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3.2 Cobain: Montage of Heck 41 4 M.A. Media Studies: Television and Cross-Media Culture Master Thesis A Performance of Reality: Aesthetic strategies of new music documentaries by the example of 20,000 Days on Earth and Cobain: Montage of Heck. by Anna-Lena Willems Date of completion: 16.06.2017 Supervisor: Dr. Sudeep Dasgupta Second Reader: Dr. Jaap Kooijman Table of Contents 1. Introduction 1 2. Documentary in Theory 4 2.1 Documentary: Definitions and Genre 4 2.1.1 Introducing and Defining Documentary 4 2.1.2 Periods, Movements and Modes of Documentary 7 2.1.3 Music Documentary 9 2.2 Modes and Aesthetic Strategies 16 2.2.1 Approaching Reality and Knowledge 16 2.2.2 Performative Documentary 17 2.2.3 The Performative Mode and Music Documentary 20 2.2.3 Aesthetic Strategies of New Music Documentary 22 3. Analysis 26 3.1 20,000 Days On Earth 27 3.2 Cobain: Montage of Heck 41 4. Conclusion 57 Bibliography 61 Filmography & Videography 63 Table of Figures 63 1. Introduction Documentary is a versatile and constantly shifting film genre, that caused innumerable paradigm shifts and movements throughout the past century of its existence. What doc- umentary films all have in common, is their attempt to create an audiovisual representa- tion of a certain form of reality. Unequal though, is how they approach and understand reality, truth, and knowledge. The aesthetics and values of documentary films differ and range from objective to subjective, factual to sensual, observing to intervening, aestheti- cized to realistic. Depending on the subjects they treat, the relation between creative aestheticization, and on the other hand truthfulness and authenticity, requires to be bal- anced differently. Aesthetic subjects, so the assumption, require and allow for a higher creative treatment than factual subjects would do. This thesis wants to contribute filling the research gap about a particular sub genre of non-fictional film, the music documen- tary, and plead for its relevance for the development of contemporary documentary aes- thetics. While there is a lot of research done about documentary film in general, there is a tremendous lack of academic attention towards music documentary. Although the emer- gence of music documentary dates back to the 1960s, the research field about the genre just slowly starts do develop within the current decade. The Music Documentary: Acid Rock to Electropop by Edgar (et. al. 2013) is one of the first comprehensive volumes that exclusively look at music documentary film, and argue to consider the genre as essential cultural artifact for documenting popular music and their stars and figureheads. Populäre Musikkulturen im Film, a German anthology by Carsten Heinze published in 2016 refers to this work and seeks to find a more precise definition of the genre, examine the roots of music documentary, specific traits, and subdivisions in detail. Heinze engages with the important question of what happens to the aesthetics and narrative strategies, when documentary film meets an inherently aesthetic subject like pop music. The performative documentary mode, as defined by Bruzzi (2006), understands documentary filmmaking as a performative act. The meaning and sense of a documen- tary is grasped as a reality on its own, that comes into being through the process of film- making, which basically is a negotiating conversation between the filmmaker and the ac- tual reality. This mode allows for a great artistic license, interpretational freedom, and aesthetics that are suitable for the representation of subjectivity, performance, and cre- !1 ativity. In contrast to more traditional documentary modes, the performative documentary does not follow a realistic and objective paradigm, but grasps knowledge and reality as an embodied and highly subjective matter. In many other types of documentary, that treat for instance historical, social or political subjects, the creation of an aesthetic experience is not the primary concern. Those documentary films rather tend to base their represen- tational capacity on the investigation of non-aesthetic, factual knowledge, and maybe even carry the demand for objectivity. In music documentary on the other hand, aesthetic experience is essential. To create an authentic representation of the reality of pop music and its social context, new music documentaries increasingly break with the traditions of the genre. Pop culture is understood as a music-centered cultural field. A conglomerate of music, style, media, strongly depending on performance and identification (Kleiner 25). Pop culture is a fundamentally performative and aesthetic culture. Performance constant- ly creates new relations between subjects and objects, performers and their audiences (23). While in the 1970s, most music documentaries were to categorize as rockumen- taries, in which the filmmaker takes an observing, at most a questioner position, and por- traits bands or music cultures out of a realistically observing distance, new music docu- mentaries tend to be highly creative and make use of performative aesthetics, imagina- tion and artistic stylizations (Heinze 171). Thus, performative documentary modes strongly relate to the qualities of pop music culture, and enables the films to use aesthet- ics and paradigms that can portray the aesthetics and performance of pop music from within. At the exemplary analysis of two recent music documentaries, this thesis wants to examine, by means of which aesthetic strategies new music documentaries incorporate the aesthetic and sensual experience of pop music, performance and creativity of their subject, and translate them into a cinematic documentary text. Two very recent research objects will be analyzed: 20,000 Days on Earth, released in UK 2014, directed by Iain Forsyth and Jane Pollard, and Cobain: Montage of Heck by Brett Morgen, published in US 2015. Both documentaries, as will be shown in the close reading analysis, occupy hybrid and rather unconventional ways of storytelling. Brett Morgen recombines In Cobain: Montage of Heck, Brett Morgen recombines common elements of documentary like interviews, voice-over, archive footage with rather unconventional strategies. In mul- tiple layers of animation, music and sound recordings, diary entries and lyrics, he creates an aesthetically loaded collage about the subject Kurt Cobain. 20,000 Days on Earth on the other hand, gives insight to the inner life of Nick Cave and his creative processes as an artist. One part of the documentary focusses on the fictionalized 20,000th day in Nick !2 Cave’s life, which constitutes the film a genre blurring example. The other part engages with the creative process of writing and recording of music, and uses less performative aesthetics. The chapter structure of this thesis will build up as follows. Chapter 2.1 will firstly introduce to documentary film and provide a general definition of the genre. Therefore, Bill Nichols’ Introduction to Documentary (2010) provides the groundwork for the docu- mentary discourse. An historic overview of the periods of documentary film will follow, including different paradigm movements and stylistic modes, with the purpose to empha- size the diversity and divergences of documentary film. Further, this chapter will provide general knowledge about the development of music documentary, elaborate the specifics of this aesthetic related genre, discuss contemporary debates about the qualities of mu- sic documentary, and draw a connection between performativity and music documentary. This part will widely draw upon the work of Heinze and his anthology Populäre Musikkul- turen im Film (2016). The following chapter 2.2 will take a closer look at performativity. In a first step, on the basis of Michael Renov (2004), different ways to approach reality and knowledge will be examined, as for example the comparison of subjective and objective perspectives, or factual and embodied knowledge. The next subchapter reflects upon the performative documentary mode, elaborated in two different versions by Bill Nichols (2010) and Stella Bruzzi (2006). Thereafter, the performative documentary mode will be related to the specific qualities of music documentary, especially bringing into focus why the performative documentary mode is suitable for the traits of pop music as documen- tary subject. Lastly, the chapter will list and examine various aesthetic strategies that are, according to Heinze, commonly used in new music documentaries. Those aesthetic strategies, namely multi-layered montage, self performance, home videos, re-enactment and enactment, and animation, will be used as analysis tools for the case study of 20,000 Days on Earth and Cobain: Montage of Heck. Subsequently, chapter 3 will pro- vide the case analysis of the two stated research objects. Looking at both the overall structure of the music documentaries and their use of aesthetic strategies, it will be ex- amined how both films use performativity to express the aesthetic reality and sensual qualities of performance, pop music and its social context. !3 2. Documentary in Theory This chapter will provide the theoretical fundament of this thesis. Chapter 2.1 will define documentary film and discuss various modes, periods and movements, as well as provide a definition and the historic development of music documentary film. Chapter 2.2 will examine different approaches about the performative mode of documentary, set per- formance in relation to music documentary, and explain relevant aesthetic strategies that are commonly used in music documentary, and will be relevant as examination tools for the case
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