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Český Metalový Videoklip Po Roce 2002 Masarykova universita Filosofická fakulta Ústav filmu a audiovizuální kultury Viktor Palák (FAV – AJ, magisterské prezenční) Český metalový videoklip po roce 2002 (magisterská diplomová práce) Vedoucí práce: Mgr. Petr Szczepanik, Ph.D. Brno 2007 Za pedagogickévedení bych rád poděkoval Mgr. Petru Szczepanikovi, Ph.D., za faktografickéinformacea výpomoc při kompletaci videoklipů Ladislavu Olivovi, za asistenci při kontaktování kapel Michalu Husákovi a za poskytnutí informací všem skupinám i jednotlivcům, kteří byli ochotni méhovýzkumu seúčastnit. Prohlašuji, žejsem pracoval samostatněa použil jen uvedených pramenů. V Brně, 25. června 2007 2 Obsah 1.0 Uvedení doproblematiky ______________________________________________________________________________ 4 1.1 Zdroje_____________________________________________________ 5 1.11 Metal _______________________________________________ 5 1.12 Videoklipy __________________________________________ 8 1.13 České zdroje________________________________________ 8 1.2 Selekceklipů dle doby vzniku a hudebníhožánru ___________ 9 1.3 Kapitoly ___________________________________________________ 11 222.02.0 Metalovéklipy v českých televizích ____________________________ 13 2.1 Volání pometalovéhitparádě_______________________________ 14 2.2 Nástup TV Óčko ____________________________________________ 17 333.03.0 Podoba metalových klipů _______________________________________ 22 3.1 Souhra s hudbou – otázka hlasitosti ________________________ 22 3.2 Základy metalovétypologie: diverzita a její porozumění ______ 24 3.21 Politika (a) komerce: názorová východiska a jejich důsledky _________________________________________ 27 3.3 Žánry a stěžejní prvky metalovéikonografie_________________ 31 3.31 Společnéznaky _____________________________________ 31 3.32 Death metal a téma úpadku _________________________ 33 3.33 Black metal a tradicepódiovéholíčení _______________ 37 3.34 Metalovéuniformy __________________________________ 39 3.35 Vizualizaceinstrumentální virtuozity ________________ 41 3.36 Mužskéa ženskésvěty ______________________________ 44 444.04.0 Dvěmajoritní linie: Realismus a fantaziefantazie_______________________ 49 4.1 Fanoušci, živévideoklipy a realistická linie__________________ 49 4.11 Autentičnost ________________________________________ 56 4.2 Narativní videoklip a fantaskní linie_________________________ 58 555.05.0 MetalovéMetalovévideovideovideoklipyklipy jakokomodita _____________________________ 62 5.1 Financování ________________________________________________ 62 5.2 Klipy pro(kolektivní) radost _________________________________ 64 666.06.0 Shrnutí _________________________________________________________ 74 7.0 Bibliografie _____________________________________________________ 77 7.1 Literatura __________________________________________________ 77 7.2 Prameny ___________________________________________________ 79 8.08.08.0 Přílohy __________________________________________________________ 82 8.1 Seznam českých metalových undergroundových videoklipů 2002 – 2007 _________________________________________ 82 8.2. Vybranéhudební TV pořady ________________________________ 89 9.0 English summary _______________________________________________ 90 3 4 1.0 Uvedení do problematiky Těžkohodnotit úroveň stylu vesvépodstatěuž špatnéhoa nudného. Josef Vlček, 1986 1 "Jednou jsem slyšel význačnéhosociologa populární hudby, který publiku sdělil, že o hudbu, kterou po léta studoval, vlastně neměl zájem.", zmiňuje v úvodu své publikace Running with theDevil Robert Walser [1993: xi]. Absence empatieči dokonceantipatiekestudované oblasti negativně ovlivňujevýslednou podobu výzkumu, neboť přílišný distanc či opovržení kestudovanému fenoménu znemožňujejehodostatečnépochopení. Volba metalu za téma tohoto textu byla částečně podnícena právě skutečností, že probíraná oblast je jednou z těch, která neustále čelí nezájmu, případně opovržení či zavádějícímu vypodobnění. Ke své práci o českém metalovém undergroundovém videoklipu 2 tudíž přistupuji z pozice mediálního badatele s fanouškovskou zkušeností, od čehož si slibuji možnost ve větší šíři pojmenovat dílčí body výzkumu. S vědomím skutečnosti, že metal "vyvolává neuvážené reakceod jehoodpůrců i příznivců" [Weinstein, 2000: 3], sepokusím ozachování badatelsky neutrální pozice, jejíž výsledný věcný tón by měl, přeneseně řečeno, spočívat na pomezí "entuziasmu metalových fanzinů a hysterického odporu mainstreamovéhotisku" [Walser, 1993: 20]. K práci budu přistupovat s vědomím, že"slepý entuziasmus" můžebýt stejněškodlivý jakoabsence empatievedoucí k "rozpoznání rozdílů a detailů" analyzovanéoblasti [Walser, 1993: 111]. Na následujících stránkách setedy budemevěnovat videoklipům vzešlým z českého metalového undergroundu, budeme sledovat jejich vizuální podobu, její sepjetí se zvukovou stránkou a související dominantní prvky vycházející mnohdy z typologie a vizuálníholexikonu jednotlivých metalových subžánrů. Všimnemesi toho, žepodoba metalových videoklipů jeznačněkonzervativní a repetitivní, a že nacházet výrazné odchylky je obtížné, zvlášť pro diváka nepocházejícího z 1 In Korál & Špulák, 1993: 45. 2 Budu-li později v textu hovořit o"českých klipech" či "metalových (video)klipech", vždy budeřeč o "klipech českéhometalovéhoundergroundu". V jiných případech budena tutoskutečnost výslovněupozorněno. 5 metalové subkultury. V rámci této repetice však nalezneme několik konstant – důraz kladený na živá vystoupení či participaci fanoušků. Zjistíme, žemetalové videoklipy příliš nesplňují funkci reklamního lákadla na nové posluchače a v prvé řadě uspokojují fanoušky stávající. Nové posluchače kapely získávají pouze v rámci metalového žánru, i když by bylo naivní předpokládat, že pouze podoba videoklipu by mohla nalákat nemetalové příznivce k metalovému interpretovi. Povaha hudby zdepřevládá nad podobou videoklipů a jak sepřesvědčíme, kapely vevideoklipech nepátrají ponových možnostech, ale spíše stvrzení tradic a vlastní image. Budeme se zajímat rovněž o produkční zázemí videoklipů, v němž najdemeozvuky tradičních metalových hodnot, jakoje kolektivní práceči autorství. Ještědřívesi však přiblížímemožnosti prezentovat videoklipovou tvorbu na televizní obrazovce, neboť právě vznik soukromé televizní stanice Óčko a její dramaturgie zahrnující žánrově profilované pořady umožnily stálou přítomnost "tvrdéhudby" na obrazovkách. Stejnějakoformát videoklipu, i metal (ať už jakoreprezentant populární či undergroundovékultury) musel bojovat osvéakademickéuznání. Robert Walser, citovaný autor přelomovéstudieoheavy metalu, zmiňuje, žeač byl metal v USA poté, co "v roce 1983 vstoupil do mainstreamu" [Weinstein, 2000: 150], "nejdůležitější a nejvlivnější hudební žánr […] psát oheavy metalu v roce1986 byloprokulturníhokritika – nemluvěo muzikologovi – podivné". Vždyť i první akademická studie (dále zmíněná publikace Deeny Weinstein) vznikla až na počátku 90. let. "Metal byl," dodává Walser, "ignorován nebomu bylospíláno– a tonejen akademiky všech zaměření, aledokoncei většinou rockových kritiků" [Walser, 1993: x].3 Weinstein jdeještě dálekdyž tvrdí, že"jetěžkénajít jiný lidský fenomén, s výjimkou mučení dětí a kanibalismu, který by vyvolával tak intenzivní opovržení" [2000: 237]. Neustávající zesměšňování, jemuž musí metal čelit, však – jak podotýká Weinstein – konstantně ovlivňuje solidárnost metalové subkultury [Weinstein, 3 Počátky legitimizace studií západního hudebního kánonu, který zahrnuje "klasické" skladatele, ale do něhož spadá i metal, lze podle Walsera spatřovat v adaptování myšlenek Theodora Adorna, Leonarda Meyera a jiných domuzikologických prací [Walser, 1993: 38]. 6 2000: 137 – 138]. 4 A ta zahrnuje i vazby mezi interprety a fanoušky, jež hrají nezanedbatelnou roli v podobě– zejména živých koncertních – metalových videoklipů. V ne zcela odlišné pozici se nachází metal i dnes a vezmemeli v potaz americký výzkum z roku 1989, který citujeWalser [1993: xi], a podleněhož "deset milionů Američanů ‚má rádoči velmi rádo‘ heavy metal a devatenáct milionů ho ‚velmi nemá rádo‘", vyplyne značná polarita názorů směrem k této zpravidla nekompromisní hudební odnoži. Na paměti je však třeba mít i skutečnost, žeprávěv tétovíceči méněakcentovanénekompromisnosti spočívá jakási inherentní pojistka žánru proti nežádoucím vstupům zvenčí, jakási bariéra, která navzdory masové popularitě některých interpretů a subžánrů činí z metalu "elitářský" žánr, příslušnost k němuž většinou znamená i celoživotní vášeň, případně značně ovlivňuje životní styl svých posluchačů. Hudebník a filmový režisér Rob Zombie k tomu v dokumentu Metal – A Headbanger's Journey říká: "Metaloví fanoušci svou hudbu milují navždy. Nikdo neřekne: ‚Hroznějsem uznával Slayer …jednoléto‘. Nikohotakovéhoneznám." [Dunn, 2005: dokument] 1.1 Zdroje 1.11.11.111.1 111 Metal Zásadní rovinu tohoto textu tvoří zasazení metalových videoklipů dojejich subkulturníhokontextu, a tudíž nejvýraznější prostor dostanou dvědíla, která oblasti metalové subkultury (Weinstein) a metalu jako hudebního žánru (Walser) akademicky popsala. Publikace Running with theDevil Roberta Walsera pojímá žánr metalu v celé jeho komplexnosti: věnuje se jeho sonickým vlastnostem, společenskému statutu i souvisejícímu vizuálnímu lexikonu, který zasazuje do historických 4 Na jiném místě[2000: 152] připomíná Weinstein, žesolidarita metalovékomunity jedialektickou reakcí na odmítnutí. 7 souvislostí, jež však nepřeceňuje, neboť přehnané vyzdvihávání historických paralel považujeza kontraproduktivní. Heavy Metal – TheMusic and Its Culture Deeny Weinstein se metalu věnuje
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