Dissertation proposal by Charlie Minnion

19/05/2011

In contemporary culture, the music video tends to serve as the most suitable commercial context for the embodiment of animation as a unique language, experimental art form and vehicle for independent free expression. What are the implications of this and to what extent is this statement true?

Animation carries with it a unique language, it is a versatile art form and a limitless medium enabling independent free expression and the ability to achieve any idea. I suggest - from a commercial standpoint - that these qualities can and have been explored collectively to their fullest potential within the music video; Perhaps more so then in any other application or context of animation in contemporary culture. To explore my hypothesis, I will be looking for similarities in this idealistic use of animation within other contexts of our contemporary culture and identifying the purposes for its use in these areas - this may help to prove or disprove my main hypothesis. In addition to this I am interested in the effectiveness of the music video. In what way does its ability to embrace the qualities above, enhance the spectators experience of the video. Does it contribute to the popularity of the music itself? Furthermore my research may lead me to identifying the formal attributes of the music video (for example the symbiosis of sound and image) and cause me to look into associative areas such as VJing and tour visuals.

Firstly, research will be required into film and music video form, the language of animation, experimental and independent animation, these areas of research should affirm my understanding of animation as a unique and limitless language. It will also give my argument a historical context and allow me to trace the journey of animation as an independent art form. I will also research spectatorship (cognitive, psychological and philosophical,) meaning and representation to help de-mystify the audiences interaction with animation as a free art form. Furthermore, I aim to source some statistical marketing research to define the degree of success the music video has on promoting the music. I could make a questionnaire to distribute to the general

public in order to help identify those music videos that have had impact. This would give additional depth to my research - the purpose of which - will be to shed light on the effectiveness, purpose and success of the music video. Finally, I will look into the role and effect of art in contemporary culture and post modernism to give my topic a wider context.

Part of my reasoning to look at music videos in depth is so that I can further my own understanding of seeing how music videos work and to what degree they have impact. The interesting more artistic music videos seem to occupy the fringes of mass entertainment and I am inclined to question why this is, when animation has such great artistic potential in this area. I feel that this is an increasingly relevant topic in the face of new media. In this digital age do music videos play more of an important role on the success of the musician? What is the success rates of bands that have achieved a symbiosis between image and sound, in both music videos and tour visuals? Subsequently to what extent does the music video and live visuals enhance the meaning, effect and experience for the spectator? Experimentation in the music video has led to innovative ways of animating - (The Matrix features effects that were first conceived in a music video.) Is this example of innovative transference a rare occurrence or does it happen often? Finally, coming back to my original argument, if my hypothesis is true, why is it that animation in its most inherent, artistic and expressive form is confined to audio visual application?

I will use Paul Wells theories on the terms and conditions of experimental and developmental animation. Furthermore, I will read up on his description of true animation. This will help me define the unique language of animation. To give this topic further backing I will be looking at film and music video form outlined in theories from David Bordwell and Kristin Thompson for film and Carol Vernallis on music video. To gain more insight into representation, meaning and spectatorship, I will be looking at the book filmosophy by Daniel Frampton, Representation by Stuart Hall (looking at the chapter on representation, meaning and language in particular) and the first chapter in the Journal of consciousness studies: Art and the brain

The science of art: a neurological theory of aesthetic experience by V.S. Ramachandran and William Hirstein. In comparing the music video with other forms of media and identifying its place in contemporary culture I will use Andrew Darley, Lev Manovich and look at the chapter Will the monster eat the film? by Simon Pummel. Taking a deeper look into audio visual areas I will use the motion blur: onestopzero books, VJ: audio-visual art + vj culture edited by Michael Faulkner and Vjam Theory Collective writings on realtime visual performance. Finally in support of possible explanations for the dwindling of animation as a free art form in other contexts I will again refer to Paul Wells and also Richard DeCordova.

In terms of relevant films, the Directors Label dvds will come in very handy here. These series of dvds compile work and writings from a lot of well known music video directors such as Chris Cunningam, Spike Jonze, Stephane Sednaoui and Michel Gondry. Furthermore, Onedotzero have also released a series of dvds featuring a lot of contemporary artists in the audio visual field. I aim to source where animation has and has not been used in a similar way in other contexts but currently I havent identified many specifics here to research. Having said that, independent films such as Waltz with Bashire come to mind as likely examples.

The structure of my essay will be as follows. Introduction. Animation as unique language and a versatile art form. Defining Independence. Examples of historic and contemporary Independent free expression in animation. Comparisons to other contemporary contexts of animation and Identifying the formal attributes of the music video. The next part of my dissertation will look at the implications of music videos: How embracing animation effects audiences in different ways. What are the effects on meaning? How is the popularity of the music effected? To what degree are its innovative attributes implicated in other forms of media? I may look at associative areas such as VJing and tour visuals to draw out differences and similarities and speculate at the possible transference of animation used in its most free expressive form in other contexts such as feature film. In my conclusion I will resolve my initial argument and tie up any loose ends.

Proposed Bibliography:

Texts:

Bordwell, David. Thompson, Kristin. (2008). Film Art: an Introduction. New York: McGraw-Hill

Darley, Andrew. (2000). Visual Digital Culture: Surface play and spectacle in new media genres. Oxon: Routledge

Frampton, Daniel. (2006). Filmosophy. London: Wallflower Press

Wells, Paul. (1998). Understanding Animation. Oxon: Routledge

Kitson, Clare. (2008). British animation: The Channel 4 factor. London: Parliament Hill Publishing

DeCordova, Richard. (1994). The Mickey in Macys Window: Childhood, Consumerism, and Disney Animation.

Vernallis, Carol. (2004). Experiencing Music Video: Aesthetics and cultural context. New York: Columbia University Press

Manovich, Lev. (2001). The language of New Media. Cambridge, Massachusetts: The MIT Press

VJ Theory (et al.). (2008). VJam Theory: Collective writings on realtime visual performance. Falmouth, Cornwall: Realtime Books

RJ Walter, Shane. Hanson, Matt. (2004). Motion blur: Onedotzero: graphic moving imagemakers. London: Laurence King Publishing Ltd.

RJ Walter, Shane. Hanson, Matt. (2008). Motion blur2: Multidimensional moving imagemakers. London: Laurence King Publishing Ltd.

Hall, Stuart. (1997). Representation: Cultural representations and signifying practices. London: SAGE Publications Inc.

Faulkner, Michael. (2006). VJ: Audio-Visual art + VJ Culture. London: Laurence King Publishing

OPray, Michael. (2003). The British Avant-Garde Film: 1926-1995. Bedfordshire: University of Luton Press.

Films

Waltz with Bashir. (2008).Directed by Ari Folman. [film]. Israel: Sony Pictures Classics.

Directors label: The work of Director Stephane Sednaoui. (2005). Directed by Stephane Sednaoui. [DVD]. USA: Palm Pictures.

Directors label: The work of Director Spike Jonze. (2003). Directed by Spike Jonze. [DVD]. USA: Palm Pictures.

Directors label: The work of Director Chris Cunningham. (2003). Directed by Chris Cunningham. [DVD]. USA: Palm Pictures.

Directors label: The work of Director Michael Gondry. (2003). Directed by Michel Gondry. [DVD]. USA: Palm Pictures.

Onedotzero_select dvds 1-5. (2003-2007). Directed by a variety of directors. [DVD]. UK: Onedotzero.