130 research outputs found
Book cover 'David Bowie and the Art of Music Video'
No full textThis is the original image created by the author for the book cover design. The published book can be found at https://hdl.handle.net/10289/15924.The book cover for 'David Bowie and the Art of Music Video' was designed and painted by Lisa Perrott, who is the copyright holder for this cover image. Lisa Perrott painted this image using water colours on paper, then photographed the painting and designed the cover design using photoshop
Call and response: Taika Waititi’s ‘Boy’
No full textLisa Perrott examines how the construction of Waititi's latest film might engender complex, nuanced responses from audiences
Handmade pixels: Exposing the animation process
No full textHandmade Pixels seeks to expose those aspects of the animation process that are often relegated to ‘behind the scenes’ archives, ‘making of’ videos, or even discarded as rubbish. It aims to celebrate the distinctive approach of artists who experiment with diverse methods and techniques.
Many of the items selected here are quite different from the works typically exhibited in art galleries. Process materials such as working sketches and storyboards are rarely displayed as works of art in their own right. They are often archived or disposed of once the final film has been completed. These materials should be exhibited – not least because they communicate the creative genius and idiosyncratic craftwork of an animator
'Music Video TARDIS' (presentation for Te Kura Toi Research Webinar)
No full text'Music Video TARDIS' is an oral and audiovisual presentation, forming 50% of the Te Kura Toi Research Webinar which was presented to a public audience via Zoom on 13 October 2021. The audience included University of Waikato students and staff and members from the wider community. The event was publicised via University of Waikato and School of Arts publicity modes. This publication output was peer reviewed by Te Kura Toi Research co-ordinator Mark Houlahan. Abstract: 2. Arguing that music video is a hybrid audiovisual form that travels across mediums, genres, time and space, Lisa Perrott draws on recent theorisation of transmedia, remediation and dispersed authorship as a frame for examining the expansion of music video. By exploring the collaborative assemblage of music video directors, musicians and fans, Lisa presents examples of her research, portraying music video as a hybrid and transitory artform with porous borders. She argues that far from serving merely as light entertainment or a marketing tool, music video also functions as a kind of TARDIS – a vehicle for the representation, performativity and transit of diverse identities and complex signifiers that bleed into our daily lives
'Te Kawau Mārō' The Role of Media in Revitalising Te Reo Māori
No full textThe intent of this thesis is to investigate the role media plays in relation to the revitalisation of te reo Māori in Aotearoa/New Zealand society. This is essential as the media's latent potential is often underestimated and therefore underutilised.
For Māori and inevitably te reo Māori, media has been a topic of heated contestation for over a century. It is postulated that throughout this troubled history, media's influence has contributed to an erosion of te reo Māori and then conversely, since the late 20th century, its attempted revival. The journey of te reo Māori from past to present may be likened to a voyage of a traditional 'waka hourua' (voyaging or double hulled canoe). 'Nga ngaru e toru' ('three waves') illustrates the three stages that I have defined as catalysts significantly impacting te reo Māori.
Grounded firmly in a Kaupapa Māori methodological and theoretical framework based on careful research and intimate cultural knowledge, my innovative approaches to language revitalisation entitled the Tapatoru (triangle) Model 1 and Tapatoru Model 2 will be introduced and explained. These distinct language revitalisation paradigms illustrate the core ingredients needed in effective language revival and illustrate the positioning and function of the media within these strategic models
Experimental animation and the neosurrealist remediation of popular music video
No full textOnce appearing to function primarily as a commercial tool for popular entertainment, the popular form of music video has recently been exposed by scholars as formally and functionally diverse, with a rich history stretching back decades before the advent of MTV. Animated music videos owe much to centuries old traditions spanning the visual, musical and performing arts, providing performative and material models that inspire contemporary video directors. Experimental animation, surrealism and music video form a matrix of historical and contemporary significance; however, few scholars have undertaken close examinations of the relations between them. John Richardson and Mathias Korsgaard show how music video directors have employed surrealist compositional strategies together with experimental animation methods, thus giving rise to challenging new forms that traverse disparate approaches to art and culture. Building upon their contributions, this article explores the continuity between experimental animation, surrealism and music video, with a view to discovering the subversive potential of this matrix. In order to probe this potential, the author examines how music video directors experiment with animation technique as a means of subversion and enrichment of popular music video. Through close analysis of music videos directed by Adam Jones, Stephen Johnson, Floria Sigismondi and Chris Hopewell, this article charts the continuity of surrealist strategy across culturally specific moments in history, thus provoking questions around the perceived functions of animated media and popular music video
Daqui para lá e de volta aqui: realizadores transmédia ou continuidade de estilo?
No full textRecensão crítica da obra Carol Vernallis, Holly Rogers e Lisa Perrott (eds.). Transmedia Directors: Artistry, Industry and New Audiovisual Aesthetics. Nova Iorque: Bloomsbury Academic, 2020. 510 pp. ISBN 978-1-5013-3928-8
The New Zealand Wars Documentary Series: Discursive Struggle and Cultural Memory.
No full textThe 1998 television broadcast of The New Zealand Wars documentary series was a significant public event, which had a major impact on a broad range of communities and individuals in Aotearoa New Zealand. This popular television history engaged with issues of historical veracity, race, culture and nationhood and challenged previously dominant discourses associated with these concepts. In doing so, it provoked heated debate, and a re-imagining of 'nation', and also opened up spaces for alternative ways of engaging with historical narrative.
Informed by post-colonialism, cultural studies and cultural memory, this thesis explores the discursive and affective role of The New Zealand Wars, as it has operated within the turbulent climate of 1990s New Zealand cultural relations. This catalytic function is described in this thesis as a phenomenon of a television series shaped by, whilst also intervening in, processes of cultural colonisation and decolonisation.
While both of these processes involve the transmission of discourse via cultural forms, the act of cultural decolonisation requires, in addition, the convergence of a number of agents (people and communities, discursive and memory resources) and circumstances, within particular contextual conditions. Such a convergence provided the conditions for the discursive synthesis, which shaped the production, construction and reception of this series.
The role of audio-visual media (and specifically television documentary) in transmitting cultural memory is significant as it enables the flow of memory through channels or forms (such as visual, oral and aural traditions) that can bring about new perspectives and critical reflections upon colonial discourse and dominant concepts of nation and culture. In addition to these social and intellectual processes of audience engagement, this thesis argues that experiential and affective dimensions of cultural memory can (in these specific circumstances) open up radical spaces, offering the potential for generating awareness and sparking political action.
These issues are explored through a tripartite analysis of the production context, construction and reception of The New Zealand Wars series. The integration of these three phases of analysis has generated a number of insights into the potential of audio-visual forms, including their producers and audiences, to participate in the negotiation of, and resistance to, colonial discourse. Such insights serve to challenge taken-for-granted constructions of nation and history, and suggest the increasing relevance of alternative concepts such as community-building and cultural memory. Ultimately, this thesis argues that television documentary can serve as a prime site for the articulation of these concepts. The New Zealand Wars serves as a case study, which demonstrates both the potential of this site, and the significance of the social-historical and cultural context in framing this series
Sites of power : Documentary ethics and representation of child abuse
No full textNew Zealand has one of the highest child abuse rates in the developed world. Discourses about child abuse are stigmatised, and this stigma thrives in silence. Documentary films provide a unique site of power in which child abuse discourse can be represented to challenge such stigma and promote social change. The existing literature surrounding documentary ethics and representations of child abuse is minimal despite the centrality of ethics to documentary practices. Documentarians may use a range of representational strategies to represent such discourses, which may help negotiate ethical concerns or present additional ethical concerns in relation to the participants, audience and filmmakers.
This thesis has three objectives: to determine the discourses about child abuse represented in the documentaries Tarnation, Daughter Rite and Breaking Silence, to identify the representational strategies used and to identify the associated ethical concerns. In order to examine these discourses and representational strategies, the methods of critical discourse analysis and affect analysis are applied through the analytical framework of Bill Nichols’ documentary modes. The identification of the discourses and representational strategies has allowed for the identification of the associated ethical concerns. The results show that discourses about the cyclical nature of abuse are present in the documentaries, and that there is ethical tension between the autobiographical filmmaker’s impulse to tell their truths and the potential exploitation of participants. This thesis concludes that there is a need for academic exploration around the therapeutic outcomes of autobiographical documentary filmmaking
Music video's performing bodies: Floria Sigismondi as gestural animator and puppeteer
No full textAuteur music video director Floria Sigismondi has a reputation for creating beautifully macabre imagery that has been described as surreal and uncanny. Less obvious is the way in which she uses animation and gesture to estrange the movement of performing bodies. While pixilation and stop motion animation are used together to invert the agency of humans and objects, Sigismondi’s use of gesture extends this manipulation of agency beyond technical processes. This dialectic of cinematic agency is discussed through an examination of three music videos directed by Sigismondi: End of the World (2004) for The Cure, Montauk Fling (2013) for Lawrence Rothman and The Stars (Are Out Tonight) (2013) for David Bowie. Considering these videos in relation to puppet animation, live-action film and the cultural and historical migration of gesture, the author argues that Sigismondi puppetises humans and animates gesture as a means of transgression
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