of cinematic to create visual associations in order to con- narration. Therefore, Goodwin compares pop nect with the audience and provide the plea- singers to stand-up comics, as the personal sure. In the creation of one music video it is signature that dominates the performance. important to start with the music and sound; That is possible because the music usually there is no need for a detailed analysis of its works with the lyrics and grain of voice. As lyrics. The selected poem is rather considered humans we link images from our memory in its general feeling or mood, creating a sense to all senses. Intertextuality helps us to put of subject mater. This involves the structure together those images into a shared memo- of the song such as the chorus and verses for ry bank in which we all associate the same example, where we actually look at the music things with our senses. From this memory itself to start of with. In other words we can bank, music can draw out memories of times,

Pete’s Media magazine Blog- people, places, feelings, situations which all lead to small narratives.

50 51 Goodwin the pop music is a romantic art, all about truth, talent, and magic, so we need to believe in the authenticity of the performance first and foremost. Therefore, the mimic, the lip-syncing of the performer is still very important in music video and it makes us believe, that everything that happens is real. Certainly, there is no shortage of disagreement within the next step of creating a good video music, and that is the source of all profit in the business - the star. 3. Star image. This concerns how the artist appears to their audience. The music industry and record labels rely on their artists, which can produce a sufcient income for this industry. An artist or band tends to atract a certain audience through the clothes they wear and their atitude as long as the style of music they create. Today star plays such an important role in music videos, as it 2. Narrative and performance. is one of the main ways through which the artist’s trademark is We are used to see the music developed. They appear on certain music television shows, so they as part of cinema world and have to dress in a way that suits their style. we expect a narrative development from the representation Goodwin points out some interesting facts in music industry. In of the song. On the contrary, fact, there are lot of fails in “making stars“ in music business: only the song ofen fails to give us about one in ten acts put out by the industry actually makes any the complete narrative. In fact, money. Meta-narrative is a term that describes the development the song only informs the target of the star image over time. In example of Michael Jackson we can audience of a small amount of see the first successful move from being one of a group (The Jack- what the song means, and that’s son 5), to becoming a solo artist. Therefore, he was able to negotiate the reason why the video cre- one of the most successful solo careers. Afer he became the me- ates a story to emphasize the ga-stardom with music hits Triller and Beat it, his meta-narrative meaning. There is another im- took a wrong turn and his unique ‘star image’ became ‘freakish’ portant reason why music vid- and self-indulgent. And yet, afer his death, he is still the object eos should avoid the common of mass media fascination and so, in a very real sense, a star. He narrative and go for more, and made trademark form his image of an artist and that is what au- that is their role in advertising. diences will conjure up in their minds upon hearing his songs. The music video should be able Therefore, a star image builds and changes over and over to atract to be repeated over creating the the more consumers. audience that will be able to 4. Three ways in which music videos relate visuals to the song. watch the video over and over Music illustrates the way the video uses images to show the mean- again without losing interest ing of lyrics. There is a connection between what we seen on screen for. From that point of view, and the lyrics that are heard. It is simply about the way that videos more important than narrative are filmed and edited and what efect produces on the audience is the performance in music in relation to the song. The meanings and efects are manipulat- video. Thus, the artist increased and shown throughout the video in way that it is imprinted in es the authenticity of the video our mind, vision and memory. However, the video can amplify the when he combines both nar- meaning of the song or completely ignore the meaning of the song rative and the performance altogether. Music videos can be an illustration of a song by lyrical side of the video. According to interpretation, though ofen there can be a strong juxtaposition

52 53 between the nature of a song and the nature of the video. Finally, it Post-production digital efects. In depends how music video is interpreted: what audience is able to postproduction images can be col- see, that advertises the artist. There are three ways in which music orized, split in more screens, pro- videos relate visuals to the song. viding intrigue and entertainment. Illustration. Music videos can illustrate the meaning of lyrics and b) Beat in music video represents genre providing a sometimes over literal set of images. This is the diferent cuts in music, according most straightforward technique and the classic example of visu- to a key rhythm. alization. c) The lighting and color help sets Amplification is seen as the mark of the true music video director the mood and emphasize key mo- (true music video Auteur) of the artist, and an increasingly comments within the music video to mon way to view music video in a creative way. What separates add dramatic efect. Color may be amplification from disjuncture is the fact that it retains a link with used to show a development in the the song and works to enhance the music video or develop ideas song, going from color to black and rather than fundamentally changing them. white or vice versa when the chorus comes in. Equally any change in Disjuncture is a term used to describe those music videos that the mise-en-scene or camerawork work on a base to ignore the original song and creating a whole can signal the same type of thing. new set of meanings. This is a quite radical technique and is used by an artist in order to promote their diference and originality. d) Mise-en-scene presents the Usually, disjuncture videos of this type do not make a lot of sense seting for music videos, guaran- and may be based on abstract imagery. tying the authenticity of the clip. The mise-en-scene helps set all the 5. Technical aspects of music video. Those aspects hold the video outfits with background setings. together through the use of camera work, movement, the angle, For example, a pop video will fea- ‘mise en scene’, editing, sound and the special efects used. The ture a scantily clad female in a well things that audiences will notice immediately are set, props and lit room with some brightly col- costumes, because of the immediate visual impact. There are some ored balloons or something happy technical conventions such as speed, beats, lighting and color and and poppy, whereas a metal video mise-en-scene. would most likely be in a ware- a) Speed depends on camera movement, fast editing (montage) house somewhere, with the band and visual efects. wearing jeans and surrounded by sharp things. Camera movement. The camera uses are all the camera movement, the editing, cuting and the overall postproduction. Camera move- According to Pete Fraser music ment are motivated by running, dancing or walking performers, videos themselves can be wonder- while the fast cuting and montage editing creates a visually ex- ful extensions of the song, adding perience necessary for music video consumption. Not all camera ideas and pleasures on top of the movements are fast, some uses slow motion through dissolves or primary wonder of popular music. static shots. Together with A. Goodwin, Fraser is convinced that sounds remain the Fast-cuting and montage editing creates a visually decentered ex- source and proper focus of the in- perience necessary for music video consumption. When the imag- dustry, with images a necessary but es are moving fast it’s impossible to understand the meaning on less interesting accompaniment. first viewing and thus need to be viewed several times.

54 55 possible locations, performers, even shots 1. Well-known songs. that might be evoked on initial listening. 2. Overdone efects – you should not use ef- Step 4. The pitch. This process might in- fects just to disguise poor footage. clude a single page of ideas, simply ex- pressed, which would enable anyone read- 3. Aimless driving around. ing or hearing it to envisage the potential 4. Scenes involving booze, fags or drugs finished video. In the real music business (even simulated). this ‘treatment’ is usually presented to the record company, in competition with treat- 5. Shots of people just walking around. ments from other potential directors. There- 3.2.2. Ten Steps to Success: 6. Speeded up footage or footage run back- fore, it has to be a clear idea of location, nar- wards to cover lack of material. Making a Music Video rative (if any), that will be recognizable. All groups have to be introduced with the same 7. Zooms. idea and the way of its realization. It has to The acquisition of theoretical knowledge be comic and some will be serious. A stu- be a simple idea that will help avoid further 8. Found footage – it should be your own is just a part of what a student receives in dent has to consider all of these facts and complications. This step creates a useful unless there’s an exceptionally good reason. school. Therefore, it also important to devel- examine how it will work in his production. document for writing and reflection upon 9. Atmosphere-less stage footage. op the skills, resolve the problems, learn to Goodwin’s book, Dancing in the Distraction what has – and hasn’t – changed and why. be a good writen and oral communicator, Factory, could be a good help within guide- 10. Over the top stories. You should find and above all a creative thinker. For this rea- lines. Step 5. Look at previous student’s work. some strengths in previous student work, son Pete Fraser, suggested some interesting Watching any professional work can be however: ways in which A Level Media students could Step 2. Geting in a group. Choosing of col- helpful to identify conventions, but watch- improve their practical work. He has turned laborators can be a pivotal decision. Some- ing material from a student context helps to - consistency through to the end; his web site into a ‘digital classroom’ to help times it is good to work with friends, but see what can be achieved, and what can go - a clear sense of genre and artist; students with their projects. Afer supervis- sometimes it might be best to avoid them, wrong. Regarding a student video, there are ing and examining thousands of projects he as having a good time might get in the way ten things to avoid: - well-shot footage; engaged 13 students to write about their own of the work. For one work team it is import- experiences with music video. They point ant to have necessary communication, or- out some helpful guidelines for future stu- ganization and practical skills needed for dents. this task. Seting a deadline for the project, which is earlier than the real deadline, could Step 1. Research. The research begins with save a lot of time for further details. defining what could be a music video. This Afer all of the projects with students, especiallly those in media education step requires the practice of watching a lot of Step 3. Choosing a track. The choice of mu- music videos, before analyzing the language sic track is sometimes a very difcult de- some questions remain. For any educator it seems important to clear what of the genre. A student-level work can never cision. In the world of the music business, he is trying to ‘teach’ when he teaches ‘practice’. Is it about technological be entirely like a real video with big budgets, the video maker does his job, and he doesn’t skills, conceptual processes that transfers across media (such as editing but despite this it is necessary to have a plan have to like the music or even the artist. In- or narrative construction), or ‘creativity’? On the other hand, what do we before starting the project. The video, as a deed, some promo directors have suggested look at any real example will show, has got it can be harder working for someone whose ‘teach’ in ‘theory’? Are we aiming to provide tools for students to think to sell both the music and the artist, and be music you are a fan of, as it can detract from with, to enable them to theorize, to think critically or theoretically? It worthy of plenty of replays. Diferent mu- the professional nature of the relationship. A depends how theoretical and practical learning are related. In theory sic genres will have diferent conventions litle bit of distance from the material is of- – some feature musicianship, others dance ten a positive thing. Before choosing a track there is no diference between theory and practice. In practice there is, routines; some will have stories and some it is important to consider the genre of mu- said Yogi Berra. will concentrate on atmosphere; some will sic, and its ‘video mood’. This includes the

56 57 - a powerful performance; quite proud of, but sometimes you have to be ruthless with yourselves in order to get - a good simple efective idea; a finished result. At the end, there are some Chapter Four - judicious cuting. filters to add, for adjusting the light or just to sofen the efect. Step 6. Planning and shooting. In the real world of the music industry it is very like- Step 8. Screening and feedback. The ly that a director would have no more than screening gives opportunity for feedback on six weeks from being given a brief, or first video. Besides the usual critique that vid- hearing a track, to plan, shoot and edit the eo is good or bad it is important to prepare video, and then deliver it ready for the re- the discussion with some helpful questions. cord company to dispatch to MTV. In the What was the sense of video? Why were cer- meantime he would be working on other tain decisions made? What impression does projects. If you have significantly longer to the artist give? Was it appropriate for this work on your project it may not be a good kind of music? Does the video remind of any thing. It is important to use your deadlines other videos or other media texts? Together and time constraints to focus on working with other kind of feedback it is important practices. Everything has to be set: story- to note everything. board, use of props, costumes and locations; Step 9. Writing. Writing in technical lan- double-check of performers’ availability guage should cover the whole process, in- and location. It helps if everything is writ- cluding the feedback and comments on it, ten down. Before the shooting, the camera video’s placement in relation to the industry, within controls, SD card, tripod, bateries, including an analysis of the finished product adequate lighting, and the track of the song with tools from real examples. have to be checked. During the shooting it is necessary to have the music player, which is Step 10. Marking. The final mark depends audible for the performer to use for miming on teachers and all others who will watch and for editing the material. It is helpful to the video. shoot the performance at least three times from diferent angles to have enough of coverage. Afer shooting it is necessary to check your footage to ensure that it has recorded properly. Step 7. Editing. Loading the footage into the editing program has to be done sensi- bly. For easier work it is important to cut the footage into parts to avoid useless footage, and to start editing straight away. Naming of files saves lot of time and enables more fluid workspace. Exaggerating with the efects it is not recommended, it has to be done in planned fashion. First step in process of editing is to line up all material for lip-syncing. Afer that, the video can be covered with other material. This can be very difcult if you have lots of material of which you are

58 59 Chapter Four

LEARNING FROM RE-MAKING: I INSPIRED BY PHARRELL WILLIAMS I

60 61 4.1. The world’s As we said in the previous chapters today the music video is no longer sufcient to capture the full atention of a viewer for a prolonged time. Today the possibilities for transmedia storytelling in music are bigger than in any other form of transmedia storytelling. Indeed, recently we have had Credits: opportunity to see the various interactive music videos, such as those from Kanye Creative director: Yoann Lemoine West and Nick Knight’s BLKKK SKKKN Director: We are from LA Head, Moone - Beter Energy or Bob Dylan’s Production company: Iconoclast interactive TV-set efort. Producer: Jet Steiger Pharrell Williams’ Happy is something Producer: Cedric Troadec Director of photography: Alex Zabe diferent from Bob Dylan video. The song’s Executive producer: Kathleen Hefernan visual is the world’s ﬁrst ever 24-hour Music Executive producer: Roman Pichon Herrera video that plays “live” on the 24 Hours of Choreography: Fatima Robinson Happy site. The interactivity allows a viewer Director’s rep (UK): Somesuch & Co.Somesuch & to scan through the twenty-four hours of Co. website footage, to ﬁnd and view a precise moment. 4.1.1. Interactivity

The trend of interactivity continues to grow borrowing the catchy song. Moreover, it sets the clip at a time corresponding ideas from video games, with a whole new level of resourc- to the local time of the viewer, with the ability to fast-forward, es. People have discovered ways to more or less hack inter- rewind and skip around to diferent times of the day. The song activity into streaming sites like YouTube, yet clean, smooth is soundtrack for animated movie Despicable Me 2, so there are transitions are incredibly essential in order to make the whole some portions of the video in which viewers can see minions experience efortless to use. From that point of view the music from the movie joining in the fun. Undoubtedly, everyday peo- video as a format no longer has to be linear; it is becoming ple make the clip so brilliant, as they dance energetically down a lean-forward, non-linear, interactive. It could be identified various streets, without an inhibition in sight. Each performer four key interactive paterns: was shot right around the real time that it should take place in the video, and there were even some people picked up of the 1. Parallel, where several videos have a same timeline and au- street at random to go along with the thousands of people who diotrack, but diferent content. There is possibility to jump between videos without interruption auditioned. 2. Path, where exists options to change the course of the story Production. As song Happy demonstrated by it becoming the by choosing your-own-adventure. first song to top six distinct-format Billboard airplay charts. They were: Adult Contemporary, Adult Pop Songs, Adult R&B 3. Program with a hub to diferent videos, where the notion of Songs, Mainstream R&B/Hip-Hop, Pop Songs and Rhythmic time is not applicable, and the end is not definite. Songs. The video was directed by We Are From L.A. (WAFLA) and produced by Iconoclast Interactive. Yoann Lemoine, aka. 4. Tangent, where viewer has a choice to leave the video at Woodkid stands behind the Pharrell’s gigantic project as cre- certain points but he can comes back later. The video has same ative director. By creating imagery that is watchable far beyond ending. the remit of the song, the creators have created an immersive Viewers as actors. Pharrell video has the parallel interactive experience. They engaged the consumers by giving them a role. patern, where several videos have a same timeline and audio- The main idea was to create freedom for the viewers and to track, but diferent content. Indeed, titled as “the world’s first make actors, and not spectators, in front of the videos. The di- 24-hour music video,” Happy opens as interactive clock, where verse locations and casting reflect the simple message: every- users can navigate, dial and pick a time of day to watch - and one and anywhere can be happy, as Pharrell tweeted: “None of then share “the moment” via social media. The video is a full 24 us are perfect, but we’re all here. There’s room under the sun for hours in length, with more then 300 diferent performers. The everyone. So let’s do it...#HAPPY”. 1 interface for the video, found on the website 24hoursofappy. com, shows diferent people dancing and lip-synching to the

64 65 rell.2 Perhaps that’s reason why the song re- fi footage, with simple message and mood flects something wonderfully innocent - not of ordinary people dancing as they go about ofen found in average modern pop songs. It their business. The video embodies the idea gets a litle repetitive, but it’s uncomplicated of love leter to Los Angeles, portraying city’s with a very clear sentiment. architecture, landscapes, people, and spirit, moving the party to a new location. Indeed, As we said before, the artist’s voice is pre- we can see people of all forms, dancing and sented as unique and this allows the song lip-synching: “Clap along if you feel/like a to form identification or trademarks, as per- room without a roof/Clap along if you feel/ sonal signature that dominates the perfor- like happiness is the truth.” 4.1.2. Happy: Five Key Aspects mance. Happy is a neo soul and funk song in the key of F minor (plays for 3 minutes and The project with real people, alone or in for Good Music Video 53 seconds at a tempo of 160 beats per min- groups, dancing to the song an entire day’s ute), performed by Williams’ falseto voice was really ambitious, and therefore turned vocal range from F3 to C5. His classic soul out with creative challenges: “The best work 1. Thought beats or synesthesia includes The momentum, tension and intensity lev- voice has a strong Motown feel, simple and comes from people who are motivated by a psychological process of picturing the els (known in the biz as the MTI) are kept archetypal. It has been compared to Curtis crisis, when something stops the original sounds in the mind, otherwise known as in a heightened state to match the feel-good Mayfield. The Motown rhythm is named af- idea, they respond by coming up with some- being able to see sound. Therefore, for one mood of the song, but, of course, there has ter the Motown recording company, for the thing even beter. Existence is all mathemat- music video it is important good sound, the to be some variation to keep it fresh. To pre- variation of rhythms they were known to re- ics,” says Pharrell. “There’s an equation for music itself. Indeed, Happy is full of posi- pare the chorus, there is no pre-chorus, solo, cord. Motown is strictly 4 - 4 simple time, success in every obstacle.”4 tive energy, making dance kids and adults. instrumental break or outro. This includes tempo range 80 to 100. 3. Star image concerns how the artist ap- It is infectiously cheerful tune that grooves the careful implementation of background Indeed, the song Happy reflects the recog- pears to their audience. Today the star plays with truly animated buoyancy and sum- vocals, claps, conga, bass, electric piano nizable voice, transforming it in recognizable such an important role in music videos, as mery vibes. and full drum elements to lif the song to its signature, what is important for one music it is one of the main ways through which “happiest” state with a slight pull back on in- So what makes one song undeniably ‘catchy’, video. “When you’re expressing yourself, the artist’s trademark is developed. Pharrell strumentation on other parts of the song to things are going to come through,” outlined without becoming irritating? According to Williams has achieved worldwide fame as give the chorus its full intensity.1 Pharrell in his story about writing the song.3 a singer, songwriter, producer, and design- Dr. Lauren Stewart it’s a very poppy tune er. As Grammy award winner (seven Gram- that transcends diferent genres. Over the Music video Undoubtedly, that the minion characters 2. Narrative and performance. mys, including two for Producer of the Year), does not develop the narration of the song. night the song Happy became a repeating add a fun dynamic, especially in showing trendseter, entrepreneur, and author, he has It creates a story to emphasize the meaning, earworm. Dr. Stewart made some research happiness. When Pharrell Williams was worked with some of the greatest artists alive, because of its role in advertising. From that about ‘earworms’ - those songs that remain asked to write a song for Despicable Me 2, has a record label, two clothing lines, created point of view, the performance is very im- in our brain and are difcult to dislodge. the moment where anti-hero Gru transforms the umbrella brand IamOTHER, and is in- portant for one music video, including the Happy is a repetitive song that invites you from a one misanthrope to a nice guy was volved in many other projects. Pharrell Wil- mimic and the lip-syncing of the performer. to clap along. Repetition really captures the the ‘Eureka’ moment for Pharrell. “He gave liams is the man behind some of the catch- motor circuitry of the brain, so we have the it one last despairing try, and that’s when it Happy, as a 24-hour interactive video, shows iest tunes of pop culture. He co-wrote and sense that music is keeping us up. It can clicked. I stayed focused on the task at hand, Pharrell dancing with 300 people around produced hit from Robin Thicke, “Blurred make people feel really happy. Aside from and I guess I was very happy. It’s one of the Los Angeles. The project is designed as low- Lines,” and co-wrote and sang Daf Punk’s Get Lucky. As a songwriter and producer, repeating the uplifing title 56 times, over best songs I’ve done in my life”, said Phar- Pharrell Williams has worked with stars from 62% of the song is dedicated to its memorable chorus (about 20% more chorus time Song has grabbed the Nation How Pharrell and a Cast of than most hits of the era). Pharrell found a Hundreds got Happy for a 24-Hour Interactive Video way to keep this song uplifing and interesting without overwhelming the listener. Idem.

66 67 Britney Spears to Kanye West - but recently dance in a movie theatre that is playing the post-production. Filming took 11 days, with two days ded- he has become a global hit himself. scene from Despicable Me 2 in which “Hap- icated to Pharrell. A tremendous amount of prep work was py” appears. Alone, one-eyed minion also involved: location scouting, acquiring permits, casting. The soundtrack Happy became the first in 57 appears dancing to song in its entirety at According to Jet Steiger, the video’s line producer, every years to make number one in the top the UK 4:40pm. music video comes with a set of budget and schedule chal- charts three times over. Afer its release in lenges, but this one was particularly difcult because of November 2013, Happy has spent also four 4. Three ways in which music videos re- the amount of content captured. It took a few days just to non-consecutive weeks at number one in late visuals to the song. Music illustrates figure out exactly how many locations is needed to shoot the UK. In this manner, the American sing- the way the video uses images to show the at specific times, and especially to find many dancers in er became the second ever act to score three meaning of lyrics. Music videos can be il- order to make the video interesting for 24 hours. WAFLA’s million-selling singles in the UK charts in lustration of a song by lyrical interpretation, intention was to make the video feel as alive as possible, the past 12 months. Thus, Pharrell Williams though ofen there can be a strong juxtapo- and that is reason why they shot guerilla style, using just has joined The Beatles in being only one of sition between the nature of a song and the one Steadicam. Anyway, Pharrell was not interested in two acts in Top 40 history to have three mil- nature of video. perfection: “The video’s imperfections, the funny bloop- lion-selling singles in a year. Only Frankie ers and mess-ups, are what give it character, whose own As it can be seen, the music video Hap- Laine, who returned to Number One three performances alternated between what he calls semi-cho- py illustrates the idea of love leter to Los times with I Believe in 1953 and Guy Mitch- reographed (see the bowling alley at 11:00 p.m.) and impro- Angeles, portraying the city’s architecture, 5 ell, who scored the top-spot hat-trick with visation. I’m not interested in perfection. It’s boring.” | landscapes, people, and spirit. Therefore, Singing The Blues in 1957, have achieved this the video was shot in Los Angeles starting before. The camera used in music video was Arri Alexa with a at sunrise in Downtown L.A., moving to 50mm anamorphic Panavision c-series lens. Jon con- P. Williams P.

Pharrell’s all-day loop interactive video fol- LAX, Silver Lake, Echo Park and Hollywood, ﬁrmed that he shot the entire piece using a steadicam | lows more than 300 diferent characters among other places, ultimately circling back mostly on foot or a rickshaw. The main idea was to take enjoying ‘happy choreography’. Beside the to Downtown. We can see various groups of just one shot for a single performance, as Beatie conﬁrms: dancing of ordinary people through the all ages, ethnicities and types, with a kind of “No take 2’s (in 370 setups there were maybe 10 resets or streets of Los Angeles, we can see a host of personality that has fun in front of camera. 2nd takes) no rehearsals & walking 12-15km a day for the familiar faces having fun, including Despi- “We didn’t want to use models or carica- show.”6 In terms of camera movement, the mistakes during cable Me 2 stars Steve Carell and Miranda tures. We wanted archetypes - people you’d this exhausting work are almost invisible. Jon Beatie used Cosgrove and Williams himself, who ap- walk past in a mall”, says Pharrell. c series anamorphic Panavision lens is from the 70’s, with pears 24 times, with the Minions pop up in f stop’s that were used varied from 1.4- 2.8/4 split. This lens 5. Technical aspects of music video. Those the day long promo. There are a number of gives a very sof look to music video. aspects hold the video together through the other celebrities in the video, including Whit use of camera work, movement, the angle, Once the shooting was done, the directors had a litle over Hertford (1:04am), Kelly Osbourne (1:28am), ‘mise en scene’, editing, sound and the spe- two weeks to edit the footage. Afer that it was given to Magic Johnson (5:36am), Urijah Faber cial efects used. The things that audiences Iconoclast’s Solal Micenmacher, who produced the inter- (8:36am), Sérgio Mendes (10:32am), Jimmy will notice immediately are set, props and active clock that allows viewers to seamlessly dip in and Kimmel (11:48am), Odd Future (1:48pm), costumes, because of the immediate visual out of the experience. Steve Carell (who plays Gru in Despicable impact. There are some technical conven- Me 2) (5:08pm), Jamie Foxx (5:28pm), Ana tions such as speed, beats, lighting and color Ortiz (5:32pm), Miranda Cosgrove (who and mise-en-scene. plays Margo in Despicable Me 2) (5:40pm), come through”... to going things are yourself, expressing you’re “When Gavin DeGraw (5:44pm), and JoJo (6:16pm). Steadicam operator Jon Beatie shot the There is an interface to share the moment Pharrell’s 24-hour music video with lip dub

with friends and families. The minions from shot. That is kind of shot in a single take. Idem. Despicable Me 2 make several appearances Lip dubs are typically ﬁlmed while travel- - throughout the ﬁlm, including one scene at ing through a building, with subjects mim- 3:00am, in which Pharrell and the minions ing song lyrics; the actual music is added in

68 69 4.1.3. From Trend of Happiness to Cultural Diplomacy Designers Loic Fontaine and Julie Fersing made a site WeAreHappyFrom.com with interactive map.

The original video Happy was released in videos being made. The main reason of their new concept in global afairs. Existing as a Tehran. The Iranians wanted to share mes- November of 2013 and immediately became project stands in simple idea of happiness: sub-category of public diplomacy, cultural sage that they were happy and connected a global sensation. The simple message with “We want this much videos inspired by one diplomacy develops a communication and with the rest of the world, but this act broke low-fi footage of ordinary people dancing simple and benevolent idea that has noth- builds relationships, prioritizing the mutual a number of local and religious laws in their made this video ideal for amateur re-makes. ing to do with money, political or religious. interests between publics and trying to link society. Even though they were arrested, Indeed, the thousands of fan re-makes fol- A beautiful humanity that need to be pro- them. Therefore, Pharrell’s music video fits the video communicated to the world about lowed the original idea. This special phenom- tected in such times of crisis, and for that we perfectly in field of cultural diplomacy, as growing clash between the religious con- enon appears under a special subcategory must talk about the good things rather than ‘georemix diplomacy’. Connecting the peo- servatives and the moderate youth in Iran. of music video, called georemix. In original dwell on what goes wrong… Only one thing ple around the world, through parodies and Later the Iranian president, criticized the video Pharrell gave a basic recipe to follow, maters, and it is that the original message re-makes, it created the so many cross-cul- arresting, and the dancers, along with the and other made their own georemixes. This should be respected. We have thus created tural relationships. director, were released. a simple website with a “happy” chart and type of social sharing, known as ‘control mu- Besides the local re-makes and georemixes, a frequently updated map, as to appreciate In March 2014, one of the volunteers, Maiko tuality’, ensures in this way to each YouTube the song Happy was licensed by Fiat for use 1 helped to Syrian refugees in Iraq to make video the credibility. In fact, as Happy be- the geographical spread of happiness.” In in its commercial spot. Weird Al’ Yankovic came a viral hit, Pharrell and Columbia Re- August 2014, 1950 videos from 153 coun- their own Happy. Obviously, life in the camp is difcult including many burdens also parodied the song as satirical Tacky for cords/Sony Music, did not complain for the tries had been found, with 141 hour and his album Mandatory Fun. possible copyright violations. The practical 46 minute of shared happiness. Moreover, and memories of their homeland. Despite result of this has been a multitude of videos Pharrell himself has embraced the notion those conditions they wanted to stay happy As it can be seen the song Happy trans- capturing their local landscapes, people and of the georemix, urging people around the no mater what happens. This was followed formed the world in a unique opportunity to spirit, whilst all along, endorsing happiness. world to produce their versions of the vid- by another video by Syrian refugees in the communicate and connect. Indeed, the cul- Some of those “Happy” remixes are shot-by- eo as part of a UN-sponsored Internation- Zaatari refugee camp in Jordan, whose mes- ture of happiness spread all over the world shot re-makes of the ofcial Pharrell video, al Day of Happiness. In this way, Pharrell sage was not just of life and happiness, but the common understanding: “…clap along and some adopt the spirit of the video and took one diferent role in his career, and that went further to encouraging support of edu- if you feel like happiness is the truth.”2 Af- transpose it to a local context. Georemixing is the role of cultural diplomat. Suddenly cation and mental health programs for inter- ter having seen all those re-makes, Pharrell ofers to users becoming active participants, Happy become a cross-cultural phenom- nally displaced Syrians. cried, overwhelmed by the experience of building international relationships. enon with enormous cultural diplomatic watching a simple idea, spreading around Beside this trend of happiness, some gov- potential. Cultural diplomacy is a relatively the world. The number of diferent versions of Hap- ernments have disagreed with the freedom

py impressed a French couple, designers We Are Happy From… of citizens to generate their own message The Global Consequences of Loic Fontaine and Julie Fersing. They made publically. For example, the Iranian authori- ‘Georemix Diplomacy’ - a site WeAreHappyFrom.com with inter- ties arrested six Iranians who uploaded their active map, showing increasing number of video, showing them dancing on roofops in

70 71 4.2. Boarding House “Paola Di Rosa”

4.2.1. Boarding House

A boarding house is a house where some are adolescents in the process of physical and “Paola Di Rosa”, a state-recognized private Catholic boarding house, led pupils live during the school year with their psychical growth, development of character by female religious congregation Servants of Charity, is considered to fellow students and possibly teachers or ad- and personality formation. Therefore, educa- ministrators. The word ‘boarding’ is used in tion in boarding houses should sustain these be one of the most prestigious houses in Croatia with a long history of the sense of “bed and board,” i.e., lodging processes, optimizing the climate of balance, education in Dubrovnik, since 1853. The educators and tutors walk both and meals. Boarding house residents (a.k.a. relationships and activities that encourage, parents and students through the diferent stages of the school, which “boarders”) normally return home during the the intensive and multiform development of school holidays and, ofen, weekends. In Cro- various skills, creating the positive human includes developing a personal narrative and identifying the qualities atia boarding houses make an integral part of characteristics and values. Every boarding that set each student apart from the rest of their peers. the high school education, with teaching, ed- house, during the period of school year, has ucation, and help in studying. The boarders its educational program that provides ade-

Old City of Dubrovnik - UNESCO World Heritage Centre The newly built a multipurpose facility situated in a beautiful position on “Ilijina Glavica” above the old town Dubrovnik.

72 73 quate space, accommodation and meals. As - Staf: tutors minimize risks and create place those institutions difer from schools, they where the residents can feel safe; also have their special organization of work that can be realized by various programs: - Satisfaction as taking advantage of the op- basic, special and optional. The educational portunities that life brings to students and planning leans on humanistic - evolutionary their tutors; paradigm and individual needs and inter- - Social inclusion, where all residents feel ests of students. This humanistic approach valued, their diferences are respected, and emphasizes the study of the whole person, their basic needs are met so they can live in where an individual’s behavior is connected dignity; to his inner feelings and self-image. There- 4.2.2. Basic fore, the annual education plan is the result - Material wealth: having enough income to 1 Educational Program of collaboration, open communication and take advantage of educational opportunities. respect for the personality. This educational In Croatia, the current High School Law, in plan is made as help to the students and their “Paola Di Rosa”, a state-recognized private Catholic board- Article 133 says, “the boarding school arrang- parents in order to achieve beter results in ing house for girls provides a home for up to 120 girls aged es accommodation and food, the holistic ed- high school education. Hence, it involves 14 to 18. Led by female religious congregation Servants of ucation (educational work), with the cultural various professionals, such as educators, Charity, it is considered to be one of the most prestigious and social students’ activities.”2 psychologists, and other health care profes- houses in Croatia with a long history of education in Du- sionals, which are necessary according to the brovnik, since 1853. With the same purpose stands newly needs of the boarding school. The Council of built a multipurpose facility situated in a beautiful position Educators, at the beginning of each school on “Ilijina Glavica” above the old town Dubrovnik, inside year, makes the annual educational plan that the stone walls and “Glorijet” (viewpoint). The “Paola Di Residental and boarding Rosa” facility contains 45 rooms with about 120 sleeping deﬁnes the organization of the various activ- education and care for young people. A model for good ities such as study, leisure, cultural activities, practice, places. Rooms for the work are located in buildings on the right, a restaurant on the lef. Bedrooms are upstairs on sports and recreation. There are some funda- Zakon o odgoju i obrazovanju u osnovnoj i srednjoj mental purposes of education in boarding školi, both sides. Beneath the building there is a large sports hall, house, such as: which provides various possibilities for sport activates (football, handball, volleyball, badminton, table tennis etc). - Accompaniment, exploration and the prog- ress in education; The purpose of the boarding house “Paola di Rosa” is to cure the physical and intellectual development of girls as - Promotion and creation of opportunities residents of house. A special educational ofer goes beyond for personal student’s development; the ordinary study, aiming to the holistic formation, al- - Skill developing. lowing to a student a harmonious intellectual growth and mental health.1 Nowadays, the school and education has to The philosophy of each boarding house has be regarded as a unique and continuous training system, some purposes that are not directly measur- in interaction with the environment and the territory, re- able, but bring some guidelines important for sponsive to the changing needs of boarders and their fam- work. Regarding the educational objectives, ilies. Therefore, the boarding house “Paola di Rosa” pro- it should be considered the national strategy vides the atention and guidance needed to get students of boarding houses. For example, in England into the school that ﬁts them best. It focuses on the indi- the following are important: vidual student’s interests and goals, ofering step-by-step instruction needed for student’s life. The educators and tu- - Health and emotional well being of residents Statut,-

74 75 tors walk both parents and students through ally and culturally in an atmosphere of posi- the diferent stages of the school, which in- tivity, encouragement and trust. Respecting cludes developing a personal narrative and the individuality, it ensures the needs of ev- identifying the qualities that set each stu- ery boarder are met in accordance with their dent apart from the rest of their peers. age and level of maturity and in positive dialogue with parents. The basic educational program is the same One of the key features for all boarding houses in Croatia and is realized through four areas such as: 3. Cognitive development. Adolescence of boarding school life is a time of rapid cognitive development; it is the wide range of ac- - Care and Health Promotion; is the stage of life in which the individual’s thoughts start taking more of an abstract tivities and experienc- - Socialization and emotional development; form and egocentric thoughts decrease. This es, which gives boarders - Cognitive Development; allows an individual to think and reason in opportunities to develop a wider perspective. The thoughts, ideas, skills and interests be- - Creativity. and concepts developed at this period of life The boarding house “Paola di Rosa” has add- greatly influence one’s future life and play a yond the academic cur- major role in character and personality for- riculum. ed to this basic program an extra area, spiritual development. mation. From this reason boarding houses These skills and interests focus on various methods of studying. It is ofen contribute to per- 1. Care and Health Promotion. The edu- important to learn how to create a detailed cational institutions play a critical role in study plan, maximize the time spend study- sonal and career devel- promoting the health and safety of young ing, take meaningful notes, and save time in opment. people and helping them establish lifelong preparing exams. Living and studying healthy behaviors. Research also has shown that youth health programs can reduce the 4. Creativity is defined as the ability to gen- in one place provides prevalence of health-risk behaviors among erate ideas and problem solutions that are much more time for one young people and have a positive efect on innovative and correct. Adolescence is con- student to enjoy in the academic achievement. Those programs de- sidered a key period of creative cognitive velop guidelines and strategies for board- development with distinct trajectories for friends’ company. ing houses to address health-risk behaviors insight and divergent thinking. Sports and hobbies, among boarders and create tools to help Insight includes creative problem solving them implement these guidelines. dance and drama, music situations. Insight solutions are classified and art, public speaking, 2. Socialization and emotional develop- as sudden and obviously correct, mani- aerobics, potery, dance ment. Socialization is the process of creat- fest directly afer a solver thinks they have and much more are all on ing a social self, learning one’s culture and reached an impasse, and did not involve any learning the rules and expectations of the methodical processing that the solver can ofer at boarding house culture. Working in close partnership with recall. Meanwhile, divergent thinking deter- “Paola Di Rosa“. students, staf and parents, the boarding mines creation of original ideas or multiple house team tries to provide a ‘home from solutions for a single open-ended problem. home’ boarding experience that is safe, re- From that reason it is categorized in three laxing and comfortable. Therefore, it pro- categories: 1) fluency, or the ability to gener- motes a spirit of teamwork and communal ate many responses; 2) flexibility, the ability responsibility among boarders. In that way it to generate many responses in for various ensures that each boarder has the opportu- problems; and 3) originality, the ability to nity to develop academically, socially, mor- generate atypical or uncommon responses.

76 77 4.2.3. Filmmaking:

Congregation Servants of Charity, with a long history of education in Dubrovnik, since 1853. A New Activity in “Paola Di Rosa”

Therefore, the boarding house tries to create Leisure activities. As we said before board- Film education benefits young people social- ical art. We need students to see how ideas educational programs that influence their ing houses difer from schools, having their ly and culturally and help them in learning. can be transformed into action and how if students to become more involved in cultur- own special organization of work that can Introducing a new activity of filmmaking we they want to reach for something, if they al activities, increase creative thinking abili- be realized by various educational programs. wanted to experiment with positive impact can dream it, they can do it. The activities in ties and sensitivity to problems and esthetic One of the key features of boarding school on behavior, motivation, and relationships this section aim to develop students’ social preferences. In this way boarder develops a life is the wide range of activities and expe- between pupils and staf. Trough film edu- awareness and metacognitive skills, helping sense of personal identity that is character- riences, which gives boarders opportunities cation students can “think” in their own lan- students become productive citizens and istic of creative individuals. to develop skills and interests beyond the guage and tell their own stories with moving broadening their understanding of the per- academic curriculum. These skills and inter- images. We are also aware that film can have suasive power of the moving image. 5. Spiritual development. The school sys- ests ofen contribute to personal and career a positive efect on teachers and educators’ tem usually does not consider the spiritual development. Living and studying in one own pedagogy. People do not learn beter Creativity is defined as the ability to gener- development as part of the overall process place provides much more time for one stu- when tasks are made easier: they learn bet- ate ideas and problem solutions that are in- of growing up. On the other hand as adoles- dent to enjoy in the friends’ company. Sports ter when they are encouraged to go beyond novative and correct. In creating new ideas cent mature they spend more time thinking and hobbies, dance and drama, music and the boundaries of what they already know. for their films, students discover obstacles of about the meaning of life, why we are here, art, public speaking, aerobics, potery, dance In this way educators involved in teaching time, of equipment and of other resources, how we treat others and ourselves, and what and much more are all on ofer at boarding film are motivated to inspire young people, so they start learn to identify and solve their we value. Those questions are always evolv- house “Paola Di Rosa“. and to take charge of their own learning. own problems, and to own the process for ing, and they help shape our personal beliefs Filmmaking points out the most gifed to finding solutions. The making of film is sim- To help a boarder to get the most out of his overcome the hardest target. From this rea- and personalities. Boarders in this age begin leisure activities, he is helped and encour- ilar to a giant algebraic equation, because so to internalize personal beliefs and practices, son filmmaking can be empowering, devel- many decisions in filmmaking are afected aged by appropriately qualified members of oping the character and intelligence. which may be similar to or diferent from staf and/or accredited coaches. Not only by other decisions. Depending on weath- those of their parents and their friends. Older will they ofer expert training, but they will This kind of education improves the cogni- er conditions the shooting will be outside teenagers begin to make choices about where also ensure the safety of those leisure activ- tive intelligence, because includes discus- or otherwise the schedule changes and the intentional spiritual practices fit (or don’t fit) ities that require it. Many leisure activities sion, presentation, critical thinking, as well shooting will be inside. There are so many in their lives. Therefore, the boarding house have links with other schools and the wider as watching, while team working enhance decisions that are interwoven into all of the “Paola Di Rosa” tries to organize some activi- community. Therefore, competitions on na- the socialization and emotional develop- other decisions that filmmaking requires ties and things that could bring joy and ener- tional level, for individuals and teams, cover ment. Students in high school are mature the creative development and utilization of gy in life, including a sense of vocation. everything from sport to cultural activities. enough to examine controversial and polit- good logical thinking skills.

78 79 This real world with filmmaking challeng- the power to express people’s thoughts, feel- es becomes a great opportunity to experi- ings and emotions, and what about express- ence real world problem solving, and the life ing the ‘faith’? It is something that more young brings a series of problem-solving opportuni- people should be encouraged to do, to express ties. Developing spirituality we believe that their religious values and belief in film. educations does not only stand on the stu- It is not only about viral sharing of their sen- dent-educator relation, but also on the stu- timents, feelings or ideology, but also about 4.3. Learning from re-making dent-God-educator relation. helping others to understand and reflect upon who people are, and where they are There are so many films that engage maters coming from. of faith as their raison d’etre and others that does not consider faith as theme, but taken as Thus, more than any other factor, ‘faith’ a whole, include the eternal questions and the significantly influences social dynamics of power to capture the intangible. The film has young people and their community. As soon as the original video Happy was released in November of 2013 and became a global sensation, our decision to make one music video re-make was only a mater of time. It seemed that the Croatia as a whole was dancing...

As we could see in previous chapters the The thousands of georemix from all over music is one of the most popular media for the world followed the original idea, and we adolescents, dedicating circa four and five choose to join them from several reasons: hours a day listing to music and watching music videos. From that reason the making - Easy approach for beginner in filmmaking; of one music video was right choice for one - The song was ‘catchy’ and good for dance; house full of teenagers. We wanted to start our first filmmaking experience with one - Girls like to dance; music video re-make because it facilitates the work with beginners. Avoiding the ma- - The project could contribute to spirit of nipulation with sound, we could focus only community between students and staf; at the visual. - The video was trendy, whole world was As soon as the original video Happy was re- making Happy; leased in November of 2013 and became a - The video was easy to ‘tag and share’ for global sensation, our decision to make one geting visibility on YouTube; music video re-make was only a mater of Trough film education students can “think” in their own language and tell time. The simple message with low-fi foot- - Ideal approach for promotion of one edu- their own stories with moving images. age of ordinary people dancing was ideal cational institution; for video promotion of our boarding house “Paola Di Rosa“. Indeed, it seemed that the - The idea of happens fits perfectly with whole Croatia was dancing: first Čakovec, spiritual values of catholic institution “Paola then Dubrovnik, Split, Šibenik and so on. Di Rosa“.

80 81 4.3.1. Project work

Step 1. Research. Before the starting with Boston College – Happy.1 This video with one re-make we wanted to be informed strong brand identity and institutional spirit about the fair-use of copyrighted materi- inspired our pivotal idea: “studying can be al. We contacted the studio from Čakovec, fun in the home called Paola Di Rosa”. We which was the first to make the Happy geo- were aware that our project can never be en- remix in Croatia, and asked them about pro- tirely like a real video with big budgets, but cudere. They informed us about Pharrell’s despite this we were determined to make interactive site and the trend that goes in the plan and tell our story. Immediately in the beginning we adopted the idea of ’24 hours background with some basic rules. Indeed, in “Paola Di Rosa”’, from waking-up to going the original Pharrell’s video gave a basic rec- to sleep, underlining the Pharrell’s message: ipe to follow, and we could continue with 24 hour of happiness. our georemix. This type of social sharing ensured to our video the credibility on You- Step 2. Geting in a group. Afer we divid- Tube. We noticed that some of those Happy ed in four main groups (according to age) we remixes are shot-by-shot re-makes of the also divided in more subgroups according ofcial Pharrell’s video, and some adopt the to interests. Every group chose the collabo- spirit of the video and transpose it to a local rators and tried to focus on one part of the context. We decided to choose the second video, trying to bring as many solutions as possible. Besides the necessary communica- option and transpose the same spirit in our tion and organization it was necessary to see local context in Dubrovnik. what practical skills are needed for this task. We started our research with two meetings We did not set any deadline, because we where we introduced the general idea of geo- wanted to have the more freedom and time remix. We asked all grades to participate at to finish the project in the way we wanted. project “Paola Di Rosa is Happy“, and those A major part of the groups managed the who are interested in filmmaking to express presentation of the space trough the video. their interest in special role in this project. Boston College – Happy, - We watched some Pharrell’s original videos, together with increasing the re-makes, and decided to follow the main idea of georemix

82 83 Each group dedicated their time and work to From that reason, we prepared one kind camera horizontal, we experimented the presentation of one speciﬁc part of day and of storyboard that was not a storyboard in shooting with the point up and down. We the particular situation or activity in deter- the literal sense of word. It was more of a crouched down below the subjects, holding minate space of the house. one simple agenda of activities in boarding the camera above our heads, climbing stairs house led by movements of camera with or using a tall tripod. With the swiveling Afer we collect- Step 3. Creative studio. diferent space (interior and exterior) and screen we used the camera in unusual po- ed some initial ideas, we tried to make a time (day and night). Although, it was only sitions around the subject. While they were timeline, creating the main story. Many re- school project, we searched the consistency moving, we shot them from in front and makes of Happy, seen on YouTube, show the in story from beginning to the end, well-shot then from behind, trying to construct the importance of performance on one video, footage, a powerful performance, judicious story in editing. 1 – We used a tripod (brand including the mimic and the lip-syncing. cuting and one simple efective idea: Paola “Manfroto”) for a smooth efect of “pan” That motivated us to make some pre-initial Di Rosa is Happy. to have great panoramic views and “tilt“ to shoots to ﬁgure out, what kind of works is shoot an object or a person they look larger best for us. As Pharrell’s video is portraying Step 4. Planning and shooting. Afer ev- and thicker. Sometimes, with no tilting, but city’s architecture, and wide open spaces, it erything was been set: storyboard, equip- physically moving the height of the camera was possible to use lip dub shot, traveling ment, costumes, performers with their cho- up or down, usually on a tripod we used a through a buildings and spaces, with sub- reography, locations, and adequate lighting “pedestal”. Girls loved the use of “dolly shot” jects miming song lyrics. That kind of pro- we started to shoot. We used three types of because they used skates and a skateboard. duction was too demanding for us from sev- camcorders: We also learned something about Extreme eral reasons: Wide Shots (EWS), Wide Shots (WS), Medi- - Nikon DSLR D5200 (Nikor lens 18-120mm), um Shots (MS), Medium Close Ups (MCU), - One-take shot need perfect timing and (HD 1080x1920), codec: H264, format: .mov, Close Ups (CU), and Extreme Close Ups chorography; 25p f/s; (ECU). The most demanding conditions for - One-take shot doesn’t allow big mistakes; - JVC GY HM100 (3.7mm to 37mm f/1.8 shooting were low-lights conditions or big lens), ( HD 1080x1920), codec XD CAM, for- contrast with hard shadows. Therefore, the - One-take shot demand adequate equip- mat: .mov, 25p f/s; major part of the shoots at outside we made ment (camera lens, stedicam); about one hour before the sunset. Inside we - Sony HDR-AS30 HD POV Action Cam- - In this kind of production it is hard to work used three key-light casting. corder (Carl Zeiss Vario-Tessar Lens 2.5mm, with big group of people; Steady Shot Mode: 21.3mm) (HD 1080x1920) Afer shooting we needed to check the foot- - This production demands previous expe- codec: H264, format: .mpeg, 25p f/s. age to ensure that we recorded everything rience; properly. We have done 3 weeks of shooting, Before the shooting, we always needed to including the school obligations, bad weather, - One-take shot includes perfect prepara- check: the cameras within controls, SD low light situations and weekends, when mation and planning. cards, tripod, bateries, lighting, and the jor part of the girls are not in boarding house. track of the song. During the shooting we Therefore, we decided to follow the synes- lef the music player with big speakers on thesia of Pharrell’s song. Developing as much disposition to everyone. as possible via the psychological process of We prepared kind of storyboard that was not a storyboard in the literal picturing the sounds in the mind, we tried to We used three cameras for diferent angles translate it into a visual. That motivated us to have enough coverage for video. The sense of word. It was more of a one simple agenda of activities in boarding to use the shoots that will be cut on the beat shooting was great opportunity to enter into house led by movements of camera with diferent space and time. of the song, but not only that. Sometimes in cinema world. Some girls really enjoyed Although, it was only school project, we searched the consistency in story clip editing, if all the cuts fall exactly on a “playing with camera“. The dance move- beat, the pace can seem too predictable and ments inspired us to use diferent cam- from beginning to the end, well-shot footage, a powerful performance, boring. Cuting at a half beat or “against the era angles and positions as well. Instead of judicious cuting and one simple efective idea: Paola Di Rosa is happy. beat” can make watching more enjoyable. shooting everything from eye level, with the

84 85 STORYBOARD

86 87 Step 7. Editing. As soon as we started to edit and load the footage into the editing program we were aware that we improvised Currently statistic on YouTube: too much. We had more coverage then pre- dicted, so we did not know what to choose. Therefore, we needed one entire week to put together the 4 minutes of video. In editing we used Final Cut X sofware, and we cut out lot of material in order to ﬁnish the video. For easier work we cut the footage into parts to avoid the useless footage and named the ﬁles to save as much time as is possible. Afer we lined up all material with lip-syncing we used other material for coverage. We used Afer Efects CSS 6 for postproduction. This sofware helped us with correction of distorted angles of Sony Action Camera and color correction. At the end we added some

ﬁlters, adjusted the lights, and made the ti- Other tles. We needed one week of editing and 4 26%

days of postproductions. c External websites

f 21% Step 8. Uploading on YouTube and feed- Unknown – direct sources 22% back. As YouTube became the second big- tra Top Unknown – emb. player gest Search Engine we wanted to upload our 32% video on YouTube in order to get more visibility, trafc and authenticity. The idea of Other websites 32% music video to promote our image and ser- YouTube watch page vice had the important role in engaging of 68% location

audience. Without any previous announce- playback Top ment we uploaded our video 29 of April Female 60% 2014, and waited.1 The day afer (30 of April) Male

the number of views increased up to 1000, Gender 40% and ﬁrst newspaper wrote article about our work: “Paola Di Rosa is Also Happy“.2 Trough 0% 50% 100% our video we could experience how the social media does its work. Views: 3,967

Paola Di Rosa is happy Top geographies: Croatia, Bosnia and Herzegovina, Italy, Germany, US Estimated minutes watched: 12,142 I Paola di Rosa je happy, We uploaded our video 29 of April 2014. The day afer, ﬁrst newspapers started to follow our story.

88 89 We submited our video to “19. Revija ﬁlmske mladeži” in Karlovac.

Step 9. Competition. The “snowball” efect our video for screening (from 360 films, only continued, and we started to receive more the 70 of them were chosen). That gave us the and more visibility. Therefore, some friends opportunity to be guests on the Festival, to suggested to us to enter in the Youth Festival join the screening of other films, participate in Karlovac competition. We were not sure in workshops, and ‘taste‘ the experiences of that we have good film for this kind of festi- one international film festival. Our music vid- val, but we submited our video to “19. Revija eo was in competition for “dance film“, and in filmske mladeži” in Karlovac. the same category we received the award and recognition by selector, Rok Vevar - Slovene For 12 years, till 2007, the high school film publicist, critic and theatre director. Afer we moved from city to city around Croatia. Then, it setled down in the city on four rivers – heard decision that our video “Paola Di Rosa Karlovac, under the name the Youth Film is Happy“ is chosen for “best dance film“, we Festival and as such remains in Karlovac in- were really happy. Indeed, Rok Vevar under- definitely. Youth Film Festival is organized lined: “What I searched from the best dance under the supervision of Croatian Film As- film was good photography and coloring; as sociation and Cinema Club Karlovac, and it well the creative editing, including a variety We enjoyed in screenings, participated in workshops, and ‘tasted‘ the experiences of real film festival. host the international festival of high school of angles. This film has well-composed shots film. During these days of the Festival the that follow the rhythm of the song. There- city of Karlovac, welcomes around a hundred fore, the film conveys a wide range of cho- and fify high school students, not only from reographed movements, where not only the Croatia and the region, but also from the en- bodies are not included, but also the objects, tire world. Beside the numerous great films in architecture and water. All this contributes to Karlovac in the ofcial competition, there are the choreographic moment.” diverse workshops, performances and other With no doubts, it was big surprise and rec- social activities. ognition four our first work, that filled us with Film festivals ofer young filmmakers the op- the enthusiasm for future filmmaking. Be- portunity to reach out and get their film on side the recognitions our students received the big screen. As soon as we submited our the award to participate in some international video to “19. Revija filmske mladeži” in Kar- youth festivals as jury, and some others Fes- lovac, we were surprised when the jury chose tival directors asked us for the collaboration.

90 91 Interview in Complimenatry bulletin of “19. Revija ﬁlmske mladeži” in Karlovac. The award for “best dance ﬁlm“ in Karlovac 2014.

92 93 turned out that there are so many films with 3rd Grade Student - 17 Year Old Girl: At be- surprisingly good quality. Up to the present ginning I was superficial thinking how the time I was more interested in photography shooting of five-minute video is not a big and I didn’t think so much about film art. deal. In the meantime I realized how much Hanging out during the festival with people work it takes including working together, interested in this kind of art I started to learn shooting, repeating, cuting, editing etc. from them. For example, I never thought The moment when I took the camera and how interesting and difcult the making of started shooting was brilliant. Nothing beats one animated film could be and how many all of the wonderful feelings associated with pictures are needed just for one second. All something you’re deeply passionate about. I those experience during the film festival learned completely new things such as how 4.3.2 Feedback for Learning motivated me to remain in activity of film- the camera works and how to deal with fo- making in our boarding house. I’m aware cus. It is interesting that the camera lens that filmmaking is kind of activity that de- makes you to see the world in a diferent mands lot of work and time, but if you are Central to efective learning is the process of ent than it does through your eyes. Depend- way than your eye does. Up to present time I interested in visual art and you like it, you obtaining feedback from students and making on the focal length, the image deforms was not aware of the quality of video. Work- can succeed. I think also that film could be ing useful conclusions from that feedback more or less the object or face. For the first ing with camera I started to pay atention to useful in education. As a student of medi- that will help to improve the learning. There- time in my life I experienced how light is image’s quality and to work of other people. cine I can imagine how it would be interest- fore I conducted interviews with some girls very important in cinematography and in- This project also helped me to gain more ing to present the chemical processes with involved in the project, asking them if they fluence the look of the film. The experience confidence in myself. Before I was literally some animations. It would be funny to study could recount their experience of filmmak- of filmmaking changed the way that I see stressed about how I looked in pictures. The in that way. ing in boarding house. In this chapter I bring movies now. Now, when I watch one mov- major part of group has had the same prob- four interviews from four diferent grades. ie, I like to imagine what is going on behind Speaking about our music video “Paola Di lem: “What people will say if we look bad or the scenes. In fact I watched the hundreds Rosa is Happy“ I have to underline that I we act silly?” We were also ashamed of danc- 1th Grade Student - 15 Year Old Girl: When of “Behind the scenes“ on YouTube. The part was among the first persons that suggested a ing in front of camera and acting in front of I first heard about the video project, I was that I like the most in filmmaking is process sister Ružica to make Happy in our boarding other people. I realized that you cannot force very excited. When I heard that s. Ružica of creating the story, as well as the video and house. I was ready to collaborate right from yourself into just “feeling confident”, but you was looking for collaborators to contribute audio editing. As future project go I would the beginning, but soon as we started we get can force yourself into acting confident, and to the project, I knew I had to be involved. like that we make one documentary about tired and fed up with song Happy. What to in the meantime with playing the role of self We started with brainstorming in diferent some successful sportsman. I love sport, so I say? The hard work is worth it in the end! confident person, we gain more confidence. groups to create new ideas and solve prob- think that it would be interesting to see how We heard about Karlovac, and in the sea of We kept the rhythm going inside of us and lems. The project started to involve more much efort is needed to gain success in one high school’s films our film was chosen for everything worked out in the end. It was members so the team became bigger. As we sport. I never get tired of watching this kind screening. Atending at this kind of event, it interesting that we get to know each other started to work together, mine ideas became of movies. Somehow they inspire me. more clear and precise. I was involved in dif- was an honor for me. The crucial moment even beter. I realized how it is important to ferent part of project such as the creating of 2nd Grade Student - 16 Year Old Girl: As I was the award and recognition for work. be natural and relaxed in front of camera, in story, shooting on skateboard, acting in vid- atended for the first time one film festival Who could imagine that this could hap- other words, to be a “friend with the cam- eo (swimming in fountain… I wanted to do it I was surprised with the good organization. pen? We started with having fun in boarding era”, and stop worrying about what people so badly, so s. Ružica had to let mi in…. hah- All the instructions were precise and there house and finished with award in one film will say. At the end it is not so important hahh). As a skateboarder, it was natural for was no a single moment in which we didn’t festival. It means so much to us because the how you look like physically, but how you me that I wanted to capture the action going know what to do, or where to go. Everything recognition comes from the people who react naturally. Behaving naturally creates a on around me, so I did it. However, I noticed was perfectly organized, from the screening, ally understand the film. Although, I met the positive impression on public, and that is how much the shooting is needed only for 4 workshops to the moments of common in- peers that understand film more then I do, I possible only if you friend in yourself. minutes of video and how many repetitions formal gathering. I knew that film festival in think that we can learn more and make films we did. During the shooting I learned how Karlovac is dedicated to high school film so with good quality. We have had a good start, the camera lens make the world look difer- I didn’t expect the quality in movies, but it and there is no reason for stopping.

94 95 What we leanred?

“We came as litle girls, and sisters made from us the adult mature persons...” | Student from Paola Di Rosa | In this last chapter I wanted to see if it is It is evident how filmmaking can improve possible to learn something from re-making, the cognitive development. Beside the and how. As a starting point we took Pharrell technical skills learned during the project, “At beginning I was superficial thinking how the shooting of five-minute Williams’ music video Happy, and started to some girls participated at film festival where video is not a big deal. In the meantime I realized how much work it takes experiment with filmmaking in our board- they enriched their film culture with profes- including working together, shooting, repeating, cuting, editing etc”... ing house for the first time. sional education and workshops. In the beginning the girls got nervous in Socialization and emotional development front of the camera, and I noticed how it is is very important for any teenagers. Our girls 4th Grade Student - 18 Year Old Girl: Af- shooting scene on windows I said: “This has necessary to “warm up“ the situation during as well as other teenagers, spend lot of time ter I graduated, my experience with film- to be perfect scene. C’mon girls, now follow the shooting. Therefore, during the shooting, in front of Facebook that provides an ide- making in “Paola Di Rosa“ is more like a me!“ As I went in High School of Music & we experimented with the dance, walk and al seting to monitor their appearance and nostalgic look back in time where we were Art, I was able to help with rhythm and dance run, placing markers on the floor so that we how many ‘friends’ they have. By monitor- together. Usually, we come from the religious moves. I also liked the part of video with our knew exactly where to stop before we went ing their on-line appearance in narcissistic families, where faith maters to us. Although shoes. I never have had idea that shoes could out of frame. way, they start to lose genuine warmth and we studied together, worked together and look “so cool” and rhythmic on video. I was empathy. played, we also prayed together. Gathering is With time the girls got more familiar with happy that I could contribute in shooting, not only our action, but also the work of the this practice, starting to take over the care Diferent from Facebook, the camera and in making something together. My friends Holy Spirit. Therefore, I always enjoy during about camera, lights, choreography and oth- video notes everything, and that could be and relatives that have never seen where we the watching of our Happy, where I can see er details in project. That was a “sign“ for me very difcult for one teenager with low how each of us is unique, and how each of live were surprised with beauty of place with that they started to learn filmmaking. It was self-esteem. Therefore, our filmmaking was us enriches other. It’s wonderful and it tells a abundance of activities and fun during our interesting to hear them commenting cam- very complex, but liberating experience: lot about the philosophy of happiness in sim- stay in Dubrovnik. Now, afer my four years era angles, during informal watching of vid- …This project also helped me to gain more ple. I’m really a very positive happy person, spent in boarding house, I realize how we eos on YouTube. However, the filmmaking confidence in myself. Before I was literally and I smile no mater what kind of day I have came at beginning of our education as litle in our house is not all about the “learning stressed how do I look on pictures. The ma- had. Therefore I choose to lif spirit during girls, and sisters made from us the adult ma- the skills“; it is also part of one larger educa- jor part of group has had the same problem: the shooting. When I saw three cameras and ture persons. I already miss all of them. tional curriculum. “What people will say if we look bad or we act

96 97 silly?”… It was interesting that we get to know action, but also the work of the Holy Spirit. each other even beter. I realized how it is im- Therefore, I always enjoy during the watch- Conclusion portant to be natural and relaxed in front of ing of our Happy, where I can see how each camera, in other words, to be a “friend with of us is unique, and how each of us enriches camera”, and stop worrying about what peo- other. ple will say. At the end it is not so important how you look like physically, but how you act naturally. Behaving naturally creates a positive impression on public, and that is possible only if you friend of yourself. Not to mention how filmmaking influence the creativity. Indeed, we have had the ex- plosion of ideas that we could not realize them all. Regardless the number of ideas, created during the project it was more important the process of creativity and dialogue with ideas of others, as one girl said: …As we started to work together, mine ideas became more clear and precise. Obviously, starting this project I have not considered the filmmaking in a pretentious way as one ‘almighty activity that fixes all educational gaps’ in one boarding house. Although, I’m aware that filmmaking has educational influences on young people, I did not take whole project so seriously: I just wanted to experiment with filmmaking in our boarding house. Therefore, I did not expect other educational aspects besides the cognitive development, socialization and creativity. Surprisingly, in conversation with girls they underlined also other aspects, such as health and spirituality. As they said: … I would like that we make one documentary about some successful sportsmen. I love sport, so I think that it would be interesting to see how much efort is needed to gain success in one sport. I never get tired of watching this kind of movies. Somehow they inspire me… or: … Usual- ly, we come from the religious families, where faith maters to us. Although we studied together, worked together and played, we also prayed together. Gathering is not only our

98 99 I never though that my primary idea about making of one music video would develop in a thesis. Henceforth, I thought that some basic literature about filmmaking would help me to understand the genre of music video. However, I was wrong. As time went on I became more aware that I was entering in one very complex area with its rules and language. In order to define the term of music video, I realized how it is necessary to discuss the history of music video in first place. With this intention, I started the journey with late 19th century where George Thomas came up with the brilliant idea to com- bine the music and images on glass slides. Lately, with the invention of sound in film, Warner Brothers used the coordinated filmed images with sound recorded on large phonograph disks - Vitaphone, creating music shorts called the ‘Spooney Melo- dy’ series. These were a mixture of art-deco animation and live footage much like a music video today. In the 1940s ‘soundies’ were created for a film jukebox called the Panoram, which will be out-competed by the Scopitone in 60s. The 60s saw further developments in music videos under the strong influence of Beatles on the music business. Although, short music-film already existed, the Beatles were the pioneers of puting the two ideas into the concept we now know as the music video. The first transmission of MTV in 1981, with the first song broadcast from Buggles Video Killed The Radio Star, has announced a new era in history of music video – the MTV era. Suddenly, the music video was the new media that everyone was talking about. As expression, under postmodernist conditions and hybridization of modes, music video has always been immersed into world of parody and pastiche. MTV expanded over the years and music channels spread around the world, keeping the popularity with more money invested in production of mu-

100 101 sic videos. With the time MTV moved to digital format, and - Unusual causal relations; changed the way in which audiences consume music video. - Parametric volubility and Intertextuality; Today a single type of media such as the music album, or music video is no longer sufcient to capture the full atention of - Sardonic humor and parody; a viewer for a prolonged time. It is however, important to note - Condensation; that even today the pop stars are the best celebrities. Instead of selling the records they sell their stories. In era of storytelling, - Formal replication of the web. the more the stories you have, the more power you have. With this technique of telling a story over a variety of media, called Understanding music video as a part of a new mode and plat- transmedia, I concluded my historical journey, and started the form motivated me to research the influence of music video theory of music video. on adolescent’s behaviors. Music is one of the most popular media for young people, dedicating circa four and five hours a Afer I setled the music video in its historical contest I wanted day listing to music and watching music videos. As an educator to deepen the theory of music video. My research pointed out I wanted to understand how music influences the life of ado- the two directions of writing on music video. One direction of lescents. I discovered that I could learn from their music and writing came from those people who were interested in theo- positive energy in my educational strategy. With this in mind, I retical reading of television as a cultural form, and the other could gain some important information, such as: from those who were primarily interested in the relationship - Information about adolescents’ cultural issues or social/ro- between sound and image and popular culture itself. There mantic relationships. are two representative readings from each side: E. Ann Kaplan Rocking Around the Clock, and Andrew Goodwin Dancing in - Diversion, relaxation, release, distraction, intensifying mood the distraction factory: music television and popular culture. in adolescent life. While E. Ann Kaplan develops a postmodern approach of pop culture as a cultural form, Andrew Goodwin sees the gaps in - About adolescents’ social relationships, either solitary, imag- the same approach, providing a new reading that goes beyond ined experiences or sharing musical experiences with others. the postmodernism. Music video has always been mutable, and - Withdrawal or escape into one’s own private listening expe- even today continues to undergo multiple transformations. It rience seems that Internet with its simultaneous windows also shapes music video aesthetics. In the 80s and 90s people knew how - Defining adolescents ‘personal identities. music video was a song set to memorable imagery, paid to Besides the gaining the information about adolescents’ music, I promote the song or musicians, and screened on cable. Now, realized that I am together with my students and my colleagues however, it is hard to draw a border between what is and is always in process of continuous learning. Nowadays, digital not a music video. Beside the fact that music video has made a technologies are giving people new opportunities to shape their strong return because of YouTube, the abundance of clips, DIY own destinies together with global communications environ- aesthetics, and new digital cinema’s musical segments, it has ment. In this way people are forced to learn how to use con- blurred the boundaries. Beside all those theorizations, the mu- stantly changing technologies, in order to keep updated. This sic video with YouTube still remains open territory. Theorist, practice through which people are learning to use constantly Carol Vernallis suggested understanding music video as a part changing digital technologies is called ‘digital literacies’. of a new mode and platform with the aesthetic features that defines YouTube such as: Motivated by professor Pete Fraser and his ‘digital classroom’ I found out how the best way to understand the way that media - Reiteration and pulse; works, is to try it in practice. As I announced in introduction of - Irreality and weightlessness; this paper, the project “Music video in education and promotion“ is designed for “Paola Di Rosa”, a state-recognized private - Scale and graphic values; Catholic boarding house for girls in Croatia, led by female re-

102 103 ligious congregation Servants of Charity. The purpose of the “…My friends and relatives that have never seen where we live boarding house “Paola di Rosa” is to cure the physical and in- were surprised with beauty of place with abundance of activi- tellectual development of girls as residents of house. Nowa- ties and fun during our stay in Dubrovnik. Now, afer my 4 years days, the school and education has to be regarded as a unique in boarding house, I realize how we came at beginning of our and continuous training system, in interaction with the envi- education as litle girls, and sisters made from us the adult ma- ronment and the territory, responsive to the changing needs ture persons…” of boarders and their families. The basic educational program - student, Paola Di Rosa is the same for all boarding houses in Croatia and is realized through four areas such as:

- Care and Health Promotion; “…The moment when I took the camera and started shooting was brilliant. Nothing beats all of the wonderful feelings associ- - Socialization and emotional development; ated with something you’re deeply passionate about. I learned - Cognitive Development; completely new things such as how the camera works and how to deal with focus. …I realized how it is important to be natural - Creativity. and relaxed in front of camera, in other words, to be a “friend The boarding house “Paola di Rosa” has added to this basic pro- with camera”, and stop worrying about what people will say. At gram an extra area, spiritual development. the end it is not so important how you look like physically, but how you act naturally…” Introducing a new activity of filmmaking into the boarding - student, Paola Di Rosa house I wanted to experiment with positive impact on behavior, motivation, and relationships between pupils and staf. From that reason the making of one music video remake seemed like the right choice to me in work with teenagers. In “…The crucial moment was the award and recognition for work. order to help students I turned out the Pharrell Williams’ music Who could imagine that this could happen? We started with video Happy into our first music video experience. Moreover, having fun in boarding house and finished with award in one our music video became one of the thousands of georemixes film festival. It means so much to us because the recognition made with similar idea. comes from the people who really understand the film… Afer we developed our digital project with previous research, - student, Paola Di Rosa production and postproduction, we uploaded our first georemix on YouTube. In other words, our first experiment with education and promotion in boarding house “Paola Di Rosa” was “Filmmakers from Paola Di Rosa - best in Croatia!” done. Here are some feedbacks: - Web site: Mladi Dubrovnika

“…The experience of ﬁlmmaking changed the way that I see the “Is This The Best Video Re-make Until Now? Boarding House movies now. Now, when I watch one movie, I like to imagine Paola Di Rosa is Happy!” what is going on behind the scenes…” - Web site: Portal oko - student, Paola Di Rosa “…I always enjoy during the watching of our Happy, where I can see how each of us is unique, and how each of us enriches “Our Boarding houses came back with awards from ‘Four Riv- other…” ers’ ﬁlm festival!” - student, Paola Di Rosa - Web site: Dubrovački list

104 105 “What I searched from the best dance film is good photography Bibliography and coloring; as well the creative editing, including a variety of angles. This film has a well-composed shots that follow the rhythm of the song. Therefore, the film conveys a wide range of choreographed movements, where are not included only the bodies, but also the objects, architecture and water. All this contributes to the choreographic moment.”

- Rok Vevar - Slovene publicist, critic and theatre director, during the nomination of “Paola Di Rosa is Happy“ for “best dance ﬁlm“, in Karlovac 2014

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