That's a Rap: the Making of an Australian Hip Hop Integrated Musical Film
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That's a Rap: The Making of an Australian Hip Hop Integrated Musical Film. By Alan Nguyen Bachelor of Behavioural Science (Griffith University, 2000), Master of Digital Design (Queensland College of Art, Griffith University, 2002). A thesis submitted in fulfilment of the requirement of the degree Master of Arts (Research) Discipline of Film, TV and New Media Production Creative Industries, Queensland University of Technology 2010. Principal Supervisor: Ms Helen Yeates Associate Supervisor: Associate Professor Geoff Portmann Abstract To date, the majority of films that utilise or feature hip hop music and culture, have either been in the realms of documentary, or in ‘show musicals’ (where the film musical’s device of characters’ bursting into song, is justified by the narrative of a pursuit of a career in the entertainment industry). Thus, most films that feature hip hop expression have in some way been tied to the subject of hip hop. A research interest and enthusiasm was developed for utilising hip hop expression in film in a new way, which would extend the narrative possibilities of hip hop film to wider topics and themes. The creation of the thesis film Out of My Cloud, and the writing of this accompanying exegesis, investigates a research concern of the potential for the use of hip hop expression in an ‘integrated musical’ film (where characters’ break into song without conceit or explanation). Context and rationale for Out of My Cloud (an Australian hip hop ‘integrated musical’ film) is provided in this writing. It is argued that hip hop is particularly suitable for use in a modern narrative film, and particularly in an ‘integrated musical’ film, due to its: current vibrancy and popularity, rap (vocal element of hip hop) music’s focus on lyrical message and meaning, and rap’s use as an everyday, non- performative method of communication. It is also argued that Australian hip hop deserves greater representation in film and literature due to: its current popularity, and its nature as a unique and distinct form of hip hop. To date, representation of Australian hip hop in film and television has almost solely been restricted to the documentary form. Out of My Cloud borrows from elements of social realist cinema such as: contrasts with mainstream cinema, an exploration/recognition of the relationship between environment and development of character, use of non-actors, location-shooting, a political intent of the filmmaker, displaying sympathy for an underclass, representation of underrepresented character types and topics, and a loose narrative structure that does not offer solid resolution. A case is made that it may be appropriate to marry elements of social realist film with hip hop expression due to common characteristics, such as: representation of marginalised or underrepresented groups and issues in society, political objectives of the artist/s, and sympathy for an underclass. In developing and producing Out of My Cloud, a specific method of working with, and filming actor improvisation was developed. This method was informed by improvisation and associated camera techniques of filmmakers such as Charlie Chaplin, Mike Leigh, Khoa Do, Dogme 95 filmmakers, and Lars von Trier (post- Dogme 95). A review of techniques used by these filmmakers is provided in this writing, as well as the impact it has made on my approach. The method utilised in Out of My Cloud was most influenced by Khoa Do’s technique of guiding actors to improvise fairly loosely, but with a predetermined endpoint in mind. A variation of ii this technique was developed for use in Out of My Cloud, which involved filming with two cameras to allow edits from multiple angles. Specific processes for creating Out of My Cloud are described and explained in this writing. Particular attention is given to the approaches regarding the story elements and the music elements. Various significant aspects of the process are referred to including the filming and recording of live musical performances, the recording of ‘freestyle’ performances (lyrics composed and performed spontaneously) and the creation of a scored musical scene involving a vocal performance without regular timing or rhythm. The documentation of processes in this writing serve to make the successful elements of this film transferable and replicable to other practitioners in the field, whilst flagging missteps to allow fellow practitioners to avoid similar missteps in future projects. While Out of My Cloud is not without its shortcomings as a short film work (for example in the areas of story and camerawork) it provides a significant contribution to the field as a working example of how hip hop may be utilised in an ‘integrated musical’ film, as well as being a rare example of a narrative film that features Australian hip hop. This film and the accompanying exegesis provide insights that contribute to an understanding of techniques, theories and knowledge in the field of filmmaking practice. Keywords: film musical, hip hop, social realism, improvisation, integrated musical film, Australian hip hop. iii TABLE OF CONTENTS Cover Page i Abstract ii Keywords iii Table of Contents iv Table of Figures vii List of Supplementary Material viii Statement of Original Authorship ix Acknowledgements x 1. FRAMING THE MAKING OF A HIP HOP MUSICAL FILM 1 1.1 Introduction 1 1.2 Research Methodology 2 1.2.1 Research Concern 2 1.2.2 Research Significance 3 1.2.3 Research Paradigm 4 1.2.4 Research Design 7 1.2.5 Contribution to Knowledge 8 1.3 Key Films of Reference and Inspiration 9 1.4 Overview of Chapters 11 2. THE CASE FOR AN AUSTRALIAN HIP HOP INTEGRATED MUSICAL FILM 14 2.1 Introduction 14 2.2 Key Concepts and Principles – Hip Hop 14 2.3 Key Concepts and Principles – Film Musical 17 2.3.1 The Integrated Musical vs. The Show Musical 17 2.3.2 The Show Musical 18 2.3.3 The Integrated Musical 18 2.3.4 The Imagination Musical 19 2.4 A Brief Historical Review of the Film Musical 20 2.4.1 The “Golden Era” of the Film Musical 20 2.4.2 The Waning of the Film Musical 20 2.4.3 Rock and Roll Film Musicals 22 2.5 Modern Musicals: A Review Of Patterns And Conventions 23 2.5.1 Continuation of Old Conventions 23 2.5.2 Newer Trends and Developments 24 2.6 Aspects Of Hip Hop 25 2.6.1 Popularity of Hip Hop 25 2.6.2 Rap As A Non-Performative Form Of Expression 27 iv 2.6.3 The Focus On Lyrical Messages In Rap 29 2.7 Australian Hip Hop 30 2.8 Hip Hop in World Film: A Review and Discussion 33 2.9 Australian Hip Hop in Film 36 2.10 Conclusion 37 3. DRAWING ON PRINCIPLES OF SOCIAL REALIST CINEMA FOR A HIP HOP MUSICAL 38 3.1 Introduction 38 3.2 Defining Social Realism And Its Principles 38 3.3 Principles Of Social Realism In A Hip Hop Musical 43 3.3.1 Suitability of Utilising Social Realist Principles in a Hip Hop Musical 43 3.3.2 Social Realist Aspects in Out of My Cloud 45 3.4 Conclusion 46 4. A FOCUS ON TECHNIQUE: IMPROVISATION FOR CAMERA 48 4.1 Introduction 48 4.2 Charlie Chaplin 49 1.1.1 Influence on My Work 50 4.3 Mike Leigh 50 4.3.1 Influence on My Work 52 4.4 Khoa Do 54 4.4.1 Influence on My Work 55 4.5 Dogme 95 56 4.5.1 Influence on My Work 58 4.6 Multicamera Shooting and Lars von Trier 58 4.7 Comparison of Approaches 60 4.8 Further Discussion of My Work and Conclusion. 61 5. A CLOSER EXAMINATION OF MY PRACTICE: MUSICAL PIECES AND STORY ELEMENTS 63 5.1 Introduction 63 5.2 Selection of Theme and Content 64 5.3 Research 65 5.4 Script-Writing 67 5.4.1 The ‘Brett’ Storyline – Not Included in Final Cut 68 5.4.2 The ‘Leah’ Storyline 68 5.4.3 Both Storylines 69 5.4.4 Critical Weaknesses in The Script 69 5.5 Filming: Its Impact on Story 70 5.6 Editing: Its Impact on Story 72 5.6.1 Brett Storyline 72 5.7 Script-Writing: Outlining Onscreen Raps 73 5.8 Rap Writing 73 5.9 Filming Onscreen Rap Sequences 77 5.9.1 Prerecorded vs. ‘Live’ Rap Audio Recordings 77 v 5.9.2 ‘Free-time’ vs. ‘Guided’ Performances 78 5.10 Musical Accompaniment to Onscreen Raps 80 5.10.1 Security Guard rap and Leah Returns rap 80 5.10.2 Goonbag rap and Brett Refuses Danny rap (cut from film) 81 5.11 Montage Sequences and Offscreen Raps 83 5.12 Conclusion 85 6. THE WORTH OF A MAKING AN AUSTRALIAN HIP HOP INTEGRATED MUSICAL FILM 87 6.1 Introduction 87 6.2 Summary of Chapters 87 6.3 Contribution to Knowledge 89 7. REFERENCES 94 8. BIBLIOGRAPHY 97 9. FILMOGRAPHY 98 10. APPENDIX A: ONSCREEN RAP PIECES – SCRIPT ELEMENTS, DRAFTS AND FINAL DRAFTS 11. APPENDIX B: DRAFT OFFSCREEN RAP PIECES vi TABLES/ FIGURES Table 1: Comparison of Approaches. 64. vii LIST OF SUPPLEMENTARY MATERIAL A copy of the short film, Out of My Cloud, the practical component comprising 40% of this thesis, is bound to the back of this volume. viii STATEMENT OF ORIGINAL AUTHORSHIP The work in this thesis has not been previously submitted to meet the requirements of an award at this or any other higher education institution. To the best of my knowledge and belief, the thesis contains no material previously published or released except where due reference is made.