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Amv Jako Videoklip a Jeho Vymezení

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Amv Jako Videoklip a Jeho Vymezení Masarykova univerzita Filozofická fakulta Ústav hudební vědy Teorie interaktivních médií Zdeněk Záhora Bakalářská diplomová práce AMV JAKO VIDEOKLIP A JEHO VYMEZENÍ Vedoucí práce: Mgr. Jakub Macek Brno 2009 Prohlašuji, že jsem bakalářskou diplomovou práci vypracoval samostatně s využitím uvedených pramenů a literatury. V Brně, dne 10.5.2009 ….....…......................................... Zdeněk Záhora 2 Mé díky patří Mgr. Jakubu Mackovi za vedení práce, Mgr. Martinu Flašarovi a Mgr. Viktoru Pantůčkovi za hodnotné rady a paní doktorce Janě Horákové za podporu během studia. Zdeněk Záhora 3 Obsah 1. Úvod.................................................................................................................................................5 1.1 Zdroje.........................................................................................................................................5 1.2 Výběr AMV...............................................................................................................................7 1.3 Kapitoly.....................................................................................................................................7 2. Terminologické vymezení................................................................................................................8 3. Původ AMV....................................................................................................................................12 3.1 Definice AMV..........................................................................................................................12 3.2 Manga......................................................................................................................................13 3.3 Anime.......................................................................................................................................14 3.4 Základní kategorie AMV.........................................................................................................16 4. Počátky AMV (mezi 80. a 90. léty 20. století)...............................................................................17 4.1 První AMV...............................................................................................................................17 4.2 Analog Time.............................................................................................................................18 4.3 Fansubbing...............................................................................................................................19 4.4 Význam conů na ranou tvorbu AMV.......................................................................................20 4.5 Raná tvorba AMV....................................................................................................................20 5. Rozmach AMV – (od konce 90. let 20. století)..............................................................................22 5.1 Distribuce.................................................................................................................................22 5.2 Kevin Caldwell – „The God of AMVs“...................................................................................23 5.3 Významná AMV digitální éry..................................................................................................23 5.4 Koopiskeva – „The God of Effects“........................................................................................26 5.5 Typologie AMV.......................................................................................................................27 6. AMV – Tvůrčí proces.....................................................................................................................28 6.1 AMV – pouhý trailer?..............................................................................................................28 6.2 Optikou hudebního videoklipu................................................................................................28 6.3 Fandom a DIY.........................................................................................................................29 6.4 Publikum, autor-divák a copyright..........................................................................................30 7. Závěr...............................................................................................................................................32 8. Resumé...........................................................................................................................................34 9. Seznam literatury a zdrojů..............................................................................................................35 10. Příkladová příloha........................................................................................................................39 4 1. Úvod Tato práce se zabývá specifickým typem krátkých videoklipů, které jsou označovány jako Anime Music Video.1 AMV je etablovanou součástí kultury remixu a vůči ostatním formám videoklipu se v mnohém liší. V práci je tento specifický typ videoklipu zmapován z historického hlediska s důrazem na tvůrce, jejichž díla jsou pro AMV tvorbu určitým způsobem významná. Tvůrci AMV, amatérští „střihači,“ zpracovávají mediální texty (jako jsou filmy, seriály, hudba...) aktivně pod rouškou DIY a rozpoutávají tak ožehavou debatu o autorských právech a duševním vlastnictví. AMV je uměleckou formou na platformě „nového média“ internetu, která je běžně označována za remix. Jak popisuje Lev Manovich, tento vcelku běžný umělecký postup nabývá na důležitosti: „Culture has always been about remixability – but now this remixability is available to all participants of Internet culture.“2 Tvůrci AMV jsou omezeni vizuálním zdrojem a jejich motivace se mnohdy posouvá za hranice fandovských intencí či použití videoklipu jako demokratické formy vyjadřování. Jinými slovy, některá díla nemají jiný účel, než zprostředkovat audiovizuálně zajímavou zkušenost. Otázkou zůstává, jakým způsobem hodnotíme tento specifický typ videoklipu. Zda se náš estetický cit dokáže odpoutat od audiovizuálních zdrojů a vnímat AMV jako nové dílo. K otázce hodnocení jsou v práci uvedeny až řemeslné hodnoty, dle kterých jsou AMV běžně posuzována. Tento text dále nastíní technologické okolnosti, které ovlivnily vývoj AMV v době rané analogové tvorby a následně rozebere, jak proces digitalizace změnil autorskou i diváckou obec AMV. Zároveň tato práce mapuje diskuzi a témata spojená s AMV a předkládá tak shrnutí textů a problematik, ve kterých se s pojmem AMV můžeme setkat. Na závěr této práce se pokusím odpovědět na otázky: Co (a zda vůbec) nám může AMV říct o samotném remixu? Lze AMV jako celek považovat za relevantní pole ke zkoumání digitálního remixu a online videa? 1.1 Zdroje Zatímco o anime, japonské animaci, se můžeme dočíst v mnoha publikacích,3 o tvůrcích AMV a o samotném AMV zatím neexistuje vyčerpávající množství literatury. AMV je poměrně mladý a okrajový žánr digitálního videa. Přímo tématem AMV se zabývá prakticky jen jedna4 studie akademičky Dany Springall z roku 2004. Autorka této studie, vystudovala žurnalistiku a asijská studia na Samford University of Birmingham v Anglii a zaměřuje se v ní převážně na historické vymezení AMV, což bylo pro tuto práci velkým přínosem. Druhým zdrojem, který se zabývá 1 Dále jen AMV. Pozn. autora. 2 Manovich 2005. 3 Viz Napier 2001, Patten 2004 nebo Schodt 2007. 4 Springall 2004. Druhým příkladem krátké studie o AMV je text Dany Milstein v knize: SEXTON, Jamie. Music, sound and multimedia: from the live to the virtual. Edinburg: University Press, 2007. 29-47s. 5 historií AMV je videozáznam z přednášky „Otaku Remixes: Anime Music Videos,“ která se konala v roce 2008 na University of Southern California. Tato přednáška byla součástí konference „24/7 – a DIY Video Summit.“5 Z pozice pedagoga se vyjadřuje k tématu AMV i Robert Richie. Jeho text6 se zabývá problémem učitelství, které dle něj podceňuje vizuální kulturu a vizuální média jako prvky ve výuce studentů. Formát AMV a proces jeho tvorby považuje za vhodný a uvažuje nad zařazením tvorby AMV do běžné výuky. Význam textu pro tuto práci je zanedbatelný, považuji však za vhodné uvést jej, neboť je jedním z mála textů, které se AMV přímo věnují. Ritchie v tomto textu také zmiňuje několik AMV, která považuje za důležitá. Dále je to Mizuko Ito, kulturní antropoložka, která se zabývá výzkumem digitálních médií, a toho jak nová média ovlivňují procesy učení a socializace. V letech 2006 a 2007 se věnovala tématice AMV a provedla výzkum, ve kterém se zabývala hlavně otázkou autorských práv. Výzkumu se účastnilo 227 uživatelů a s dvaceti AMV tvůrci Mizuko Ito vedla rozhovory.7 Ostatní zmínky o AMV vycházejí z různých směrů. Teoretik nových médií Henry Jenkins se v některých textech a rozhovorech o subkulturách fanoušků anime zmíňuje jen zběžně. Jenkins se zabývá otázkami aktivního publika, participativní kulturou a fandomem. Některé jeho rozhovory publikované na jeho blogu se zabývají otázkou remixu a fanfikce. Na české akademické půdě se můžeme setkat s krátkým oddílem, který se věnuje videoklipům AMV, v diplomové práci Heleny Zikmundové. Diplomová práce8 se zabývá hlavně žánrovou kategorizací online videa. Dále Sven E. Carlsson popisuje základní dělení a chápání hudebního videoklipu.9 Vhodné perspektivy na téma remixu a postprodukce, které s videoklipy typu AMV nepřímo souvisejí, najdeme v textech N. Bourriarda nebo L. Manoviche. Také
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