Monday, 11 April 2011
Wednesday, 6 April 2011
Mix Tape.- Life through the thicker lense
Mad House: :Rihanna
Three Little Birds: :Bob Marley
Fuck You: :Lily Allen
Smooth Criminal :Michael Jackson
New York :Paloma Faith
Hold You :Gyptian
Shooting Star :Air Traffic
Redemption Song :Rihanna Haiti Relief
The Scientist :Coldplay
White Blank Page :Mumford & Sons
Bring Me To Life :Evanescence
I'm Yours :The Script
I Need This :Jessie J
Nothing Left To Loose :The Pretty Reckless
Pass That Dutch :Missy Elliott
Back To Bed :Erik Hassle
Tuesday, 5 April 2011
Monday, 4 April 2011
Evaluating My Work.
Jack Reid
Smith
How have your research and planning skills progressed and allowed you to make more creative decisions?
Looking back from AS to A2 I feel as though my skills for research and planning have developed, this meaning I was able to make a more creative finished product. At AS I collectively made with my group an introductory sequence for a dance film, and at A2 I again collaborated with a group to make an alternative rock music video.
By looking at either product it is clear that my research and planning skills have developed as the a2 product contains far more signs and symbols of the chosen genre (Barthes theory). For instance I was able to use ‘Google’ and ‘Wikipedia’ properly to gain important background knowledge, knowing how to correctly search for information and understanding what first appears is the most popular and generally what I am looking for. This then enabled the group to give a clear representation of the chosen genre.
To give a clear indication of how my knowledge has progressed in research and planning I feel as though I have followed the theory of Tim O’reily’s DIKY triangle. The internet has enabled me to select data that I find relevant to then extract the information that will better my product, I then combine this information with the knowledge I already have/ to build new knowledge, this then combined with wisdom and creativity shows that I am capable of making a ‘realistic’ product. Before the above I found I wasn’t being thorough enough with my research, picking out things that I thought were correct opposed to what others considered correct and fitting for the selected genre, for instance Location in our AS product. The second half of my video was set in a field which completely contrasted with the first half, and the overall genre that I had chosen to work with. My knowledge and capability of using the internet (programmes such as Google and Wikipedia) has bettered, as I know no that being more specific with my search means my outcome will be more accurate and specific, i.e. ‘rock clothing’ to ‘Taylor Momsen The Pretty Reckless Stage outifts’.
All research and planning was documented on Blogger for both tasks, looking back there is an incredible difference in clarity between the two, The AS blog appears more vague than the A2 blog. This is because in a2 I understood that blogger was their to gain audience feedback and that’s its not just a nice organised way of displaying your work. Instead of just posting pointless posts, I would post question’s to teachers which would then either better my knowledge and understanding or better my final product. This ensured that the task stayed on track and my final product had taken all sorts of opinion into account, meaning that it was appealing to all.
In A2 the knowledge I have taken from research and planning helped me to be more creative, instead of just researching on the internet and ‘copying’ ideas (for instance in AS watching video’s on Youtube and only noticing and copying the obvious) I was able to take others ideas and general conventions to then adapt them into my own work. This taking into account the theory of Steve Neil and his idea of repetition and change, the fact you have to know your genre inside and out to then adapt it. “You need to know the rules to break the rules” this then tying into research and proving that thorough searches will better knowledge which will then meant I was capable of creating something creative.
Tuesday, 29 March 2011
GAGA Postmodern.
TELEPHONE.
- Pastiche. The video has it in spades. It references other forms of media (Tarantino, exploitation films, Thelma & Louise) left and right, while parodying none of them. This is because parody relies on an underlying normative standard, which postmodernism categorically rejects. Instead it merely shows the audience a barrage of media, almost a celebration of how clever the director is for cramming so many references into a single video.
- Consumerism. The product placement is obvious, but it is not portrayed as humorous. The camera lingers too long on each product, and the video knows it, but it still manages to avoid parody. Rather, the video uses these consumer images as an integral part of its aesthetic without any comment on their social context.
- Self-reference. The blatant product placement shows a self-awareness in the video, but this particular brand of ironic detachment harms the video’s ability to make any sort of overall message on its own. Instead it implies that celebrating consumer culture is fine as long as we’re appropriately ironic about it, but this is a largely unintended consequence of the video’s aesthetic.
- Appropriation of identity-based struggle. Lady Gaga is interesting for turning the male gaze back on men, and for portraying women as subjects rather than objects in her videos (albeit still scantily-clad subjects). However, the resistance to power on Lady Gaga and Beyonce’s part is purely individual and brief (it’s very telling that Lady Gaga is bailed out of prison rather than escaping) Behind this initial layer of feminism there is still an individuated desire to become rich, given that Lady Gaga was saved from prison by money. She maintains her glamorous image inside and outside the prison’s walls, an implicit message that “excessive materialism is empowering to women, somehow,” as Alyx Vesey observed. Therefore her kind of feminism is integrated neatly into the agenda of neoliberals, who love to talk about glass ceilings being shattered while heaping disdain on poor women.
- Incredulity towards metanarratives. Lyotard’s famous description of the postmodern condition applies even here, as it’s difficult to find an overall message or narrative in the video. There is a sequence of events interspersed with pop culture references and product placement, but little else.
Most works of postmodern culture incorporate the ethic of postmodern philosophy with even less critical engagement than postmodern philosophers themselves, and in so doing implicitly endorse the status quo. This video is no exception.
Ourfit inspired by condom.
Outfit inspired by nun and religion?
Outfit inspired by animal rights?
Outifit inspired by cousin it?
"the most attractive character"
Outfit inspired by blood?
"We're full of it, so why not be covered in it?"
With her constant imitation of popular gendered tropes, Lady Gaga’s performances work to disrupt the myth of an essential femininity. Consider the music video for “Telephone,” in which Gaga dances in a jaguar suit in front of her truck in the desert, imitating country-pop star Shania Twain in her 1997 video “That Don’t Impress Me Much.” Here, Gaga has contorted the conventional sexuality of Twain into something much more grotesque. Her one-piece cat suit includes boning around the ribs and pelvis that give Gaga the appearance of having a feline skeletal structure. In this way, the outfit blurs the line between the sexual appeal of animal print and the taboo of inter-species relations. Similarly, Gaga’s ghostly white make-up and dark eyes make her look like a corpse, producing a thanato-erotic anxiety in her spectators. Thus, in her imitation of Twain, Gaga has succeeded in making a familiar feminine image into an altogether uncomfortable one. Though Gaga’s body conforms to conventional standards of feminine beauty, it is used as a blank canvas on which a plurality of different identities – not all of them feminine – can be projected. Because Gaga moves so rapidly (but not seamlessly) between uncanny parodies, her appearance draws attention to the fact that gender is always imitatively constituted. The unending media gossip about the real status of Gaga’s gender and sexuality is a testament to the anxiety that her performances of drag have created. Though Gaga appears practically naked in almost all her music videos, her sexual identity remains ambiguous and creates uneasiness in her spectators. Insofar as Gaga continuously parodies the recognizable styles of other artists, she has made an identity of pastiche. She cites iconic, often gendered identities without indicating the existence of a ‘neutral’ or ‘normal’ self that these performances can be said to mask.
What is most notable about Gaga, and what I will analyze here, is her visual aesthetic. Gaga has a highly allusive, almost grotesque, haute-couture style. Sometimes she resembles other pop stars, sometimes a character from Japanese animation, or a Roy Lichtenstein print. What one might call her ‘actual’ or ‘natural’ visage is virtually unknown to the public, since she always appears in costume, mimicking a plurality of feminine archetypes, but also performing more androgynous roles. Because she is seemingly without origin and constantly shifting her aesthetic self-presentation, Lady Gaga is quintessentially post-modern. From a feminist perspective, the fact that Gaga’s celebrity persona amounts to little more than a collage of gender citations is potentially subversive, while from a more traditionally Marxist perspective, it is the lack of grounding contexts that makes Gaga into a pure commodity fetish without inherent use-value beyond her aesthetic appeal and wide-scale marketability. In any case, that Gaga has adopted non-essentiality and pastiche as her persona is evidence of a bourgeoning trend in popular music culture: fragmentation, self-reflexivity, and the surface play of signification – the criteria used to periodize post-modern culture – have been overtly adopted as the dominant aesthetic in what is (over-simplistically) referred to as ‘mainstream’ culture. The paradox, of course, is that to adopt post-modernity as an aesthetic is to avow the loss of any grounding principle as a meta-narrative and as a practice that can be imitated and reproduced. What we see with Gaga is a redoubling of the post-modern. Through her aestheticisation of post-modernity, Lady Gaga is able to capitalize on its marketability, while simultaneously holding up the practices of late-capitalism for critical analysis.
Monday, 28 March 2011
Lady GaGa-Postmodern???
Lady Gaga as a Post Modern Feminist
Here is a powerpoint presentation that i found whilst researching GaGa and wether she is postmodernism, there seems to many interpretations about what people think she is and she isnt and what she offers to the industry, some people say she is the end of postmodernism, someone that tries to hard and really only cares about herself. In my opinion i think she is in a way quite cool, her 'i dont give a sh*t' attitude can be looked upon as inspirational and something i can see many of her fans 'monsters' aspiring towards. It is clear to see the influences she has taken from Bowie, another artist that rightfully can be classed as post modern.
one review i came accross 'The woman is GALACTICALLY narcissistic. In her new video, she proves herself to yet again have not one original bone in her body, as she picks through Stanley Kubrick’s garbage – and apparently the dude who directed Gary Numan’s ’Cars video – constructing a seizure inducing monument to herself…the ‘mama monster’.'
Monday, 21 March 2011
Participation, Modification, Authenticity Disrupted, Originality??
Does knowing how to make it, or making it easy to reproduce make it less impressive
Participation- for instance the IPunk by Daft Punk 'game' on the internet http://dothedaft.com/ relies on people remaking/ recreating the 'original' music by Daft Punk. It also gives the song an extra edge because it gives people the opportunity to go and do it themselves, it adds another dimension as its different to just listening to a song in your car.
Modification- Dj Shadow, changing those little elements/details to create one brand new song. Basically Remix.
Authenticity Disrupted- For instance Dan Black making the point in his music video Symphonies that he has recreated/copied/taken inspiration from something similar or infact the same.
Participation- for instance the IPunk by Daft Punk 'game' on the internet http://dothedaft.com/ relies on people remaking/ recreating the 'original' music by Daft Punk. It also gives the song an extra edge because it gives people the opportunity to go and do it themselves, it adds another dimension as its different to just listening to a song in your car.
Modification- Dj Shadow, changing those little elements/details to create one brand new song. Basically Remix.
Authenticity Disrupted- For instance Dan Black making the point in his music video Symphonies that he has recreated/copied/taken inspiration from something similar or infact the same.
Wednesday, 16 March 2011
The Death Of Uncool-ipod shuffle
1)Foo Fighters-Band On The Run- Radio 1
2)Missy Elliot- Loose control
3)Kelly Rowland- Commander- Radio 1
4)Keane-Under Pressure- Radio 1
5)John Legend- Ordinary People
6)Rihanna- Redemption Song-Haiti Relief
7)Dizzee Rascal- Fix Up
8)Snow Patrol-Hands Open
9)Brandon Flowers- Welcome To Las Vegas
10)Florence & The Machine- Kiss With A Fist.
Brian Eno - Postmodern Music. - Taken From Mr Fords Blog.
Brian Eno — 25th November 2009
"It’s odd to think back on the time—not so long ago—when there were distinct stylistic trends, such as “this season’s colour” or “abstract expressionism” or “psychedelic music.” It seems we don’t think like that any more. There are just too many styles around, and they keep mutating too fast to assume that kind of dominance.
As an example, go into a record shop and look at the dividers used to separate music into different categories. There used to be about a dozen: rock, jazz, ethnic, and so on. Now there are almost as many dividers as there are records, and they keep proliferating. The category I had a hand in starting—ambient music—has split into a host of subcategories called things like “black ambient,” “ambient dub,” “ambient industrial,” “organic ambient” and 20 others last time I looked. A similar bifurcation has been happening in every other living musical genre (except for “classical” which remains, so far, simply “classical”), and it’s going on in painting, sculpture, cinema and dance.
We’re living in a stylistic tropics. There’s a whole generation of people able to access almost anything from almost anywhere, and they don’t have the same localised stylistic sense that my generation grew up with. It’s all alive, all “now,” in an ever-expanding present, be it Hildegard of Bingen or a Bollywood soundtrack. The idea that something is uncool because it’s old or foreign has left the collective consciousness.
I think this is good news. As people become increasingly comfortable with drawing their culture from a rich range of sources—cherry-picking whatever makes sense to them—it becomes more natural to do the same thing with their social, political and other cultural ideas. The sharing of art is a precursor to the sharing of other human experiences, for what is pleasurable in art becomes thinkable in life."
Musician, Artist, Producer, Theorist.
Has worked with (amongst others) – Roxy music, Talking Heads, Devo, Ultravox, Bryan Ferry, U2, Coldplay.
He ‘Invented’ ambient music which in turn let to chillout genre which in the last 18 months has linked into chill wave music (a mainly American endeavor)
As an example, go into a record shop and look at the dividers used to separate music into different categories. There used to be about a dozen: rock, jazz, ethnic, and so on. Now there are almost as many dividers as there are records, and they keep proliferating. The category I had a hand in starting—ambient music—has split into a host of subcategories called things like “black ambient,” “ambient dub,” “ambient industrial,” “organic ambient” and 20 others last time I looked. A similar bifurcation has been happening in every other living musical genre (except for “classical” which remains, so far, simply “classical”), and it’s going on in painting, sculpture, cinema and dance.
We’re living in a stylistic tropics. There’s a whole generation of people able to access almost anything from almost anywhere, and they don’t have the same localised stylistic sense that my generation grew up with. It’s all alive, all “now,” in an ever-expanding present, be it Hildegard of Bingen or a Bollywood soundtrack. The idea that something is uncool because it’s old or foreign has left the collective consciousness.
I think this is good news. As people become increasingly comfortable with drawing their culture from a rich range of sources—cherry-picking whatever makes sense to them—it becomes more natural to do the same thing with their social, political and other cultural ideas. The sharing of art is a precursor to the sharing of other human experiences, for what is pleasurable in art becomes thinkable in life."
Wednesday, 9 March 2011
Monday, 28 February 2011
Scott Pilgrim Vs The World.--- The future of film or Flop?...FLOP.
Scott Pilgrim vs. the World is a 2010 comedy film directed by Edgar Wright, based on the graphic novel series Scott Pilgrim byBryan Lee O'Malley. The film is about Scott Pilgrim (Michael Cera), a young Canadian musician, meeting the girl of his 'dreams' literally, Ramona Flowers (Mary Elizabeth Winstead), an American delivery girl. In order to win Ramona, Scott learns that he must defeat Ramona's "seven evil exes", who are coming to kill him.?
The film is aimed at 'geeks' but is that correct?? If so how are they supposed to relate to the film?...... Scott is in a band.... something that a geek wouldn't be in..... he has to choose between to mildly attractive girls.... a situation that a geek wouldn't be placed in. So even though the film is aimed at geeks they don't directly address the situation of a 'geek'.
Scott Pilgrim vs. the World was planned as a film after the first volume of the comic was released. Wright became attached to the project and filming began in March 2009 in Toronto. Scott Pilgrim vs. the World premiered after a panel discussion at the San Diego Comic-Con International on July 22, 2010. It received a wide release in North America on August 13, 2010 in 2,818 theaters. The film finished fifth on its first weekend of release with a total of $10.5 million. The film has received very positive reviews by critics and fans of the graphic novel, but it failed to recoup its $60 million production budget during its release in theaters, grossing $31.5 million in North America and $16 million overseas.
Here is a fan video of the 15 intertextual references; doesn't this just goes to show that your have to be extraordinarily geeky to like it?
People over 30 don't get it.
The film has been summarised that for people over the age of 30 would be a complete and utter waste if time, a working 30 year old would not want to go and see a bunch oh hipster 20 somethings doss around and moan about going out and being in bands, when they have to go out and work and spend their 'hard' earned cash watching people that they stereotypically despise.
People under 30 don't get it.
This was said because of the out dated references that have been made throughout the film, considering that the film is aimed at and about teenagers it doesn't consist of many things that a teenager would be able to relate to or understand in terms of its themes (video gaming, pop culture). In my opinion this would be different if the film was aged a 30 somethings which then would have a understanding of the intertextual references.
People hate Michael Cera??
Apparently despite his fans their are many indie film watchers that think that the repetitive nature of Cera's characters is just a little bit too much to handle. This encouraging people not to pay to go see a character that they could see for free in their video collection.... in that respect i understand why people wouldn't go and see the film.
In my opinion i think Cera is amazing and anything that he is in couldn't be bad.
Wednesday, 16 February 2011
Blaxploitation.
Blaxploitation is a film genre that emerged in the United States circa 1971 when many exploitation films were made specifically (and perhaps exclusively) for an audience of urban black people; the word itself is a portmanteau of the words "black" and "exploitation," and was coined in the early 1970s by Los Angeles NAACP head (and ex-film publicist) Junius Griffin. Blaxploitation films were the first to feature soundtracks of funk and soul music. These films starred primarily black actors.[1] Variety magazine credited Sweet Sweetback's Baadasssss Song, released in 1971, with the invention of the blaxploitation genre. Others argue that the Hollywood-financed film Shaft, also released in 1971, is closer to being blaxploitation, and thus is more likely to have begun the genre.- http://en.wikipedia.org/wiki/Blaxploitation
Shaft Trailer- Blaxploitation.
Shaft Trailer- Blaxploitation.
Quentin Tarrintino.
Quentin Jerome Tarantino, born March 27, 1963, is an American film director, screenwriter, producer, cinematographer and occasional actor. In the early 1990s he began his career as an independent filmmaker whose films used nonlinear storylines and the aestheticization of violence. - http://en.wikipedia.org/wiki/Quentin_Tarantino
Filmography
His films include Reservoir Dogs (1992), Pulp Fiction (1994), Jackie Brown (1997), Kill Bill (2003–2004), Death Proof (2007) and Inglourious Basterds (2009). His films have earned him an Academy Award, a Golden Globe Award, a BAFTA and a Palme d'Or and he has been nominated for Emmy and Grammy awards.
REVIEWS;
"The film is trademark bloated Tarantino, featuring scene after scene that could have been curtailed or expedited, which might have significantly affected an off-putting 150-minute running time. But Tarantino lost his “no” men years ago, while distribution honcho Harvey Weinstein continues to serve as an enabler of sorts."
"Quentin Tarantino’s “Inglourious Basterds” isn’t as indulgent as “Death Proof” or “Kill Bill: Vol. 2,” but it doesn’t have the filmmaking panache and wit of the moving image to forgive it its sins like “Kill Bill: Vol. 1,” either. It’s a slightly more contained bout of silliness, but it’s silliness nevertheless."
"He instead seems to have locked himself in his room, oblivious to reaction. It matters to him and him alone, which, to some extent, is rather admirable. But is anyone actually paying attention anymore?"
Inglourious Basterds not only knows that it is a fictional movie, but also that it is being watched by an audience, and herein lays its greatest achievement.'
'Tarantino is at times like a flamboyant, egomaniacal orchestra conductor, gesticulating wildly and turning to the audience to make sure we know that the show's about him.'
'Simply Tarantino's best. A very intelligent script that combines war movie elements with some pointed observations about violence in movies and in society.'
'Shows how most of us turn to film for both fantasy escape and an avenue to make the abstract past tangible, enough to even possibly, and powerfully, replace actual history.'
'Tarantino has a created a more moving tale about the Jews and the Nazis during World War II than, for example, last year's much more reverent Defiance, which was actually based on a true story yet came off as shtick.'
-All in all its obvious that the film wasnt massively respected by film critics, this didnt matter to Tarrintino he was extremely happy with the outcome and if i do say myself i really enjoyed the film and all aspects that followed it.
Filmography
His films include Reservoir Dogs (1992), Pulp Fiction (1994), Jackie Brown (1997), Kill Bill (2003–2004), Death Proof (2007) and Inglourious Basterds (2009). His films have earned him an Academy Award, a Golden Globe Award, a BAFTA and a Palme d'Or and he has been nominated for Emmy and Grammy awards.
REVIEWS;
"The film is trademark bloated Tarantino, featuring scene after scene that could have been curtailed or expedited, which might have significantly affected an off-putting 150-minute running time. But Tarantino lost his “no” men years ago, while distribution honcho Harvey Weinstein continues to serve as an enabler of sorts."
"Quentin Tarantino’s “Inglourious Basterds” isn’t as indulgent as “Death Proof” or “Kill Bill: Vol. 2,” but it doesn’t have the filmmaking panache and wit of the moving image to forgive it its sins like “Kill Bill: Vol. 1,” either. It’s a slightly more contained bout of silliness, but it’s silliness nevertheless."
"He instead seems to have locked himself in his room, oblivious to reaction. It matters to him and him alone, which, to some extent, is rather admirable. But is anyone actually paying attention anymore?"
Inglourious Basterds not only knows that it is a fictional movie, but also that it is being watched by an audience, and herein lays its greatest achievement.'
'Tarantino is at times like a flamboyant, egomaniacal orchestra conductor, gesticulating wildly and turning to the audience to make sure we know that the show's about him.'
'Simply Tarantino's best. A very intelligent script that combines war movie elements with some pointed observations about violence in movies and in society.'
'Shows how most of us turn to film for both fantasy escape and an avenue to make the abstract past tangible, enough to even possibly, and powerfully, replace actual history.'
'Tarantino has a created a more moving tale about the Jews and the Nazis during World War II than, for example, last year's much more reverent Defiance, which was actually based on a true story yet came off as shtick.'
-All in all its obvious that the film wasnt massively respected by film critics, this didnt matter to Tarrintino he was extremely happy with the outcome and if i do say myself i really enjoyed the film and all aspects that followed it.
Ennio Morricone
Ennio Morricone, Grande Ufficiale OMRI, born November 10, 1928) is an Italian composer and conductor.
He is considered one of the most prolific and influential film composers of his era. Morricone has composed and arranged scores for more than 500 film and TV productions. He is well-known for his long-term collaborations with international acclaimed directors such as Sergio Leone, Brian De Palma, Barry Levinson, and Giuseppe Tornatore.
He is considered one of the most prolific and influential film composers of his era. Morricone has composed and arranged scores for more than 500 film and TV productions. He is well-known for his long-term collaborations with international acclaimed directors such as Sergio Leone, Brian De Palma, Barry Levinson, and Giuseppe Tornatore.
Inglorious Basterds Soundtrack
1."The Green Leaves of Summer" - Nick Perito (Originally in The Alamo)
2."The Verdict (La Condanna)" - Ennio Morricone (mislabled "Dopo la condanna")
3."White Lightning (Main Title)" - Charles Bernstein (Originally in White Lightning)
4."Slaughter" - Billy Preston (Originally in Slaughter)
5."The Surrender (La resa)" - Ennio Morricone
6."One Silver Dollar (Un Dollaro Bucato)" - Gianni Ferrio
7."Davon geht die Welt nicht unter" - Zarah Leander
8."The Man with the Big Sombrero" - Samantha Shelton & Michael Andrew
9."Ich wollt, ich wär ein Huhn" - Lilian Harvey & Willy Fritsch
10."Main Theme from Dark of the Sun" - Jacques Loussier
11."Cat People (Putting Out Fire)" - David Bowie (Originally in Cat People)
12."Tiger Tank" - Lalo Schifrin (Originally in Kelly's Heroes)
13."Un Amico" - Ennio Morricone
14."Rabbia e Tarantella" - Ennio Morricone
2."The Verdict (La Condanna)" - Ennio Morricone (mislabled "Dopo la condanna")
3."White Lightning (Main Title)" - Charles Bernstein (Originally in White Lightning)
4."Slaughter" - Billy Preston (Originally in Slaughter)
5."The Surrender (La resa)" - Ennio Morricone
6."One Silver Dollar (Un Dollaro Bucato)" - Gianni Ferrio
7."Davon geht die Welt nicht unter" - Zarah Leander
8."The Man with the Big Sombrero" - Samantha Shelton & Michael Andrew
9."Ich wollt, ich wär ein Huhn" - Lilian Harvey & Willy Fritsch
10."Main Theme from Dark of the Sun" - Jacques Loussier
11."Cat People (Putting Out Fire)" - David Bowie (Originally in Cat People)
12."Tiger Tank" - Lalo Schifrin (Originally in Kelly's Heroes)
13."Un Amico" - Ennio Morricone
14."Rabbia e Tarantella" - Ennio Morricone
Monday, 7 February 2011
Fiske
John Fiske thinks that we make sense of the world not through our own experiences but through interpretations of them through the media. Basically we recognise things due to the media's (television and films) adaptation of them!
This footage seems appropriate to what he says.
For instance when watching them you feel as though 'its like watching something from movie'... why do we think this, because strange and out of the ordinary things happen on the television everyday which make them seem normal. Also thinking about a murder, how many people get murdered on a t.v program or a film being watched every day in comparison to how many people actually get murdered?
This footage seems appropriate to what he says.
For instance when watching them you feel as though 'its like watching something from movie'... why do we think this, because strange and out of the ordinary things happen on the television everyday which make them seem normal. Also thinking about a murder, how many people get murdered on a t.v program or a film being watched every day in comparison to how many people actually get murdered?
Rene Magritte- Leci n'est pas une pipe.
Here is a piece by Rene Magritte named Leci n'est pas une pipe, translating to this is not a pipe. His work often displays juxtaposition of ordinary objects and putting them into a different context. This is not a pipe seems somewhat of a contradiction, but when you look at it you come to realise that this is not a pipe, its an image of a pipe. When Magritte was asked about this picture his reply was, ' of course its not a pipe, try and put some tobacco in it'.
It shows that Rene's perspective on art is very different to most artists, he believes that it is just art and nothing else, a drawing is merely an image/imitation of something. He holds no emotional attachment to his art and expects no body to have an attachment with his pieces.
It shows that Rene's perspective on art is very different to most artists, he believes that it is just art and nothing else, a drawing is merely an image/imitation of something. He holds no emotional attachment to his art and expects no body to have an attachment with his pieces.
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