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Made to Connive: Revisioning Cinderella in a Music Video. From Disney to Arthur Pirozkhov: A Case Study

100%
Filipczak D.
Text Matters: A Journal of Literature, Theory and Culture
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2020
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issue 10
67-78
EN
The article focuses on the way in which music videos can subvert and refigure the message of literature and film. The author sets out to demonstrate how a music video entitled “Зацепила” by Arthur Pirozkhov (Aleksandr Revva) enters a dialogue with the recent Disney version of Cinderella by Kenneth Branagh (2015), which, in turn, is an attempt to do justice to Perrault’s famous fairy tale. Starting out with Michèle Le Dœuff’s comment on the limitations imposed upon women’s intellectual freedom throughout the centuries, Filipczak applies the French philosopher’s concept of “regulatory myth” to illustrate the impact of fairy tales and their Disney versions on the contemporary construction of femininity. In her analysis of Branagh’s film Filipczak contends that its female protagonist is haunted by the spectre of the Victorian angel in the house which has come back with a vengeance in contemporary times despite Virginia Woolf’s and her followers’ attempts to annihilate it. Paradoxically, the music video, which is still marginalized in academia on account of its popular status, often offers a liberating deconstruction of regulatory myths. In the case in question, it allows the viewers to realize how their intellectual horizon is limited by the very stereotypes that inform the structure of Perrault’s Cinderella. This makes viewers see popular culture in a different light and appreciate the explosive power of music videos which can combine an artistic message with a perceptive commentary on stereotypes masked by seductive glamour.
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Representing Absence: Contemporary Ekphrasis in “Apesh-t”

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Handley A.
Text Matters: A Journal of Literature, Theory and Culture
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2020
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issue 10
118-134
EN
Traditionally, ekphrasis has been defined as the description and analysis of works of art in poetry, and so it has been understood as the verbalization of visual images (Sager Eidt). The article examines the concept in the light of contemporary definitions that include non-verbal media as targets (Cariboni Killander, Lutas and Strukelj; Sager Eidt; Bruhn; Pethö) in order to analyze its applicability to music videos. It concentrates in particular on “Apesh-t,” a video for a track by Beyoncé and Jay-Z from the album Everything Is Love (2018). The video is filmed in different interiors of the Louvre, where the singers appear, together with an ensemble of dancers, in front of selected artworks. The discussion focuses on an analysis of a single shot which presents an ekphrastic re-configuration of one particular work of European art, Jacques-Louis David’s Portrait of Madame Récamier (1800). The author argues that the use of ekphrasis in the video-through elaboration (close-ups and editing) and repurposing of the source material (painting)-plays an important role in the construction of the theme of “absence”: invoking not only what is represented, but what is not represented in David’s painting. It also foregrounds the potential of ekphrasis as a tool of political and cultural resistance, in the way it intervenes in the representation of the “other” in art and in the museum space.
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Camp and Pop: David Bowie, Oskar Schlemmer, Madonna and Janelle Monáe

88%
Dreckmann K.
Text Matters: A Journal of Literature, Theory and Culture
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2020
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issue 10
79-92
EN
While contemporary pop culture is nowadays considered part of the cultural mainstream, its practices of codification and its use and circulation of signifiers are still shaped by its roots in counterculture. This leads to a second order esthetic that reflects upon mass culture and subverts it by means of transgression and rearrangement. This essay argues that this subversive logic of reference is closely linked to what Susan Sontag has described as “camp.” While doing so it not only sheds light on the aspect of subversion and identity building, but also on the aspect of performance and staging that plays an important role for camp, as well as pop culture and its play with artificiality and authenticity. As a consequence the concept of camp is used to examine the practice and performance of artists like David Bowie, Madonna, Christina Aguilera and Janelle Monáe, and finding structural similarity in their practice and production, which uncovers a tendency towards apersonal self-historization which is typical for pop and is closely linked to its ability to generate new meanings out of materials that stem from other contexts originally.
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Obraz współczesnego społeczeństwa w utworach muzycznych Doroty Masłowskiej – Mister D.

76%
Wrzochul-Stawinoga J.
Kultura-Społeczeństwo-Edukacja
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2018
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vol. 13
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issue 1
254-273
EN
Changes resulting from the development of the Internet have a significant impact on the shape of popular culture. Music, particularly the message that it conveys, constitutes an important element of culture. Music, which is a part of a wider cultural context, has a significant influence on the shaping of the world view of contemporary people and serves as an important element of its description. According to Jacek Bernasiewicz, music often becomes the building block of the young generation. “It is primarily about music, and particularly its content, that always served as a generational bond and carried ideology – rock music for flower children, punk rock for neglected children, rap music for hip hoppers…” (Bernasiewicz, 2009: 4). Music always carries a message and combined with a music video, it becomes a story. This paper and deliberations contained herein are devoted to the works of Mr D, also known as Dorota Masłowska, which is a mirage – on the one hand of pop culture, entertainment and fun, and on the other, a depiction of the contemporary Polish society, in which the Generation Y plays a major role. The aim of the paper is to show how the Internet, being a place where narratives about the world play out, using the convergence of media, contributes to the construction of a certain reality, the elements of which, emphasised by Dorota Masłowska and elevated above the everyday life of the global teenager “Made in Poland,” make up the determinants of contemporary youth culture. Music videos by Mr D. and the content of songs from the album Społeczeństwo jest niemiłe will serve as the subject of this analysis. The narrative appearing in these songs will be examined, and the broader context of the meanings contained in the songs in relation to the entirety of popular culture and the way of functioning of society in it will be pointed out. Dorota Masłowska’s songs are not narratives of the author herself, but of protagonists presented in her music videos: the girl presented in the music video undergoes a kind of metamorphosis, and the viewer looks at the world through the eyes of her imagination. The protagonists in her music videos and songs are representatives of certain social groups with specific, clear characteristics that allow them to be individually identified. I assume that lyrics of songs listened to and music videos watched by youth and young adults are among the most important ways of learning and participating in culture by giving meaning to oneself, one’s life and the world. A musical work that is an “immature form” of culture, making use of the wide range of possibilities available to it for conveying messages, full of symbols and metaphors, demands its recipients to read and discover the meaning.
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Stranger Than Fiction: Gothic Intertextuality in Shakespears Sister’s Music Videos

75%
Fisiak T.
Text Matters: A Journal of Literature, Theory and Culture
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2020
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issue 10
194-208
EN
The following article is going to focus on a selection of music videos by Shakespears Sister, a British indie pop band consisting of Siobhan Fahey and Marcella Detroit, which rose to prominence in the late 1980s. This article scrutinizes five of the band’s music videos: “Goodbye Cruel World” (1991), “I Don’t Care” (1992), “Stay” (1992), “All the Queen’s Horses” (2019) and “When She Finds You” (2019; the last two filmed 26 years after the duo’s turbulent split), all of them displaying a strong affinity with Gothicism. Fahey and Detroit, together with director Sophie Muller, a long-time collaborator of the band, have created a fascinating world that skillfully merges references to their tempestuous personal background, Gothic imagery, Hollywood glamour and borrowings from Grande Dame Guignol, a popular 1960s subgenre of the horror film. Grande Dame Guignol is of major importance here as a genre dissecting female rivalry and, thus, reinterpreting a binary opposition of the damsel in distress and the tyrant, an integral element of Gothic fiction. Therefore, the aim of the article is not only to trace the Gothic references, both literary and cinematic, but also to demonstrate how Shakespears Sister’s music videos reformulate the conventional woman in peril-villain conflict.
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Ocena potencjału krótkich form filmowych (music video) i twórczości niezależnej w kontekście kształtowania świadomości społecznej

71%
Teler A.
Annales Universitatis Paedagogicae Cracoviensis. Studia de Cultura
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2020
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vol. 12
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issue 4
39-55
EN
The paper is a search for new options and tools for developing social awareness. Aesthetic sensitivity in short film forms, involvement of directors and giving a viewer the chance to participate, highly facilitates the development of social awareness. Four films by Sil van der Woerd and Jorik Dozy: two main works (music video) and two additional ones (the story of…) became an object of search for the answer to the question: What is the potential of short film forms in the context of developing social awareness? The analysis of the content and quantitative research made it possible to assess the potential of short film forms as high.
PL
Publikacja jest poszukiwaniem nowych możliwości i narzędzi kształtowania świadomości społecznej. Wrażliwość estetyczna w krótkich formach filmowych, zaangażowanie twórców i umożliwianie działania odbiorcy wysoce sprzyjają kształtowaniu świadomości społecznej. Cztery filmy Sila van der Woerda i Jorika Dozy’ego: dwa główne (music video) i dwa dodatkowe (the story of…), stały się obszarem poszukiwań odpowiedzi na pytanie badawcze: Jaki jest potencjał krótkich form filmowych w kontekście kształtowania świadomości społecznej?. Zastosowana analiza zawartości przekazu oraz badania ilościowe umożliwiły uznanie potencjału krótkich form filmowych za wysoki.
7
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Narration as the production of sense using the example of a music video of the song All by Myself by Celine Dion

63%
Ostrowski M.
Acta Universitatis Lodziensis. Folia Litteraria Polonica
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2020
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vol. 58
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issue 3
PL
Narracja w teledysku Celine Dion All by myself jest linearnie ułożoną, wyposażoną w cechy logiczności konstrukcją, kompozycją, porządkującą określony materiał językowy czy obrazowy. Buduje ona fabularną fikcję opartą o zasady dramatyzowania. Jeżeli przyjmiemy, iż teledysk może być analizowany jako system produkujący sens, to produkcja ta zachodzi głównie w dwóch wymiarach. Po pierwsze jako fikcja, a po drugie jako narracja. Montaż sekwencyjny nadaje znaczenie całości filmu. Określone miejsce połączenia scen wpływa na interpretację obrazu przez widza – jest wyłonieniem znaczenia części teledysku. Z pewnością można to zjawisko określić jako produkcję sensu.
EN
The narration in the music video to Celine Dion’s song All By Myself is a linearly organised construct or composition equipped with features of logicality, which organises specific linguistic or image-based material. It constructs a fiction based on the principles of dramatism. If one assumes that a music video can be analysed as a system which produces meaning, then the production occurs mainly within two dimensions. Firstly, as fiction, and secondly, as narration. The sequential editing adds significance to the entire film. The specific connection points of individual scenes influence the interpretation of the images by viewers – they extract the significance of a portion of the music video. Surely this phenomenon could be defined as a production of sense.
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#BlackLivesDontMatter – postapokalipsa i polityka w teledysku Señorita Vince’a Staplesa

63%
Kniaź L.
Annales Universitatis Mariae Curie-Sklodowska, sectio FF – Philologia
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2016
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vol. 34
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issue 2
EN
The article aims to analyze the vision of post-apocalypse in the music video for Vince Staples’ Señorita directed by Ian Pons Jewell. The music video utilizes the post-apocalyptic aesthetics to reflect upon tense racial relations in the contemporary United States. In Señorita the apocalypse has already happened – social, political, economic, and ecological – but the world after the catastrophe does not look much different from the one known in the first decades of the 21st century. In this paper I will focus on the visual side of the music video as well as its ending, which emphasizes the pessimistic overtone of the video. It turns out that the life in the futuristic ghetto is watched in a quasi-museum by an upper-class White American family. The ending stresses the attitude of the richest towards the people who are less educated or in a worse economic situation. Depending on the interpretation of the music video, Whites will either exterminate those regarded as less valuable and now watch their life in a minimalistic museum or will consider watching their life in real time as a reality TV type of entertainment. The vision of the future, according to the director and Vince Staples, is very post-apocalyptic in nature not only thanks to the specific type of aesthetics but also due to the Señorita’s pessimistic ending. Owing to the use of post-apocalyptic iconography portraying the life in the ghetto, the viewers may draw a conclusion that those from less privileged social groups have their “post-apocalypse” now.
PL
W artykule dokonano analizy wideoklipu do utworu Vince’a Staplesa Señorita, wyreżyserowanego przez Iana Pons Jewella. Napięte relacje międzyrasowe w Stanach Zjednoczonych przedstawione zostały za pomocą formuły postapokaliptycznej. W Señoricie apokalipsa jest już faktem – społeczna, polityczna, ekonomiczna oraz ekologiczna – jednak świat nie wydaje się znacząco różny od rzeczywistości znanej z pierwszych dekad XXI wieku. Szczególną uwagę poświęcono warstwie wizualnej teledysku oraz jego zakończeniu, które akcentuje pesymizm przekazu. Okazuje się bowiem, że rzeczywistość przedstawionego w obrazie futurystycznego getta oglądana jest w niby– muzeum przez amerykańską białą rodzinę z wyższej klasy. Wskazuje to na stosunek ludzi bogatych do tych nisko sytuowanych i gorzej wykształconych. W zależności od interpretacji wideoklipu zamożniejsi albo całkowicie pozbyli się ludzi uważanych za mniej wartościowych społecznie i teraz oglądają ich świat w minimalistycznym muzeum, albo traktują obserwowanie ich życia w czasie rzeczywistym jako rozrywkę typu reality TV. Wizja przyszłości według reżysera klipu i autora utworu jest na wskroś postapokaliptyczna. Użycie ikonografii postapokaliptycznej obrazującej życie w getcie pozwala wysnuć wniosek, że dla osób z mniej uprzywilejowanych grup społecznych, parafrazując tytuł klasycznego filmu Coppoli, „czas postapokalipsy” właśnie trwa.
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Teledysk muzyczny w przestrzeni badań nad edukacją, na przykładzie analizy i interpretacji teledysku do utworu The Last Refugee Rogera Watersa.

51%
Golonka-Legut J., Pryszmont-Ciesielska M.
Teraźniejszość – Człowiek – Edukacja
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2018
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vol. 21
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issue 3(83)
90-102
EN
For the last dozen or so years the area of social research has expanded. This is connected to different cognitive challenges taken up by researchers. As for educational research, we can notice, amongst others, a strong interest in visual aspects of education, that are associated with the (re)cognition of educational potential of everyday life. With this perspective, it is worth having a look at pop culture which is not only a product but also a natural component of everyday reality. This text is an attempt to understand music video as a culture text with a narrative, which should be seen as an independent audio-visual form. A study ona video clip in educational research is proposed. An attempt to understand the nature and to (re)cognizemusic video as a source of knowledge will be made through analysis and interpretation of certain visualmaterials – an existing research document – the video clip to The Last Refugee by Roger Waters. The wholestudy is conducted and discussed from the andragogical perspective.
PL
W ciągu ostatnich kilkunastu lat można dostrzec swoistego rodzaju poszerzanie się obszaru badań społecznych, które wyraża się w podejmowaniu przez badaczy nowych zadań poznawczych. W badaniach  nad  edukacją  można  dostrzec  m.in.  wyraźne  zainteresowanie  wizualnością,  które  badacze  łączą z (roz)poznawaniem potencjału edukacyjnego codzienności. W takiej perspektywie warto zwrócić uwagę na kulturę popularną, która jest nie tylko wytworem, ale również naturalnym elementem życia codziennego człowieka. Opracowanie to podejmuje kwestie związane z rozumieniem teledysku jako tekstu kulturowego mającego postać narracji, który należy postrzegać jako autonomiczną formę audialno-wizualną. Kolejno zostaje wskazana propozycja badania teledysku muzycznego w badaniach nad edukacją. Próba zrozumienia istoty i (roz)poznania teledysku jako źródła wiedzy zostanie dokonana na podstawie analizy i interpretacji konkretnego materiału wizualnego – dokumentu zastanego, teledysku do utworu The  Last Refugee Rogera Watersa. Całość podejmowanych rozważań jest głosem badaczy-andragogów.
10
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Narracje (auto)promocyjne w wideoklipach rockowych (na przykładzie twórczości Johna Ozzy’ego Osbourne’a)

51%
Kosek J.
Annales Universitatis Paedagogicae Cracoviensis. Studia de Cultura
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2017
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issue 9(2) "Film w działaniu"
20-31
PL
W artykule zwrócono uwagę na wykorzystanie wideoklipu w twórczości angielskiego prekursora muzyki heavymetalowej Johna Ozzy’ego Osbourne’a. Autor zaprezentował kluczowe typologie dotyczące badanego zjawiska, a także podjął rozważania nad działalnością brytyjskiego twórcy w perspektywie procesu autokreacji wizerunku, działań mitologizacyjnych oraz w kontekście tworzenia rockowych struktur doświadczania i odczuwania.
EN
The article focuses on the music videos in the works of English precursor of heavy metal music John Ozzy Osbourne. The author presented the key typologies on the examined phenomenon, and embarked on the activities of the British composer self-creation in the perspective of the image, mythologization activities and in the context of the creation of rock structures of experience and feelings.
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