#swampfilmanalysis

[samjalexander]

Discussion Leader Presentation

A-Ha released Take On Me in 1985. The band is considered to be a one-hit wonder. Take On Me is considered to be about a girl that the lead singer, Morten Harket, wanted to be with. The song is Harket’s attempt to convince the girl to give him a chance on him, to “take him on.”

The music video shows a girl going in and out of a 2-D world, symbolizing her going in and out of consideration of taking a chance on Harket.

The video we viewed is actually the second music video made for the song. The first was a simple video of the band members singing the song against a blue background. In this video, the live-action footage was traced with a frame-by-frame process called rotoscoping. It took 4 months to rotoscope the 3,000 frames in the video. 

The video uses a romantic fantasy plotline. A young woman, who is played by Bunty Bailey, falls for the male lead of the video played by lead singer Morten Harket. The more time she spends with Harket, the more she wants to be with him. She becomes blinded by the enjoyment she has in the 2-D world that is obviously separate from reality. 

Course In General Linguistic Ferdinand de Saussure

Through his lyrics, Harket uses de Saussure’s speech/la parole to verbally demonstrate why this girl should take a chance on him. The lyrics represent the language itself, the speech/la parole that de Saussure describes. The lyrics serve the purpose of Harket directly communicating to the girl as to why she should go out with him. Through the music video, Harket is using de Saussure’s language/la langue to visually show why the girl should take him on. According to de Saussure, langue is “the internal structure of the language, not the language itself.” The video serves as the internal structure and representation of the language itself. The lyrics themselves are the 

The different realities in the video, both the 2-D world and the real world, represent two different signs. In the 2-D world, Harket is a sign for what the girl wants. In the real world, he is a sign for what she knows she can’t have. The opposite signs in each reality represent the tribulations of young love that Harket is struggling with, as proved by the lyrics of the song. 

Mythologies Roland Barthes

In his essay, Mythologies, Roland Barthes defines “myth,” and how it affects how we as humans perceive and consume media. He says that myths help to convey messages and communicate. Every form of media that we consume has some sort of myth that conveys some sort of message or meaning of the media, whether it be a headline, a film, a novel, etc. In Take On Me’s music video, Harket references back to Barthes’ description of myths, in that he is displaying a false version of himself that seems more appealing in order to convince the girl to go out with him. The girl, of course, believes what she sees because she is infatuated and developing feelings for Harket. The myth in this video is Harket’s ability to bring the girl into this imaginary world, and the girl consumes and believes that myth because of her feelings for Harket, and her desire to be with him. 

Harry Styles released Satellite in May 2022 as part of his third album Harry’s House. The highly anticipated album went on to win Album of the Year at The Grammys. The song seems to be about wanting someone that you cannot have. However, Harry Styles fans have also compared the song to what it feels like to be “the therapist friend,” and wanting to be there for someone important in your life. 

The video follows a robot trying to find a satellite that he saw on the news while backstage at a Harry Styles concert.

The video features footage of Harry and his band backstage and on stage before showing the robot, named Stomper, through California as it searches for the satellite. When it finally finds the robot after realizing it is in the sky, Stomper lays in a field next to Harry and slowly, his battery dies as they both look up at the sky. 

The song seems to be about wanting someone that you cannot have. However, Harry Styles fans have also compared the song to what it feels like to be “the therapist friend,” and wanting to be there for someone important in your life. The video plays into the first idea by showing Stomper going in circles (like a satellite) while trying to find the satellite. Styles writes “Spinning out, waitin for ya to pull me in // I can see you’re lonely down there // Don’t you know that I am right here.” Styles clearly wrote these lyrics for someone to hear, likely someone he wanted to be close to but could not, whatever the reason may have been.

Course In General Linguistic Ferdinand de Saussure

The langue, or the unspoken language in this music video, is Stomper’s dedication to finding the satellite that he saw. Both Stomper’s dedication represent the speech/la parole, and the lyrics that Styles wrote are the speech because they are Styles’ direct translation of his feelings of wanting to be there for someone that he cannot have. Music videos are generally an additional form of media that provide a langue for the artists’ original speech. In both Satellite and Take On Me, the visual aspect allows the artist(s) to add on to the original speech/la parole that they had written by providing a representation of “the internal structure of a language, not the language itself,” as de Saussure described. 

Mythologies Roland Barthes

In the video, Stomper ventures to find the satellite after seeing it on the TV backstage at one of Harry Styles’ concerts. There seems to be a hint of romantic interest behind Stomper and the satellite, which can be compared to Disney’s 2008 film, Wall-E.

The upbeat pace of the song, as well as the music video following Stomper on his search for his satellite, seem to serve as a “myth” that Stomper and his satellite will have a happy ending. Upon initial viewing, viewers might be awaiting Stomper finding his satellite because of the myths and signs providing false hope for a happy ending. Unfortunately, when Stomper realizes his satellite is in the sky and he cannot get to it, he sits in a field next to Harry Styles and looks up at the sky, before realizing that his battery is running low. He accepts it and looks back towards the sky, towards the satellite that he was dedicated to finding. He spends what he knows will be his last moments as close to his satellite as possible, knowing he will never be able to have what he so badly wanted. 

Discussion Questions

The upbeat tune of Satellite gives the myth that the plot of the music video will have a happy ending. In what ways do song lyrics or beats provide false signs about the true meaning of the song (i.e. a sad song that sounds happy)?

Satellite and Take On Me have similar themes of wanting something you cannot have. Harry Styles’ hit song, As It Was, has been compared to Take On Me for having a similar sound. Besides theme and sound, how can songs be related to one another?

Take On Me and Satellite also have similar auras of being written to someone that the respective artists want to be close to. However, the aura of Take On Me may be overlooked as it is such a popular and catchy tune that listeners may sing along without digesting the lyrics. Similarly, it is unclear if Satellite was written for a friendship or relationship, or even a familial relationship. However, fans have interpreted the lyrics through many different lenses. In what ways can the auras of a song change? 

[spencerrussell]

Discussion Leader Presentation

Coldplay - The Scientist :

“The Scientist” by Coldplay is a song which dives into self-reflection, introspection, and the overall desire to go back in time to fix past mistakes. In an interview with the lead singer of Coldplay, Chris Martin, he explained that “It’s weird that whatever else is on your mind, whether it's the downfall of global economics or terrible environmental troubles, the thing that always gets you most is when you fancy someone.” He went on to say that the song is “just about girls.” In this way, it explores themes of love and loss as well as the constant search for meaning in one’s life. The lyrics convey a strong sense of regret and longing and allows the listener to contemplate the consequences of their actions. This is how this beautiful song continues to resonate with so many people emotionally. 

The music video is known for its reverse narrative which uses reverse motion throughout its entirety. This was not the first time reverse motion was used in a music, as it is seen in The Pharcyde’s music video of “The Drop” in 1995 as well as Danny Wilson’s “The Second Summer of Love” in 1989. The use of reverse motion in this piece is really meant to be, since it describes Martin's wish to turn back time both visually and through the lyrics. It portrays Chris Martin moving backwards in time and eventually leading up to a frightening car crash with his girlfriend. This music video was also awarded multiple MTV Video Music Awards including best direction, best group video, and breakthrough video of the year in 2003. 

Come up to meet you, tell you I'm sorry

You don't know how lovely you are

I had to find you, tell you I need you

And tell you I set you apart

Tell me your secrets and ask me your questions

No, let's go back to the start

It's clear in the first set of lyrics that Martin wants to start over with his girl and regrets parting ways. He also reinforces his feelings by describing his willingness to tell his deepest secrets in return to be in love again.

Louis Althusser, Ideology and Ideological State Apparatuses :

Both Coldplay’s “The Scientist” and Louis Althusser’s writings on ideology and ideological state apparatuses explore themes of introspection, self-reflection, and the influence of societal structures on individuals. While they may approach these themes from different angles, they both touch upon the complexities of human existence and the role of ideology in shaping our perceptions as well as our behaviors. Martin describes feelings of complexities in his life by clarifying his frustrations with the way his relationship fell apart and how the same situation is replayed in each attempt he makes. In mentioning "heads on a science apart," Martin emits the message that by looking at their relationship through a logical sense may evoke the feeling that it may never work, just as scientists analyze in a logical manner.

Runnin’ in circles, comin’ up tails 

Heads on a science apart

Karl Marx - The German Ideology :

Karl Marx’s “The German Ideology” also shares similar themes to “The Scientist” by Coldplay in the way that both dive into critique of social structures and introspection. Although they may approach these themes from different perspectives (music vs. philosophy), both pieces touch upon the complexities of human existence as well as the influence of ideology on individuals in society. 

“Consciousness can never be anything else than the conscious existence, and the existence of men is their actual life process.” (Marx 656)

I feel as though this quote from Marx represents how one can only learn his mistakes through his own life experience and that the existence of one's ideology is based on the process of their direct actions. Both in the lyrics and the music video, I think Martin's piece is parallel to this thinking.

The Beatles - Yesterday

Written and performed by Paul McCartney, Yesterday was first released in 1965 on the Beatles album Help! and reached number one in the U.S. Charts that year. With over 2,200 cover versions of the song, it stands as one of the most covered songs in the history of recorded music. 

Although there is no music video to this song, this live performance by the Beatles at Studio 50 in New York City is still important in music today as it was extremely high production at the time. While it is an emotional song, the mass popularity of the Beatles was is quite evident by the constant yelling of fans throughout the act.

“Yesterday” by the Beatles is similar to “The Scientist” through its ability to describe lost love, self reflection, along with a longing for a different outcome of the past. Both evoke a strong sense of consciousness, nostalgia and the desire to go back and change how relationships or experiences turned out. Martin and McCarthy share a similar message in their attempts to return to their former feelings and ponder as to how their actions may have soured the relationship. While the Beatles “Yesterday” displays a slightly different style of music, both pieces equally resonate with the listeners who can relate to these emotions and experiences conveyed by the artists.

Yesterday

All my troubles seemed so far away

Now it looks as though they're here to stay

Oh, I believe in yesterday

The lyrics of the hook, "Oh I believe in yesterday," are used to describe how McCartney wishes to go back to the troubles of his past relationship instead of remaining by himself and reflecting on how it could have gone differently. He then goes on to reflect on his own actions and wonders why she even walked out,

Why she had to go

I don’t know, she wouldn’t say

I said something wrong

Now I long for yesterday

Discussion Questions :

Are feelings of self-reflection, introspection, and critiquing social structures still relevant in a lot of music today?

Both songs use metaphorical language throughout the lyrics. What do these metaphors reveal about the artists' perspectives on life, regrets, and the human condition? How do they challenge or reinforce societal norms and expectations?

What personal lessons or societal critiques can listeners take away from these songs? How do they inspire or discourage us to reflect on our own lives and the world around us?

[grace-kloeckl]

Discussion Leader Presentation

SABOTAGE - BEASTIE BOYS (JAN 1994)

The Beastie Boys song Sabotage and music video was released in 1994. It was filmed throughout L.A. in Los Feliz, Echo Park, Silverlake, Hollywood, and Downtown Los Angeles. The message of this song is considered to be “anti-authority”. Although not revealed until 2020 in their documentary, the inspiration behind Sabotage was their former producer whom they felt was constantly "sabotaging" them. This song and music video has been reproduced in many formats. Different versions have been made, it has been featured in TV shows and movies (such as Futurama and an advertisement for Minions: the Rise of Gru), and performed on Saturday Night Live. In 2020, it was used as background music for a Biden campaign ad, criticising Trump's COVID response and featuring Biden wearing black shades jogging up into a plane.

Our readings have introduced different perspectives on mass culture: the disappearance of the aura in Walter Benjamin's essay, how the culture industry functions within existing power structures in Horkheimer and Adorno’s essay, and how messages are created and received in Hall’s essay.

Considering these perspectives, the mass production and popularity of the music video for Sabotage by Beastie Boys reveals how the culture industry elevates and thrives off pieces which have vague and digestible meanings.

Sabotage in particular demonstrates the lack of autonomy a piece has after becoming a part of culture. Rather than having a clear intention or message, this song and music video seems to use vague emotional appeals, humour, and action to catch people's attention. The storyline is hard to follow, but it is reminiscent of crime dramas, except there's no distinction between "good" guys or "bad" guys. It shows authority figures causing chaos rather than fulfilling their supposed role. The appearance and behaviour of the policemen characters are exaggerated and silly. They're wearing fake moustaches, fake mullets, and sunglasses and are shown doing ridiculous and unnecessary things like jumping from building to building, spontaneously somersaulting, and eating donuts. This has the effect of making fun of policemen.

I wonder if there's a connection between the "anti-authority" interpretation and the L.A. Riots following the videotaped beating of Rodney King. Despite the proximity, the video doesn't seem to directly address this.

Regardless, the way it was received by the audience as “anti-authority” doesn’t take precedence over the way the culture industry functions, which is to produce copies and further profit off of the popularity of the song and music video. Through this process, the piece’s supposed “anti-authority” message gets distorted and weakened.

Taking from Walter Benjamin, its video format “substitutes a plurality of copies for a unique existence” (1236). The audience is separated from the context in which it was filmed. Taken out of context, the purposiveness of the piece is lost as it occupies new settings and may be interpreted completely differently. Because it is produced with this intention of mass consumption, which thrives off emotional appeal and relatability, the purpose or message gets somewhat diluted. According to Walter Benjamin, "it begins to be based on another practice - politics” (1237). This brings me back to the Biden campaign ad which uses this song with a supposed "anti-authority" reputation to criticise Trump (linked below 0:07 - 1:07).

According to Horkheimer and Adorno, the logic of a work is congruous with that of the social system (1242). In this case, while the Sabotage video might be considered anti-authority for its utter chaos and destruction, it doesn't specifically critique authority or demand an action. Rather, it seems like a crime drama parody, and it affirms what we already think. The theme of “anti-authority” may make people feel empowered, but this is similar to the aestheticization of war. It glorifies this catharsis of emotion that justifies the social system and power structures in place.

“The greater the decrease in the social significance of an art form, the sharper the distinction between criticism and enjoyment by the public. The conventional is uncritically enjoyed, and the truly new is criticized with aversion.” (Horkheimer and Adorno 1237)

FEEL GOOD - GORILLAZ (MAY 2005)

This is a very popular song by the Gorillaz, and it offers a critique of culture by depicting how consumers are numbed out on "good" emotions and trapped inside this system that exists to profit off of musicians and consumers. Ironically, this song also hit No. 2 in the U.K. and No. 14 in the U.S., so its success depends very system that it criticises.

Above is a moving image of the character 2D, using a megaphone to try to get people to listen. He says,

City's breaking down on a camel's back They just have to go, 'cause they don't know wack So while you fill the streets, it's appealing to see You won't get out the county, 'cause you're bad and free

You got a new horizon, it's ephemeral style A melancholy town where we never smile And all I wanna hear is the message beep My dreams, they got a kissing 'Cause I don't get sleep, no

The lyrics are hard to understand on their own, but paired with the visual of 2D walking over all these people lying on the ground, not paying attention to him, it becomes clear that he's trying to get a message out, but no one is listening. The words he speaks into the microphone become thin air, and everyone is too numb to hear him.

He then looks out the window and sees Noodle floating on an island peacefully playing music. Birds are chirping in the background, and during this part of the song, the sound and voice changes creating a more peaceful and faraway feeling. However, in the video, you can see that there are helicopters chasing Noodle down, suggesting that she will inevitably get trapped in the culture industry. This reminds me of a quote from Horkheimer and Adorno: "Talented performers belong to the industry long before it displays them; otherwise they would not be so eager to fit in" (1243).

The reading and the music video suggest the inevitability that the forces of the culture industry are too strong to be resisted, and any talent will be pulled into its orbit and pushed through its system to the masses.

Throughout the music video 2D seems stuck and anxious to find a way to escape and get other people to hear what he's saying. When De La Soul comes on speaking on the big screens, 2D looks up frightened and seems to feel cornered into becoming part of the system although he doesn't want to. There's a lyric sung by De La Soul that goes,

Gon' bite the dust, can't fight with us With yo' sound, you kill the Inc

So don't stop, get it, get it (get it) Until you're cheddar headed

It demonstrates the feeling of pressure on 2D to keep going, and De La Soul is convincing him that his song with this message can "kill the Inc".

What I find interesting about this song is that while it is a critique of the music industry and mass culture, because it functions within that very system, its message may be overlooked. Horkheimer and Adorno say that culture has an "economic mechanism of selection... there is the agreement - or at least the determination - of all executive authorities not to produce or sanction anything that in any way differs from their own rules, their own ideas about consumers, or above all themselves" (1244). Despite its critique of the system, this song still abides to the rules of the culture industry, in the way that it has been produced and received by the public. Producers are aware of this, so producing a song that critiques the music industry doesn't worry them because it doesn't change the power structures. In this instance, the song became very popular. This reminds me of a quote from Walter Benjamin:

"Its self-alienation has reached such a degree that it can experience its own destruction as an aesthetic pleasure of the first order." (1210)

This song is a good example of this because it was created with a message that reflects a feeling of alienation, yet it is an upbeat song meant to make us "feel good" and succeeds at that. Without analysing it, the meaning can go completely overlooked. Like Hall says, "if the meaning is not articulated in practice, it has no effect" (508).

Questions for analysis:

How does the transferability of media to different platforms and contexts enhance or dilute the meaningfulness/impact of a piece?

In both music videos, to what extent does the author's intention have authority over the meaning and significance of the piece?

Do you think the culture industry is always self-reinforcing, or are there areas of contradiction where multiple forces are at play? How do these potential areas of contradiction shape or change the way the culture industry functions? 

[oliviaberens-blog]

Strange Days (1995)

Jane Gaines's essay "White Privilege and Looking Relations: Race and Gender in Feminist Film Theory" examined the erasure of black women in cinema by white male filmmakers. To fully understand this point, Gaines relies on the history of this topic. Specifically, she states, “If, as feminists have argued, women's sexuality evokes an unconscious terror in men, then black women's sexuality represents a special threat to white patriarchy; the possibility of its eruption stands for the aspirations of the black race as a whole” (p. 303). In the film, Strange Days (1995),there is a strong representation of black female empowerment shown in the character of Mace. Initially playing the role of a bodyguard, Mace transforms into a powerful action hero who is constantly saving Lenny from dire situations. In one particular scene, Mace is shown cocking a gun in her holster between her thighs, held under her little black dress. The purpose of this shot is to give Mace a masculine role while still keeping her femininity intact. Tying back to Gaines’s argument, the role of a black female in this film is not to be overlooked, but rather, shown as an independent, kick-ass character. Between the love that Mace has for Lenny and her desire to keep him safe, she is represented in all different lights.  

[theuncannyprofessoro]

'If cinema is to be truly representative, film criticism needs to include more women and writers of colour'

A recent study revealed that nearly 75 per cent of film critics are men, and that a larger proportion of the films reviewed by women feature female protagonists

[julia-kutsch]

Strange Days (1995)

In “White Privilege and Looking Relations: Race and Gender in Feminist Film Theory,” Jane Gaines describes how black women tend to be included as a sort of afterthought in film, as if they are just a box to check for inclusivity. A lot of times, a black character (especially a black woman) is in a supporting role and isn’t considered to be the love interest. In Strange Days (1995), Mace’s character breaks this pattern. She is a strong female lead who is just as badass (actually, make that more badass) than her male counterpart. Her blackness is a significant part of the story and is part of how she fits into, and adds levels to, the narrative. It enhances the audience’s understanding of her horror at the atrocities committed by the two cops, as the crime rates are at an all time high and racial divides are incredibly tense. Lenny doesn’t have the words to describe the playback to her because it doesn’t affect him in the same way; his white privilege and background as a cop prevent that. It was a pleasant surprise at the end when the two share a kiss, as she wasn’t his love interest throughout the film. It’s only at the end when Lenny realizes his feelings for this powerful black woman, leading to a underrepresented mixed-race romance. Mace’s character breaks the conventions for black female characters as described in Gaines’s writing.

[urielagramonte-blog]

Mace > Faith

In the reading for this week, Jane Gaines’s essay White Privilege and Looking Relations: Race and Gender in Feminist Film Theory disputes different feminist theories, which she makes a point to state how some do not fully recognize the discrimination against women of color. Her reading also touches on women in film are made subject to the male gaze and how they play a bigger role in more than just “eye candy”. She states, “…women’s sexuality evokes an unconscious terror in men, then black women’s sexuality represents a special threat to white patriarchy; the possibility of its eruption stands for the aspirations of the black race as a whole” (p. 303) In the film Strange Days (1995), the audience gets to see and appreciate a powerful women of color. There were countless times when Mace came to Lenny’s rescue but one that stands out the most is when Philo sent him to the basement of his home and Lenny starts getting beat by three of his people. Mace comes in and single handedly fights off the three attackers and saves Lenny. Not at a single point was her character made to be sexualized by the male gaze. She just exuded raw strength and power. She exuded the “heteronormative” character we usually see played by men. She kept saving Lenny’s life, she had her emotions on lock, and she was the rational thinker. Mace embodied the idea Gaines had for a black women’s sexuality representing a special threat to white patriarchy.

[annalyse0907-blog]

Viewing Response 14: Strange Days (1995)

In Jane Gaines’ “White Privilege and Looking Relations: Race and Gender in Feminist Film Theory”, she argues that women’s sexuality is focused in the experiences and form of the white woman and almost always in the context of man versus female in film. The view of spectators outside of the white heterosexual male gaze is overlooked and not considered. The subject/object conflict between white men and women in film also leaves out large portions of society. Women of other genders and sexualities like lesbians and individuals of other races, in specific black males and females are not considered for their viewing pleasures and relatability to the screen. This idea can be seen in Katheryn Bigelow’s film Strange Days (1995) which reinforces the white heterosexual gaze, even though it was directed by a woman. Though this film does include a strong black female lead, the only sexualized figures in the film were white women and they were present throughout the film.  This film also highlighted the subject/ object relationship between Faith and Philo which can be seen in the scene where Lenny approaches Faith and Philo in the club. Philo makes it a point to say that he ‘took’ Faith from Lenny which reinforces the idea that she is an object to be taken. This subject/ object relationship between the males and females is not a gaze that can be related to by groups like lesbians, but plague almost every movie.