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Rewind, Play, Fast Forward : the Past, Present and Future of the Music Video, Bielefeld 2010, S
Originalveröffentlichung in: Keazor, Henry ; Wübbena, Thorsten (Hrsgg.): Rewind, play, fast forward : the past, present and future of the music video, Bielefeld 2010, S. 7-31 Rewind - Play - Fast Forward The Past, Present and Future of the Music Video: Introduction HENRY KEAZOR/THORSTEN WUBBENA "Art presses the "Stop"- and "Rewind"- buttons in the stream of life: It makes time stop. It offers reflection and re collection, it is an antidote against lost certitudes."1 Like perhaps no other medium, the music video clip is marking and shap ing our everyday culture: film, art, literature, advertisements they all are clearly under the impact of the music video in their aesthetics, their technical procedures, visual worlds or narrative strategies. The reason for this has not only to be sought in the fact that some of the video di rectors are now venturing into art or advertisement, but that also peo ple not working in the field of producing video clips are indebted to this medium.2 Thus, more or less former video clipdirectors such as Chris Cunningham or Jonas Akerlund have established themselves successfully with their creations which very often are based on ideas and concepts, originally developed for earlier music videos: both Cunningham's works Flex and Monkey Drummer, commissioned in 2000 respectively 2001 by the Anthony d'Offay Gallery, evolved out of his earlier music videos.' Flex relies on the fantastic and weightless underwater cosmos Cunningham designed for the images that accompanied Portishead's Only you in 1998. Monkey Drummer* is heavily based on the soundtrack written by the Irish musician Aphex Twin (Richard David James) for whom Cunningham had previously directed famous videos such as Come to Daddy (1997) and Win- dowlicker (1999). -
ROCHELLE SCHIECK Founder, Qoya Movement Praise for Rochelle Schieck’S QOYA: a Compass for Navigating an Embodied Life That Is Wise, Wild and Free
“The Qoya were the sacred women of the Inka, daughters of the Sun, the ones chosen to uplift humanity to our grandest and greatest possibilities. Rochelle accomplishes this great task in this stunning book.” —Alberto Villoldo, PhD, author of Shaman, Healer, Sage and One Spirit Medicine Q YA A Compass for Navigating an Embodied Life that is Wise, Wild and Free ROCHELLE SCHIECK Founder, Qoya Movement Praise for Rochelle Schieck’s QOYA: A Compass for Navigating an Embodied Life that is Wise, Wild and Free “Through the sincere, witty, and profound sharing of her own life experiences, Rochelle reveals to us a valuable map to recover one’s joy, confidence, and authenticity. She shows us the way back to love by feeling gratitude for one’s own experiences. She offers us price- less tools and practices to reconnect with our innate intelligence and sense of knowing what is right for us. More than a book, this is a companion through difficult moments or for getting from well to wonderful!” —Marcela Lobos, shamanic healer, senior staff member at the Four Winds Society, and co-founder of Los Cuatro Caminos in Chile “Qoya represents the future – the future of spirituality, femininity, and movement. If I’ve learned anything in my work, it is that there is an awakening of women everywhere. The world is yearning for the balance of the feminine essence. This book shows us how to take the next step.” —Kassidy Brown, co-founder of We Are the XX “Rochelle Schieck has made her life into a solitary vow: to remem- ber who she is – not in thought or theory – but in her bones, in the truth that only exists in her body. -
Orchestrating Public Opinion
Paul ChristiansenPaul Orchestrating Public Opinion Paul Christiansen Orchestrating Public Opinion How Music Persuades in Television Political Ads for US Presidential Campaigns, 1952-2016 Orchestrating Public Opinion Orchestrating Public Opinion How Music Persuades in Television Political Ads for US Presidential Campaigns, 1952-2016 Paul Christiansen Amsterdam University Press Cover design: Coördesign, Leiden Lay-out: Crius Group, Hulshout Amsterdam University Press English-language titles are distributed in the US and Canada by the University of Chicago Press. isbn 978 94 6298 188 1 e-isbn 978 90 4853 167 7 doi 10.5117/9789462981881 nur 670 © P. Christiansen / Amsterdam University Press B.V., Amsterdam 2018 All rights reserved. Without limiting the rights under copyright reserved above, no part of this book may be reproduced, stored in or introduced into a retrieval system, or transmitted, in any form or by any means (electronic, mechanical, photocopying, recording or otherwise) without the written permission of both the copyright owner and the author of the book. Every effort has been made to obtain permission to use all copyrighted illustrations reproduced in this book. Nonetheless, whosoever believes to have rights to this material is advised to contact the publisher. Table of Contents Acknowledgments 7 Introduction 10 1. The Age of Innocence: 1952 31 2. Still Liking Ike: 1956 42 3. The New Frontier: 1960 47 4. Daisies for Peace: 1964 56 5. This Time Vote Like Your Whole World Depended On It: 1968 63 6. Nixon Now! 1972 73 7. A Leader, For a Change: 1976 90 8. The Ayatollah Casts a Vote: 1980 95 9. Morning in America: 1984 101 10. -
Henry Keazor, Thorsten Wübbena (Eds.) Rewind, Play, Fast Forward the Past, Present and Future of the Music Video
From: Henry Keazor, Thorsten Wübbena (eds.) Rewind, Play, Fast Forward The Past, Present and Future of the Music Video October 2010, 280 p., 29,80 €, ISBN 978-3-8376-1185-4 Due to shifts in the contexts of the production and presentation of the music video, more and more people start to talk about a possible end of this genre. At the same time disciplines such as visual-, film- and media-studies, art- and music-history begin to realize that they still lack a well defined and matching methodical approach for analyzing and discussing videoclips. For the first time this volume brings together different disciplines as well as journalists, museum curators and gallery owners in order to take a discussion of the past and present of the music video as an opportunity to reflect upon suited methodological approaches to this genre and to allow a glimpse into its future. Henry Keazor (Prof. Dr.) has the Chair in Art History at Saarland University. Thorsten Wübbena (M.A.) works at the Art Historical Institute of Frankfurt University. For further information: www.transcript-verlag.de/ts1185/ts1185.php © 2010 transcript Verlag, Bielefeld Contents Rewind – Play – Fast Forward. The Past, Present and Future of the Music Video: Introduction Henry Keazor/Thorsten Wübbena | 7 REWIND: THE HISTORY, COLLECTING, AND RECEPTION OF THE MUSIC VIDEO “Don’t You Cry Tonight”. Guns N’ Roses and the Music Video Folly Saul Austerlitz | 35 The Genealogy of the Clip Culture Thomas Schmitt | 41 Looking at Music Barbara London | 59 “Pride and Prejudice”. A Brief History of the Italian Music Video Bruno Di Marino | 67 PLAY: THE METHODOLOGY OF ANALYSIS AND INTERPRETATION Concerning the Transition of the Reception of the Music Video due to a Change in the Politics of Distribution of the Music Video- and the Music(-TV-)Market Axel Schmidt/Klaus Neumann-Braun | 77 An Analysis of the Relation between Music and Image. -
Bob Dylan's 115Th Dream" (Third Place) Adams Freeman Xavier University - Cincinnati
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Xavier University Xavier University Exhibit University Library Prize Finalists for First Year Undergraduate Seminars 2018-10 Critical Edition of "Bob Dylan's 115th Dream" (Third Place) Adams Freeman Xavier University - Cincinnati Follow this and additional works at: https://www.exhibit.xavier.edu/library_prize Recommended Citation Freeman, Adams, "Critical Edition of "Bob Dylan's 115th Dream" (Third Place)" (2018). University Library Prize Finalists for First Year Seminars. 8. https://www.exhibit.xavier.edu/library_prize/8 This Paper/Article is brought to you for free and open access by the Undergraduate at Exhibit. It has been accepted for inclusion in University Library Prize Finalists for First Year Seminars by an authorized administrator of Exhibit. For more information, please contact [email protected]. Critical Edition of “Bob Dylan’s 115th Dream” Adams Freeman FYS: Bob Dylan Fall 2017 Introduction “Bob Dylan’s 115th Dream” was written by Bob Dylan which appeared on the 1965 album Bringing It All Back Home. The song was the last song on the A side of the album which included songs that were backed with a plugged in, rock and roll sounding band. The song tells the story of arriving to America on the Mayflower which also doubles as the whaling ship, called the Pequod, from Moby Dick. The song combines allusions to American history, literature, and religion to form a kind of wacky critique of American society. The narrator is introduced to several characters in this tale including a caricature of Captain Ahab from Moby Dick who is called Captain Arab. -
FILM GUIDE Contents
PARK CITY, UTAH JANUARY 17–27 FILM GUIDE Contents Welcome to the Festival ................................................................................................. 2–3 Presenting, Leadership, and Sustaining Sponsors ....................................................... 4–5 Institute Associates and Official Providers .................................................................. 6 the Films ............................................................................................................... 7 Opening Night Park City, Salt Lake City Gala, and Closing Film ................................. 8–9 Documentary Competition ............................................................................................. 10 Dramatic Competition ..................................................................................................... 16 World Cinema Documentary Competition ................................................................... 22 World Cinema Dramatic Competition ........................................................................... 28 Premieres .......................................................................................................................... 34 Spectrum .......................................................................................................................... 43 Park City at Midnight ...................................................................................................... 50 Sundance Collection ...................................................................................................... -
„Ja Je Niekto Iný.“ Neoformalistická Analýza Filmu I'm Not There
Masarykova univerzita Filozofická fakulta Ústav filmu a audiovizuální kultury Lívia Laczová (FAV, bakalárske prezenčné štúdium) „Ja je niekto iný.“ Neoformalistická analýza filmu I’m not there Bakalárska diplomová práca Vedúci práce: PhDr. Jaromír Blažejovský, Ph.D. Brno 2015 Prehlasujem, že som pracovala samostatne a použila len uvedené zdroje. ............................................ Dňa 30. júna 2015 v Brne Lívia Laczová Na tomto mieste by som chcela poďakovať PhDr. Jaromírovi Blažejovskému, Ph.D. za trpezlivé vedenie práce. Obsah 1. Úvod ................................................................................................................................................. 5 2. Teoretický a metodologický rámec pre výskum a analýzu .............................................................. 6 2.1 Neoformalizmus ......................................................................................................................... 6 2.2 Komplexné naratívy ................................................................................................................... 8 2.2.1 Rozdiely medzi klasickou a komplexnou naráciou ....................................................... 9 2.2.2 Puzzle filmy ................................................................................................................ 10 2.2.3 Modulárne naratívy ..................................................................................................... 10 2.2.4 Viacnásobné naratívne štruktúry ................................................................................ -
Bob Dylan's 115Th Dream" (Third Place) Adams Freeman Xavier University - Cincinnati
Xavier University Exhibit University Library Prize Finalists for First Year Undergraduate Seminars 2018-10 Critical Edition of "Bob Dylan's 115th Dream" (Third Place) Adams Freeman Xavier University - Cincinnati Follow this and additional works at: https://www.exhibit.xavier.edu/library_prize Recommended Citation Freeman, Adams, "Critical Edition of "Bob Dylan's 115th Dream" (Third Place)" (2018). University Library Prize Finalists for First Year Seminars. 8. https://www.exhibit.xavier.edu/library_prize/8 This Paper/Article is brought to you for free and open access by the Undergraduate at Exhibit. It has been accepted for inclusion in University Library Prize Finalists for First Year Seminars by an authorized administrator of Exhibit. For more information, please contact [email protected]. Critical Edition of “Bob Dylan’s 115th Dream” Adams Freeman FYS: Bob Dylan Fall 2017 Introduction “Bob Dylan’s 115th Dream” was written by Bob Dylan which appeared on the 1965 album Bringing It All Back Home. The song was the last song on the A side of the album which included songs that were backed with a plugged in, rock and roll sounding band. The song tells the story of arriving to America on the Mayflower which also doubles as the whaling ship, called the Pequod, from Moby Dick. The song combines allusions to American history, literature, and religion to form a kind of wacky critique of American society. The narrator is introduced to several characters in this tale including a caricature of Captain Ahab from Moby Dick who is called Captain Arab. The narrator also encounters historical figures and places like Captain Kidd, an English pirate, and Bowery, the Civil War Era Manhattan migrant slum. -
SHOOT Digital PDF Version, December 2015, Volume 56
Photo courtesy Focus Features courtesyPhoto Focus courtesyPhoto Open Road Films Photo by Jaap Buitendijk Photo by Jaap Buitendijk Courtesy of Disney/DreamWorks II Distribution Co. Courtesy Paramount Pictures The Road To Oscar Agency of the Year Best Work of the Year Year in Perspective Music & Sound VFX & Animation The Best of 2015 Chat Room www.SHOOTonline.com December 2015 Photos by Parrish Lewis Courtesy of Roadside Attractions and Amazon Studios SCREEN ACTORS GUILD NOMINATION OUTSTANDING PERF ORMANCE BY A CAST IN A MOTION PICTURE WINNER WINNER NATIONAL BOARD OF REVIEW HOLLYWOOD FILM AWARDS BEST ENSEMBLE CAST BREAKTHROUGH DIRECTOR © 2015 Paramount Pictures. All Rights Reserved. Perspectives The Leading Publication For Commercial, Branded Content & Entertainment Production December 2015 By Robert Goldrich Volume 56 • Number 6 spot.com.mentary www.SHOOTonline.com EDITORIAL Publisher & Editorial Director Crossing Over Roberta Griefer 203.227.1699 ext. 13 [email protected] Editor Many moons ago a fea- In this week’s “Road To Oscar” we consumer audience to actually feel strong Robert Goldrich 323.445.6818 [email protected] ture director working interview Tom McCarthy who directed emotions in that amount of time is even in commercials was Spotlight. Via Park Pictures, McCarthy harder. Add onto that the fact that there ADVERTISING Digital & Print Rates & Information frowned upon in some recently directed his first commercial, are clients sitting there and it can be a [email protected] circles. That was due to the prevalent no- Duracell’s “Teddy Bear” for Anomaly NY. daunting task for some feature directors, 203.227.1699 ext. 13 www.shootonline.com/go/advertise tion that only a filmmaker with extensive Seth Jacobs, group CD at Anomaly, but Tom navigated it with ease and de- Advertising Production ad experience would have the proper cre- said, “Tom is a master storyteller, and livered a beautiful, emotionally resonant Gerald Giannone [email protected] ative and political sensibilities for spots. -
'Now, Who Will Be the Witness/When You're All Too Healed to See?'1
‘Now, who will be the witness/When you’re all too healed to see?’1 The Sad Demise of Nick Cave Emma McEvoy University of Westminster IanJohnston, writer of Bad Seed, the biography of Nick Cave, adamantly denies that the music of Nick Cave and the Bad Seeds is Gothic. He cites Bad Seed Mick Harvey’s low opinion of the Goth band The Sisters of Mercy, The Birthday Party’s (former incarnation of the Bad Seeds) loathing of Peter Murphy and Bauhaus, Mick Harvey’s descriptions of the Birthday Party track ‘Release the Bats’ as a ‘comedy number’2 and a ‘complete send-up’3 as evidence for his case, and as rebuff to the ‘Gothic groups who completely misunderstood the band’.4 ForJohnston, humour and parody are not part of the Gothic repertoire. However, the Bad Seeds’ opus is Gothic in a stimulating profusion of ways which create a new dimension to the Gothic aesthetic. The subject matter of the band’s work is of course Gothic. There are songs about serial killers, a whole album of Murder Ballads, songs about medieval saints, veiled women, demon women, child women, mutilated female bodies, tattooed males, songs with sadistic hero-villains, doubles, outcasts, men on the run. There are songs set in macabre fair grounds, in the American South, saturated in Bible-belt religious imagery. They draw inspiration from a recognisable Gothic tradition, from films such as Charles Laughton’s Night of the Hunter (1955) and they use the film allusions with a startling cross-generic theatricality. It is not merely in the realm of the verbal or the consciously literary that the work of the Nick Cave and the Bad Seeds is Gothic. -
SHOOT Magazine
www.SHOOTonline.com February 2019 Chat Room 11 Films’ titles & photo credits on page 3 credits titles & photo Films’ DGA Awards 22 The Road To Oscar Series Part 14, Page 4 ASC Awards Preview 24 VES Supervisors 27 Production Outlook 12 Sundance 28 TO GET CONNECTED 10 ACADEMY AWARD ® N OMINATIONS INCLUDING BEST PICTURE OF THE YEAR BEST DIRECTOR • BEST ORIGINAL SCREENPLAY ALFONSO CUARÓN “‘ROMA’ IS A MONUMENT TO THE POWER OF FILM TO INSPIRE EMPATHY ACROSS THE WALLS OF GEOGRAPHY, CLASS AND CULTURE.” American Film Institute SHOOT MAGAZINE, COVER 2 NETFLIX: ROMA PUB DATE: 02/11/19 TRIM: 9” X 10.875” BLEED: 9.25” X 11.125” Perspectives The Leading Publication For Commercial, Branded Content & Entertainment Production February 2019 spot.com.mentary By Robert Goldrich Volume 60 • Number 1 www.SHOOTonline.com EDITORIAL Publisher & Editorial Director Agent of Change Roberta Griefer 203.227.1699 ext. 701 [email protected] Editor Past installments of this both sides of the aisle to come together their stance, making punishment more Robert Goldrich 203.227.1699 ext 702 [email protected] column have chroni- in Congress, yielding criminal justice re- proportional to the nature of the crime. ADVERTISING cled the importance of form with the passage of The First Step Jackie Bisbee, a founder of Park Pic- Digital & Print Rates & Information [email protected] storytelling as a means Act which reduces mandatory minimum tures and Park Pictures Features, served 203.227.1699 ext. 701 to evoke empathy, putting us in someone sentences for nonviolent offenders in fed- as an EP on The Sentence. -
The Below Funds Have Been Unclaimed for More Than Three Years in the Operations Fund of the Superior Court of California, County of Sacramento
The below funds have been unclaimed for more than three years in the Operations Fund of the Superior Court of California, County of Sacramento Check Number Payee Amount 3400000522 MORIANCUMR MARKETING INC 20.50 3400000717 LEGAL RECOVERY LAW OFFICES 23.50 3400000733 LAW OFFICE OF RORY W CLARK 40.00 3400000738 AFFIRMATIVE INSURANCE SERVICES INC 46.00 3400001169 Carl Glen Dean 21.12 3400001198 Judith Lynn Pierini 21.12 3400001216 Terry Ray Flowers 21.12 3400001245 Shelley Lynn Shores 21.46 3400001247 Agnes Dorothy Norman 21.80 3400001272 Herbert Allen Robinson 21.80 3400001308 Myrna Diocampo Tillson 21.80 3400001314 Rajesh Chand Baran 21.80 3400001337 Celia O Williams 23.50 3400001348 Eric Barcena Berumen 23.50 3400001415 Alicia Denise Wainscott 34.08 3400001442 Stephanie Marie Farnworth 35.44 3400001453 Elsie M Steinmetz 36.80 3400001468 Randall Russell Dilly 36.80 3400001537 Ronald William Manzo 42.24 3400001583 Uyen Le Jennifer 43.60 3400001742 Michelle Rene Bejarano 92.00 3400001762 Jennifer Lynn Brown 105.60 3400001772 Elizabeth Diann Reade Heglar 109.00 3400002303 ANDREW JOSEPH MANDELIK 21.12 3400002310 BILL JOHNSON 21.12 3400002360 MELISSA MILLER EGLINGTON 21.12 3400002389 SIMONA CRISTINA ACIOBANITEI 21.12 3400002408 JOSHUA RYAN RALEY 21.46 3400002431 AARON ROBERT IMSCHWEILER 21.80 3400002436 ARTHUR W NEWBY 21.80 3400002450 DAVID JOHN KOWALCZYK 21.80 3400002468 JAMES CLARK HESBY 21.80 3400002492 KELI DAWN ANDERSON 21.80 3400002497 KRISTINE MICHELLE WOODSON 21.80 3400002530 RICHARD PROUTY 21.80 The below funds have been unclaimed for