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thanks Austin for diggin up this gr8 classoc
Is literally to not give a fuck about anything said about Rihanna unless it’s Rihanna saying it. That is the only way.
My 300 level seminar on Rihanna begins this August.
Probably the best of these type of video I’ve seen. But also the music suuuuuucks so…
…paired with such a gorgeous song, I didn’t understand it at all until the very end. Such a weird trip. My initial reaction was “why would you make such a gross video with such a beautiful track?” and then I watched it again and really listened and I think that it catches something dark in the music. The director (Cherise Payne, apparently – who has worked with Sampha too) has a great eye for unsettling details. The choice of faces is really something else, and the main woman is, needless to say, an uncommonly good choice.
I kind of feel ill now.
Also here’s one for @skatebee
All links (and basically all the new music I listen to atm) via Gorilla vs Bear.
I wish academic criticism of music videos was a thing that existed. It’s just the kind of interdisciplinary bullshit I am totally into – music and vision. Bonza!!
Most people seem unable to handle it. It’s too much, and it’s too little. They can’t keep their eyes on it for that long, the movement as the multiple emojis refuse to resolve into stable object. The woman becomes woman-face-woman-hands-face, the pill and the syringe rotate and roll, the final 30 second cacophony compressing life down into one movement, run, bike, sand, surf, swim, wedding, ring, explosion, devil, death.
Fingers articulating heavenly chords, post-life. They end abruptly, a little bit cruelly, but respectfully aware that we haven’t got a lot of time. Four minutes seventeen.
Compare/contrast with this clip which can’t resist modifying the emoji system beyond its original implementation. Messsy. No control. But easier on the palette because it swaps the cold austerity for over-the-top caricature. It doesn’t help that I’ve never understood the appeal to that song (unless it’s the appropriation of arabic microtonal scales at the intro?).
Michael Ziser and Julie Sze’s Climate Change, Environmental Aesthetics, and Global Environmental Justice Cultural Studies. From the conclusion:
As the [Global Climate Change] phase of environmental discourse develops, it will be crucial to ensure that the original ecological and social goals of traditional environmentalism and environmental justice are not swept aside in favor of a counterproductive emphasis on national, cultural, and racial difference on scales at which no biological and community justice is practicable. We suggest that environmental justice aesthetics ought to reject the sublime scale invoked by some GCC narratives and instead remain focused on the human, ecological, and social jus- tice dimensions of environmental change.32 The proper response of the humanities to the GCC crisis is not to find aesthetic equivalents to late capitalism’s radically posthuman environmental effects, but rather to produce narratives, like Up the Yangtze, that make palpable the largely ungraspable complexity of contemporary environmental and economic networks. The strengths of institutionally and methodologically separated enterprises like ecocriticism, environmental justice, cultural studies, and globalization theory must be combined to counteract the forces of a potentially reactionary style of climate discourse and to develop a representational model and analytic framework for climate politics that accounts for individuals, communities, and cultural and racial contexts as much as for net emissions, capital flows, and global trade.
I’m about to watch Up The Yangtzee, it’s available on YouTube.
Happy Australia Day.