Music Theorists

Kramer- According to Kramer (Kramer 2002, 16–17), postmodern music:

1. is not simply a repudiation of modernism or its continuation, but has aspects of both a break and an extension
2. is, on some level and in some way, ironic
3. does not respect boundaries between sonorities and procedures of the past and of the present
4. challenges barriers between 'high' and 'low' styles
5. shows disdain for the often unquestioned value of structural unity
6. questions the mutual exclusivity of elitist and populist values
7. avoids totalizing forms (e.g., does not want entire pieces to be tonal or serial or cast in a prescribed formal mold)
8. considers music not as autonomous but as relevant to cultural, social, and political contexts
9. includes quotations of or references to music of many traditions and cultures
10. considers technology not only as a way to preserve and transmit music but also as deeply implicated in the production and essence of music
11. embraces contradictions
12. distrusts binary oppositions
13. includes fragmentations and discontinuities
14. encompasses pluralism and eclecticism
15. presents multiple meanings and multiple temporalities
16. locates meaning and even structure in listeners, more than in scores, performances, or composers.

Brian eno- "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."

Film Theorists

Bauldrillard-  According to Bauldrillard, what has happened in postmodern culture is that our society has become so reliant on models and maps that we have lost contact with the real world that proceed the map. Reality itself has begun merely to imitate the model, which now proceeds and determines the real world.

Barthes- Barthes argues that every narrative is interwoven with multiple codes. Although we impose temporal and generic structures onto the polysemy of codes (and traditional, "readerly" texts actively invite us to impose such structures), any text is, in fact, marked by the multiple meanings suggested by the five codes.

Jameson- in his magisterial work he has offered us a particularly influential analysis of our current postmodern condition. Like Jean Baudrillard, whose concept of the simulacrum he adopts, Jameson is highly critical of our current historical situation; indeed, he paints a rather dystopic picture of the present, which he associates, in particular, with a loss of our connection to history. What we are left with is a fascination with the present. According to Jameson, postmodernity has transformed the historical past into a series of emptied-out stylizations (what Jameson terms pastiche) that can then be commodified and consumed. The result is the threatened victory of capitalist thinking over all other forms of thought.

Lyotard- The Postmodern Condition: A Report on Knowledge is a 1979 book by Jean-François Lyotard, in which Lyotard analyzes the notion of knowledge in postmodern society as the end of 'grand narratives' or metanarratives, which he considers a quintessential feature of modernity. Lyotard introduced the term 'postmodernism', which was previously only used by art critics, into philosophy, with the following observation: "Simplifying to the extreme, I define postmodern as incredulity towards metanarratives".

Genette- In order to understand narratology's contribution to semiotics, it is important to grasp the distinction between its three fundamental entities: story, narrative and narration. The story generally corresponds to a series of events and actions that are told by someone (the narrator), and represented in some final form, producing a narrative. As a field of study, narratology looks at the internal mechanisms of narrative, the form taken by a narrated story. devised 5 groups only 4 relate to film. Intertextuality (Quotation of past work), Architextuality (the designation of genre, could be done by writer or audience), Metatextuality (explicit or implicit critical commentary from one text to another), Hypotextuality (Elaborates or extends on previous work)

Mcluhan- Devised Medium Theory. Medium theory focuses on the medium characteristics itself (like in media richness theory) rather than on what it conveys or how information is received. In medium theory, a medium is not simply a newspaper, the Internet, a digital camera and so forth. Rather, it is the symbolic environment of any communicative act. Media, apart from whatever content is transmitted, impact individuals and society. McLuhan’s thesis is that people adapt to their environment through a certain balance or ratio of the senses, and the primary medium of the age brings out a particular sense ratio, thereby affecting perception.

Cohen-has identified a new phenomenon in the history of film, the ‘hyper-spectator’. ‘Such spectator, who may have a deep knowledge of cinema, can reconfigure both the films themselves and filmic fragments into new and novel forms of both cinema and spectatorship, making use of the vastly expanded access to films arrived at through modern communications equipment and media. The hyper-spectator is, at least potentially, the material (which here means virtual) creator of his or her hyper-cinematic experience’ (157) ‘VCRs and laserdisc-players or newer DVDs have produced, and are still producing, a Gutenberg-type of revolution in relation to the moving image.’

Friedburg- has argued that because we now have much control of how we watch a film (through video/dvd), and we increasingly watch film in personal spaces (the home) rather than exclusively in public places, ‘cinema and televison become readable as symptoms of a “postmodern condition”, but as contributing causes.’ In other words, we don’t just have films that are about postmodernism or reflect postmodern thinking. Films have helped contribute to the postmodern quality of life by manipulating and playing around with our conventional understanding of time and space. ‘One can literally rent another space and time when one borrows a videotape to watch on a VCR….the VCR allows man to organize a time which is not his own…a time which is somewhere else – and to capture it.’


Relating the theorists to examples studies:

Bauldrillard- Hyper reality present in the neon demon as society is perceived as shallow and a lot darker, basic social structures disappear, e.g. policing not involved despite multiple murders and cannibalism present in the text. Abilities of Deadpool and other superhero characters, also constant destruction of same cities. Suspend disbelief in action scenes. e.g. superhero landing. 

Barthes- Relates mostly to Neon Demon as the audience aren't given as much information on meaning of the narrative, they instead create their own ideas using Barthes codes.

Jameson- Hates the concept of the film Deadpool as he believes in a more modernistic style of film. Thinks that the constant references to other texts and indeed itself is just a going to end up with emptied out media.

Lyotard- Thinks that postmodern can't feature a linear narrative, this relates to both Grand Budapest Hotel and dipole as they both feature a non linear narrative and are subject to leotards theory. 

Genette- intertextuality on relates to Deadpool, Architextuality relates to the way that Neon Demon doesn't have a designated genre whereas Deadpool metres comedy violence action, Grand Budapest is crime drama.

Mcluhan- The way in which text's are consumed buy the audience within relation to their social and economic background. Deadpool can be watched anywhere, Neon Demon more prone to watch with others, Grandbudapest more family orientated. 

Cohen-  Hyperspectators are useful to all examples. Hyper spectators get all references used in Deadpool, they also create hidden meanings in Neon Demon and also make plot discoveries/predictions in GBH

Friedburg- Agin the way that we consume films, highlighting uses of technology e.g. Deadpool being released on blu-Ray. 

Kanye West pomo

Father stretch my hands pt 1&2

Desiigner – ‘Panda’

(LOD, 2015)

Pastor T. L. Barrett – ‘Father I Stretch My Hands’

(from Do Not Pass Me By, Gospel Roots, 1976)

Father Stretch My Hands’ takes its name and foundation from Chicago local legend Pastor T. L. Barret and pairs it with ‘Panda’ by Desiigner, a rapper so fresh his G.O.O.D. Music signing wasn’t made public until after the album premiered.

It’s the classic soul Kanye used to make his name, set to lyrics about how he’s lost his own. Addressing his relationship with his father, the song is the bookends of his career laid out in one moment, but really, it’s just West lighting the fuse.

Famous

Sister Nancy – ‘Bam Bam’

(from One, Two, Techniques, 1982)

Nina Simone – ‘Do What You Gotta Do’

(from ‘Nuff Said!, RCA, 1968)

Kanye West – ‘Wake Up Mr West’

(from Late Registration, Roc-A-Fella, 2005)

Kanye West – ‘Good Morning’

(from Graduation, Roc-A-Fella, 2007)

There is a lot to unpack with ‘Famous’, not least its headline-garnering lyric: “I feel like me and Taylor might still have sex / Why, I made that bitch famous”. But there are nuances within the production worthy of equal examination. Employing Sister Nancy’s classic rumination on sexism in dancehall ‘Bam Bam’ could be an assertion that his Taylor lyrics are playing into the insidious misogyny within in the music industry, inescapable even when you’re at the peak of fame; its use could also be about the dichotomous treatment of black and white stars of equal prominence — no matter what, it’s representative that someone is getting a bum deal.

Reggae influenced a chunk of Yeezus and this track pulls double-duty on bringing back references from that album. It closes with Nina Simone’s rendition of the Four Tops’ ‘Do What You Gotta Do’ — which Rihanna also sings on the hook — recalling his flip of ‘Strange Fruit’ on the similarly controversial ‘Blood on the Leaves’. He also makes reference to Late Registration and Graduation, with co-producer Swizz Beatz dropping “Wake up Mr. West” ad-libs (instead of his usual “Showtime!”), a mark that this project is reflective of Kanye’s work as a whole, instead of one specific sonic influence, as he can be prone to do.

Real Friends 

Whodini – ‘Friends’

(from Escape, Jive, 1984)

Whodini’s ‘Friends’, a classic in its own right, has been sampled famously by both MF Doom on ‘Deep Fried Frenz’ and as the drum loop on Nas’ star-making ‘If I Ruled the World (Imagine That)’. Here, Kanye flips the original’s playful approach to questioning the validity of friendly relationships by lifting its “Friends: How many of us have them?” hook refrain into a downcast meditation on supreme celebrity. It’s not, “How many of us have them?” in West’s world — it’s how many of them have forsaken him for favors, handouts and, well, laptops that he “use to fuck bitches on”?

30 Hours

Arthur Russel-  “Answer Me”

(from World of Echo, Upside, 1986)

It’s almost a given at this point that a new Kanye album will feature one sample you simply never expected to appear on a hip-hop record. He’s rapped over Can, Aphex Twin, and King Crimson and in turn given younger listeners an opportunity to explore something they may never have found on their own. Here Kanye rides a vocal loop like he would a classic soul sample, but the voice in question belongs to the utterly singular Arthur Russell.

The track ‘Answers Me’ comes from World Of Echo – FACT’s number one album of the 1980s. There are few singers with as much soul as Arthur Russell and the tragedy of his career is he was too ahead of his time for anyone to understand or appreciate it. Here — decades after his lonely death — West might finally help new listeners catch up to the man’s genius.

No more parties in LA

Walter “Junie” Morrison – ‘Suzie Thundertussy’

(from Suzie Super Groupie, Westbound, 1976)

Johnny “Guitar” Watson – ‘Give Me My Love’

(from Funk Beyond The Call Of Duty, DJM, 1977)

Larry Graham – ‘Stand Up and Shout About Love’

(from One in a Million You, Warner Bros., 1980)

Ghostface Killah – ‘Mighty Healthy’

(from Supreme Clientele, Epic, 2000)

While the primary backdrop for ‘No More Parties’ was created by super-producer Madlib in 2010 and seemingly left unused from the My Beautiful Dark Twisted Fantasy sessions, the intro is pure Kanye. Joining the opening of P-Funk musical director Walter “Junie” Morrison’s ‘Suzie Thundertussy’, la-dee-da-das from blues luminary Johnny “Guitar” Watson’s ‘Give Me My Love’ and vox from ‘Stand Up and Shout About Love’ by Sly and the Family Stone bassist Larry Graham, West weaves together a funk quilt that is both a nod to his soul sample past and evidence he’s learned how to advance the intricacies of his craft.

The beat also includes “Shake that body / Party that body” from Ghostface Killah’s ‘Mighty Healthy’, a callback to West and Pusha T’s ‘New God Flow’. Morrison’s voice makes another appearance at the end, right before a peppering of canned crowd cheers from NBA Jam, begging the question: Did he really want to change the name from Swish?

Facts

Father’s Children – ‘Dirt and Grime’

(from Who’s Gonna Save the World, Numero, 2011)

Yoko Shimomura – Street Fighter II OST

(Capcom, 1991)

Before ‘Real Friends’ gave us a sobering reassurance of Kanye’s direction, ‘FACTS’ scared the living hell out of most of us. Was this what we were waiting years for? Still, we’re happy it made it onto the final tracklist, because few songs capture West’s current state better than this tightrope walk between thoughtful construction and impulsive mania.

The red herring intro of ‘Dirt And Grime’ by Father’s Children sets you up for classic dusty-soul-sampling-Kanye (that a red herring itself, the song is from 1989) but before the dust can settle we’re thrown into a wormhole of clashing contemporary rap tropes and hysterical shouts. There’s the endlessly referenced ‘Jumpman’ meshed with Street Fighter samples before we’re thrown back into ‘Dirt & Grime’. It’s a funhouse of a song in the truest sense — disorienting, upsetting and confusing, but bookended by a grateful glimpse at reality.

Fade

Mr. Fingers – ‘Mystery of Love’

(Alleviated Records, 1985)

Hardrive – ‘Deep Inside’

(Strictly Rhythm, 1993)

Rare Earth – ‘(I Know) I’m Losing You’

(Rare Earth, 1970)

Kanye has a grand history of flipping one perfectly-selected sample into a full-on hit (see: ‘Stronger’, ‘Gold Digger’ or Pablo’s previous ‘30 Seconds’), but ‘Fade’ shows him juggling three at once. The track splits itself between two house classics, one from Harddrive and another from Larry Heard’s (recently revived) Mr. Fingers project.

Kanye keeps himself (not to mention Ty Dolla $ign and Post Malone) balanced between the two with a vocal snatch of blues rockers Rare Earth’s ‘I Know I’m Losing You’ which gives the song its title, hook, and College Dropout-era vibe. He’s should take up plate spinning in the time off after this album. He’d be great at it.

Ultralight Beam

Natalie praying and she's only 4 years old- iamnatalie

otis- Jay Z Kanye west

This little light of mine- Traditional Folk

Late- Kanye west

Throwing Flashbang- Mike Motrasky

Right from the top, “Ultralight Beam” seems to signal to listeners that TLOP will be the anti-Yeezus. It even begins with a literal casting-out of devils: A recording of a young girl (apparently taken from Instagram), saying, “We don’t want no devils in the house! We want the Lord!”

The exorcism performed, the track quickly moves into the prophesied gospel: “We on an ultra light beam … This is a God dream … This is everything,” West sings. Though the track, a clear highlight, is packed with guests, the runaway star is Chance the Rapper. Even setting aside the rising star’s overflowing talent, featuring him at the top of the album was a brilliant bit of casting: Not only has Chance started combining hip-hop and gospel himself (the track also features gospel artist and past Chance collaborator Kirk Franklin), but he is a longtime Kanye superfan, for whom finally getting to work for West is itself a sort of religious moment. As Chance says, “I met Kanye West/ I’m never going to fail.”

Feedback

Talagah- Googoosh

This song finds another way to pun on the idea of the album as gospel: “Y’all heard about the GOOD news?”, referencing the origins of the word gospel in order to make a pun about his own GOOD Music label. West raps over a beat seemingly constructed from audio feedback, one of his best. The subject matter, meanwhile, is wide-ranging, with West telling listeners to “Wake up, nigga, wake up!” Is this a reference to staying woke? It’s hard to say, but, elsewhere on the track, West leaves no room for doubt about his allegiance to Black Lives Matter, rapping, “Hands up, we just doing what the cops taught us/ Hands up, hands up, and the cops shot us.”

Low Lights

So alive- Kings of tomorrow 

Low Lights” is essentially an extended intro to “Highlights,” with the two tracks returning to the same template set up at the top of the album: “Low Lights” is a jubilant one-minute intro that rejoices in God (albeit over melancholy piano chords, with DJ Mustard-style synth bass slathered on top), before “Highlights” brings things back down to earthly temptations.

Highlights

“Sometimes I’m wishing that my dick had GoPro/ So I could play that shit back in slo-mo/ Just shot an amateur video. I think I should go pro.” That begins to sum up the conceit of the song: for Kanye West, some nights are nothing but highlights.

For the most part, this possible first single (West has said that he and Young Thug will perform the song on Saturday Night Live on Saturday) maintains that jocular tone throughout, with memorable lines like “I bet me and Ray J’d be friends,/ if we ain’t love the same bitch./ Yeah, he might have hit it first/ Only problem is: I’m rich.” A reference to Rob Kardashian and Blac Chyna’s sexercise regimen also suggests that this verse was recorded in the last two or three weeks. Of course, West has been making sexercise jokes since the first album, and he ends the song with another new workout plan.

Freestyle 4

Human- Goldfrapp
Remember when I said that TLOP isn’t all the anti-Yeezus? This “freak dream” would have fit right in on that album and marks the beginning of TLOP’s turn toward more nightmarish material. Like Yeezus’ “I’m in It,” this freaky sex fantasy is a mix of horror sounds (hear those Bernard Herrmann-esque strings?) and explicit lyrics (here they’re mostly about getting it on in public). Surely some fans will, as West later puts it, “miss the old Kanye.”

“I Love Kanye”
This charming a-cappella interlude finds West speaking directly to (and for) his fans, as he addresses those who have been disappointed with West’s Yeezus-era sourness and aggression and want the cuddly, soul-sampling Kanye back. He returns to that friendlier mode here, while offering no apologies for his recent work. As he says at the song’s highly quotable closing:

What if Kanye made a song about Kanye

Called “I Miss the Old Kanye”

Man, that would be so Kanye. That’s all it was, Kanye.

We still love Kanye, and I love you like Kanye loves Kanye.

Waves

Fantastic freaks at the dixie- Dj Grand wizard Theodore
According to West, the late addition of this song is the reason the album got delayed an extra day, but the wait was worth it. Another uplifting/vulgar track in the vein of the Chance collaboration that opens the album, “Waves” finds West mixing braggodocious bars (“Step up in this bitch like/ I’m the one your bitch like”) with a more somber message about death, or the legacy of relationships: “Even when somebody go away/ the feelings don't really go away/ That’s just the wave.”

FML

Hit- Section 25

Though the title of this one puns on the teen-slang acronym for “F--k my life,” make no mistake: This is a dark song that finds West pondering self-destruction. It’s only appropriate, then, that West also gets an assist from R&B’s leading poet of self-destruction, the Weeknd, who sings the titular phrase on the chorus, “Wish I would go ahead and fuck my life up/ Can’t let them get to me/ And even though I always fuck my life up/ Only I can mention me.” West even makes mention—not for the first time—of the anti-depression and anti-anxiety drug Lexapro, something with which he seems to have personal experience. Before, he complained about the side effects, and this time he talks about what happens when you go off it.

Wolves

Walking Dub- Sugar Minott 

This is another one we’d heard before—both at Yeezy Season 1 and on SNL’s 40th anniversary special—but unlike “Real Friends,” it’s changed a lot. The most notable change is that in place of the old verses from Vic Mensa and Sia, the song now features a new verse from West and an outro from longtime collaborator Frank Ocean. That new verse—delivered over the same blend of heavy, ominous-sounding bass and soaring (howling?) falsetto that anchored the original track—fleshes out the song’s central metaphor. In it, West imagines himself and wife Kim Kardashian as the rap game Joseph and Mary, before worrying about his two children: “Cover Nori in lambs’ wool/ We’re surrounded by wolves … Cover Saint in lambs’ wool/ We’re surrounded by the f--kin’ wolves.

Consumption – Kanye’s latest album is ‘The Life of Pablo’ was initially only released on ‘Tidal’ where it received over 250 million streams in the first 10 days, Tidal is owned by good friend of Kanye’s, Jay-Z. the demand for the album was huge and a lot of people played by the rules and signed up for Tidal, but a lot of people also pirated the album and this is what eventually lead Kanye to release it on Spotify and Apple, this is after first saying in a tweet that his album will never be on Apple. After the release on Tidal Kanye kept changing and updating the album by changing the order of songs & uploading new versions of the album. Although you can now stream the album from various places you can’t buy a physical form of the album.

Creation – Kanye when making a song does not follow the normal conventions of rap songs. The convention is that you just have the vocal and the instrumental and that’s it. This is where Kanye is different, he doesn’t just use the instrumental and vocal he fits everything else in, all different sounds and samples. He loves to sample the vocals from choirs in the background. Kanye orientates his songs around the human voice. He also has been known to switch up the order of a traditional hip-hop song this can be seen in the track ‘runaway’. The most recent song that contains the mix of vocals instrumentals and samples is ‘Ultralight beam’ on TLOP. It contains samples from 5 different songs.

Performance – with the newest album ‘The Life of Pablo’ came a tour named ‘Saint Pablo’. As for his videos, they are mainly contemporary but are rather striking and recently have had more meaning to them than just the lyrics.

Research Task

The three genres in which I have identified my song as are Indie, Electronic and Pop.
My song is Aiden Grimshaw's Virtually married and is performed by Jack Bateman on the album:

Above is the video that Aiden Grimshaw produced, below is mine


The three music video styles created by Goodwin, a media theorist. Are Narrative, Performance and Illustrative. We use all three of these in are video but most prominently Narrative as there is a story on going but secondly we also use illustrative as we use apt of shots for aesthetically pleasing.
We have used one intertextual reference this being the use of a southwark money box. Showing the audience that the video is set in the same universe as the one that they live in.
Three videos that are similar to ares are;


And also Aiden Grimshaw's, Virtually Married that is featured earlier in the piece of work.

Questions for Mr Smith

GENERAL

1) What genre of music video is the text?
Indie-Pop
2) What subject matter and basic themes is the text concerned with?
The basic theme of my text is a sort of story about love and rejection to a male character and the ay that he copes with this by spending time with his mates.
3) How typical of the genre is the text in terms of content?
The text isn't very typical in terms of the genre as it doesn't feature many things in which indie pop might in the text, this most prominently being no lip syncing.
4) What expectations do you have about texts in the genre?
I would expect to see a star image prominently and a narrative/performance showing off which. I would also expect a certain type of styling and miss en scene that would fit the genre.
5) Have you found any formal generic labels for this particular text?

6) Which conventions of the genre do you recognise in the text?
My styling suits conventions, also the rise en scene. The convention I used the most was the featuring of star imagery.
7) Find three examples of this text using the conventions of its genre?
Costume and clothing throughout,
use of colouring and editing techniques, again throughout,
finally a use of backgrounds and miss en scene.
8) Find two examples where the text challenges the conventions of the genre?
The use of text and lyrics highlighted on the screen isn't common particle,
also the use of a cameo appearance from a female character at the end.
9) Find three examples of similar motifs or imagery used?



10) What relationship to "reality" does the text lay claim to?
A strong relationship to reality as it is trying to relate to the audience and relies on basic human conventions of love and also features a lot of scenes in various areas of public.
11) What purposes does the genre serve?
To include certain elements and to match it with the music in order to create a product that the target audience will enjoy.
12) What predictions about events did your generic identification of the text lead to?

MODE OF ADDRESS

1) What sort of audience was your text aimed at?

Stylers: Still representing status and style, it’s about partying, looking good and staying ahead of cool.

DIY'ers: DIYers are creative, tech savvy self-starters that bring culture to life for Tribes today – they produce music, promote club nights, start indie brands and create festival stages.

2) How does the text address your audience?

Through certain featured shots of background and miss en scene, but primarily styling.

3) What sort of person does it assume they are?

Semi popular with an eye on the indie scene, regularly attends lower less mainstream events etc.

4) What relevance does the text actually have for you?

Personally it bears semi relevance as I am actually part of the target audience. I find the video to be aesthetically pleasing.

5) What knowledge does it take for granted?

6) Are there any notable shifts in the texts mode of address?

7) What responses does the text seem to expect from your audience?

A positive reception as it fits the conventions.

8) What is the preferred, oppositional and negotiated reading of your text?

The preferred reding is that the audience will perceive the lead to be relatable and maybe even some some form of empathy toward, also envy due to lifestyle (clothing backgrounds etc).

RELATIONSHIP TO OTHER TEXTS

1) What intertextual references are there in the text you have created?
Not used that many intertextual references, a use of a south park money bank is about as far as it will go.

2) Genercially, which other texts does the text resemble and most how closely?
The text resembles that of Aiden Grimshaw's-Virtually Married. Similar narrative, editing techniques and just overall very similar text.

3) What key features are shared by these texts?
Editing techniques, costume, overall feel through mise en scene, narrative. Very similar video but haven't coped shot by shot.

4) What major differences do you notice between them?
The major differences is in the shots used and differently perspectives.

Examples Of Sampling In Music

Grizzly bears- two weeks sampled by Childish Gambino- bitch, look at me now
Kendrick Lamar- Bitch don't kill my vibe sampled boom clap bachelors- Tiden flyver
Disclosure- Latch samples Zed Bias- Fairplay

Features Of A Post Modern Film

Bricolage: the process of assembling artefacts from bits and pieces of other things

1 Genre Cross-Over

2 recycling old forms

3 mixing high and low culture (kitsch)

Intertextuality: the multiple ways in which a text is entangled with or contains references to other texts

Pastiche (copying in tribute) and Parody (copying in jest)

Style over content; the image and visual excitement over narrative coherence

Confusions over time and space; the subversion of classical cinematic conventions; fragmented narratives; time-bending.

Self-reflexiveness / self-referentiality: texts that openly reflect upon their own processes of artful composition.

Metafiction: fiction that deals, often playfully and self-referentially, with fiction and its conventions

Flattening of Affect: Technology, violence, drugs and the media lead to detached, emotionless lives

Hyperreality: Technologically created realities are often more authentic or desirable than the real world

Altered States: Drugs and technology provide a darker, sometimes psychedelic, gateway to new internal realities

More Human than Human: Artificial intelligence, robotics and cybernetics seek to enhance or replace humanity

Features of postmodern films

Pastiche

Self-referential, tongue-in-cheek, rehashes of classic pop culture

Flattening of Affect

Technology, violence, drugs, and the media lead to detached, emotionless, unauthentic lives

Hyperreality

Technologically created realities are often more authentic or desirable than the real world

Time Bending

Time travel provides another way to shape reality and play "what if" games with society

Altered States

Drugs and technology provide a darker, sometimes psychedelic, gateway to new      internal realities

More Human than Human

Artificial intelligence, robotics, and cybernetics seek to enhance, or replace, humanity

Postmodern ideas

We no longer have any sense of the difference between real things and images of them, or real experiences and simulations of them.

The distinction between media and reality has collapsed, and we now live in a ‘reality’ defined by images and representations – a state of simulacrum.

Postmodernism rejects the idea that any media product or text is of any greater value than another. All judgments of value are merely taste.

Culture ‘eats itself’ and there is no longer anything new to produce or distribute.

All ideas of ‘the truth’ are just competing claims – or discourses – and what we believe to be the truth at any point is merely the ‘winning’ discourse.

Postmodern texts are said to be intertextual and self-referential – they break the rules of realism to explore the nature of their own status as constructed texts.

In the postmodern world, media texts make visible and challenge ideas of truth and reality, removing the illusion that stories, texts or images can ever accurately or neutrally reproduce reality or truth