Postmodern Boundary-Breaking --
- ".
. . [postmodern] cross-over between: (1) the fine arts/avant-garde
tradition, (2) the mass-media [e.g. TV program and commercial,
fashion
catwalk, film pastiche] (3) vernacular culture (or sub-cultures),
(4) the new technologies (mainly electronic)" (Wollen 229)
- ".
. . videos are said to forsake the usual oppositions between high
and low culture; between masculine and feminine; between established
literary and filmic genres; between past, present and future; between
the private and the public sphere; between verbal and visual hierarchies;
between realism and anti-realism, etc." (Kaplan 237)
- 1.
[MTV's] fusion of high art and popular culture discourses
2. The abandonment of grand narrative structures
. . .in the non-realist construction of the video clips and in the
MTV text itself
3. intertextuality and pastiche
4. Intertextuality and pastiche . . . blure historical/chronological
distinctions, so conventional notions of past, present and future
are lost in the pot-pourri of images, all of which are made to seem
contemporary.
5. 'schizophrenic' abandonment of rational,
liberal-humanist discourse which creates a nihilistic, amoral universe
of representation -- lack of political social engagement or
new forms of political resistance (Goodwin 45-46)
e.g. program and commercial -- MTV and Channel V's
commercials
Reproduction & Simulation --
- A
postmodern aesthetic of appropriation and replication: "As Benjamin
'age of mechanical reproduction is replaced by our 'age of Electronic
reproduction', . . . Reproduction, pastiche and quotation, instead
of being forms of textual parasitism, become constitutive of textuality.
Repetition and citation become the typical forms of postmodern cultural
production. . . . We can expect the production of both image and
sound to become more and more a matter of combining and altering
already existing images and sounds extracted from one or other information
store." (Wollen 230-31)
- image
culture, implosion of information, dominance of TV screen --
"With the television image . . . our own body and the whole surrounding
universe become a control screen. the satellitization of
the real, . .. 'hyperrealism of simulation': the elevation of
the domestic universe to a spatial power, to a spatial metaphor,
with the satellitization of the two-room-kitchen-and-bath put into
the orbit in the las lunar module" (Baudrillard "Ecstasy 127-28).
e.g. the use of "outer/computer space" in music videos such as
Aerosmith's "Amazing" and ±i´f©f's¡q¡r.
- "Have
we (as Baudrillard would argue) replaced Marx's 'drama of alienation'
with the 'ecstasy of communication', and Freud's old 'hot sexual
obscenity' with 'contactual and motivational obscenity of today'?
Is TV, as Kroker and Cook argue, 'the real world of postmodern culture
which has entertainment as its ideology, the spectacle
as the emblematic sign of the commodity form, lifestyle advertising
as its popular psychology, pure, empty seriality as the bond
which unites the simulacrum of the audience, electronic images
as its most dynamic, and only form of social cohesion. . . the diffusion
of a network of relational power as its real product'?
e.g.
A. reproduction of live performance -- Bruce Springsteen; esp. "Dancing
in the Dark"
B. reproduction/re-interpretation
of old songs -- "True Color" (Phil Collins); "Time After Time"
¡q§§«e©ú¤§¡r¡]±¡¤Aª§¡^;
"Killing me Softly" (Fugees); "Kung-Fu Fighting"
Parody, Pastiche and the
treatment of history
e.g. Weird Al' Yonkovic -- 'Like A Surgeon'; 'Fat'
; 'Eat It'; 'One More Minute'; 'Living in the Fridge'
Elements of timelessness: no classic plot; repetition of the
same clips;
history in MTV: 1. programme-identification and VJ-talk in
locating the clips historically;
2. "many MTV slots depend on a temporal experience for the delivery
of pleasure; e.g. MTV Countdown (Goodwin 58-59);
3. MTV's special broadcast.
e.g. ©f©f¬ªMTV at Channel V, Jan.1999
[But how about the sense of history in the music videos?]
Fragmentation or Unity of Identity
A. examples of unity -- VJ or the singer(s)
as the anchoring presence; story in the video
B. flow of signifiers --
e.g. challenges of personal identity's unity
-- úÀ¤¬±@ ¡q§§¬O¬´¡rand
Peter Gabriel
e.g. coherent star-identity Michael Jackson's "Black
or White"
How do we deal with the contradictions in meanings
between the lyric and the video, or (sometimes) between the
former's simplicity , and the latter's complexity?
Representation of Gender and Race
-- the subject positions constructed in music videos
"Narrative/non-narrative is no longer a useful category within
which to discuss videos. What is important is, first, whether
or not any position manifests itself across the hectic, often incoherent
flow of signifers which are not necessarily organized into a chain
that produces a signified, and, second, what are the implications
of the twenty-four-hour of short (four-minute or less) texts that
all more or less function as ads"(Kaplan 238)
- the
showing of women's bodies: exploitation of women's bodies or
sexual liberation?
e.g. Robert Palmer's 'Simply Irresistible', Salt
& Pepper
Cf. "Dreamworlds II: Desire/Sex/Power in Music Video" Written,
edited and produced by Sut Jhally --Dreamworlds II combines powerful
imagery from some 200 videos with incisive
narrative to educate viewers on the impact of sexual imagery in
music videos.
Dreamworlds II addresses, more powerfully than any
other tool available, the impact of pop culture
on how young men and women see themselves (and each other) in terms
of sexuality and gender. Shocking and often disturbing, Dreamworlds
II allows its viewers to reflect critically
on images which have such power precisely because they have become
so common.
- subject
positions in Madonna's videos, TLC's "Waterfall," George Michael's
"Outside"
- new Orientalism?
e.g. "If"; "Kung-Fu Fighting"; ¡q§§«e©ú¤§¡r(±¡¤Aª§)
The Vernacular and
the Local --
How is the "vernacular or local" presented in popular music videos?
Co-opted or still resistant?
Are there distinct characteristics of Taiwanese, Korean or Japanese
music videos?
e.g. "Paradise" (Southern Allstar); "I Have
Seen" (¦w«ú¬§©`¤l), Puffy's ¨§¤§,
the use of the aboriginal in ¬«ÀY¡q©M¿±ª©©]±¬A-O-O¡rand
Enigma's
Is postmodern reading of music videos (or MTV) a-historical?
Does it contradict a materialist study of them?
Goodwin's criticism of postmodern readings:
- the neglect of musical
coherence, imitation of live performance, lyric and timbre;
- the history of MTV --
from "narrowcasting" and continuous flow to discrete programs
(including mini series) and a wider range of music;
- four stages: 1)
focusing on New Pop in 1983; 2) 1983-1985: heavy metal; 3) 1986-1988:
cut-back on heavy metal, widening of the scope and then the
return of heavy-metal in 1987; 4) 1989- expansion [Goodwin sees
only three phases, and predicted the beginning of the fourth
phase in 1993.]
- the VJ's -- a secure
point and their "girl/boy-next-door point of identification" (55);
the VJ talk is "absolutely conventional" (56)
- 'Day-parting" &
"stripping" (57) make MTV more similar to the other TV. stations
- Not always nihilistic:
MTV's slogans -- some inconsistent and irreverent -- it takes many
different forms and is often presented through visual jokes.
. . . However, there is another cluster of discourses . . . a group
of quasi-political, volunteerist, socially responsible and sometimes
counter-cultural riffs. . . (62-63)
-
The Other MTV:
MTV can be read politically.
-
MTV
online
(remote)
References
- Goodwin,
Andrew. "Fatal Distractions: MTV Meets Postmodern
Theory." Ed. Simon Frith, et al. Sound and Vision:
The Music Video Reader. New York: Routledge, 1993.
- major argument:
MTV channel, or the music videos it shows, should not
be read as postmodern [fragmentary, a-political], at least
not completely so. We should do a historical and materialist
reading.
- Kaplan,
E. Ann. "Feminism/Oedipus/postmodernism: the case of MTV."
Postmodern After-Images: A Reader in Film, Television and
Video. Eds. Peter Brooker and Will Brooker.
London: Arnold, 1997: 233-47.
- major argument:
MTV channel belongs to the "co-opted" kind of postmodernism
(but not the utopian kind). Some videos may
appear to be transgressive or critical, but a lot of them
are superficial or easily co-opted. [e.g. Madonna's
narcissism and self-indulgence co-opt her texts back into
a consumerist postmodernism.] music
- Wollen,
Peter. "Ways of thinking about music video (and postmodernism)."
Postmodern After-Images: A Reader in Film, Television and
Video. Eds. Peter Brooker and Will Brooker.
London: Arnold, 1997: 229-32.
- major argument:
Music videos signal a breakdown of several categories,
and we should use a postmodern (anti-)aesthetics (which
accepts appropriation and replication, and disregards unity
or originality) to appreciate it.
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