Monday 31 October 2011

Cast List

Tom Brown: Boy dressed as girl (good model, gets through)

Tommy Forrest: Boy dressed as girl (in secret)


Flossie Lancaster: Model


Dan Lloyd: Boy dressed as girl (in secret)


Angelica Rae: Model

Emily Neil: DJ DES

Prop List

Journal: 20/10/11

In today's lesson we began a production plan.......then our plan began to fall apart.

After considering the possible problems with our original location (Brighton) we thought it would be best to go back to the drawing board and start again with a new concept. The issues we thought of whilst considering Brighton as a location were:
  • Financial Costs
  • Cost of the props
  • Weather issues
  • Closure of the pier
  • Closure of attractions
  • Closure of the beach (due to weather conditions)
  • People not turning up/being available at certain dates
  • Transport concerns (the breaking down of cars)
  • Having the time to go and carry out possible re-shoots
  • Not being able to film in certain locations
Due to the genre of the song, it is still very upbeat and would usually be associated with happy emotions. Therefore we have decided to stick to these same happy emotions however we changed the original narrative.

Thursday 13 October 2011

Questionnaire Results

Here are the results from the questionnaire we handed out to 30 people:

How old are you?

Gender?

What genre of music do you like?

What would be your ideal way to spend a Friday Night?

Who would be your style icon?

What shops do you buy most of your clothes from?

What restaurants do you like the best?

Do you own any entertainment devices?

What social networking sites do you use?


Wednesday 12 October 2011

Journal:12/10/11

In todays lesson we attempted to start storyboarding, however, we found this very difficult as we have so many ideas of what we want to include in our music video. We were not too sure how to construct the music video and the places in which certain scenes would go; so instead we wrote down all our ideas and wrote a prop list also of the objects we wish to include within the music video.

Preparations for our music video are now under way as we know what, when and how we are going to film. Also we can begin purchasing items from the prop list which we want to include in our video. The next step is storyboarding a basic narrative for our video and then we need to expand on the draft storyboard, so we have a greater understanding of the key scenes we need to film. We plan to take a trip to Brighton where we will be able to plan out the day and possibly gain some more ideas of what we could include in the music video aswell as trying to get some time lapse footage completed.

Ideas

Monday 10 October 2011

Adorno and Horkheimer: Part Two


THE sociological theory that the loss of the support of objectively established religion, the dissolution of the last remnants of pre-capitalism, together with technological and social differentiation or specialisation, have led to cultural chaos is disproved every day; for culture now impresses the same stamp on everything.
Films, radio and magazines make up a system which is uniform as a whole and in every part. Even the aesthetic activities of political opposites are one in their enthusiastic obedience to the rhythm of the iron system. The decorative industrial management buildings and exhibition centers in authoritarian countries are much the same as anywhere else. The huge gleaming towers that shoot up everywhere are outward signs of the ingenious planning of international concerns, toward which the unleashed entrepreneurial system (whose monuments are a mass of gloomy houses and business premises in grimy, spiritless cities) was already hastening. Even now the older houses just outside the concrete city centres look like slums, and the new bungalows on the outskirts are at one with the flimsy structures of world fairs in their praise of technical progress and their built-in demand to be discarded after a short while like empty food cans.
Yet the city housing projects designed to perpetuate the individual as a supposedly independent unit in a small hygienic dwelling make him all the more subservient to his adversary – the absolute power of capitalism. Because the inhabitants, as producers and as consumers, are drawn into the center in search of work and pleasure, all the living units crystallise into well-organised complexes. The striking unity of microcosm and macrocosm presents men with a model of their culture: the false identity of the general and the particular. Under monopoly all mass culture is identical, and the lines of its artificial framework begin to show through. The people at the top are no longer so interested in concealing monopoly: as its violence becomes more open, so its power grows. Movies and radio need no longer pretend to be art. The truth that they are just business is made into an ideology in order to justify the rubbish they deliberately produce. They call themselves industries; and when their directors’ incomes are published, any doubt about the social utility of the finished products is removed.
Interested parties explain the culture industry in technological terms. It is alleged that because millions participate in it, certain reproduction processes are necessary that inevitably require identical needs in innumerable places to be satisfied with identical goods. The technical contrast between the few production centers and the large number of widely dispersed consumption points is said to demand organisation and planning by management. Furthermore, it is claimed that standards were based in the first place on consumers’ needs, and for that reason were accepted with so little resistance. The result is the circle of manipulation and retroactive need in which the unity of the system grows ever stronger. No mention is made of the fact that the basis on which technology acquires power over society is the power of those whose economic hold over society is greatest. A technological rationale is the rationale of domination itself. It is the coercive nature of society alienated from itself. Automobiles, bombs, and movies keep the whole thing together until their leveling element shows its strength in the very wrong which it furthered. It has made the technology of the culture industry no more than the achievement of standardisation and mass production, sacrificing whatever involved a distinction between the logic of the work and that of the social system.
This is the result not of a law of movement in technology as such but of its function in today’s economy. The need which might resist central control has already been suppressed by the control of the individual consciousness. The step from the telephone to the radio has clearly distinguished the roles. The former still allowed the subscriber to play the role of subject, and was liberal. The latter is democratic: it turns all participants into listeners and authoritatively subjects them to broadcast programs which are all exactly the same. No machinery of rejoinder has been devised, and private broadcasters are denied any freedom. They are confined to the apocryphal field of the “amateur,” and also have to accept organisation from above.
But any trace of spontaneity from the public in official broadcasting is controlled and absorbed by talent scouts, studio competitions and official programs of every kind selected by professionals. Talented performers belong to the industry long before it displays them; otherwise they would not be so eager to fit in. The attitude of the public, which ostensibly and actually favours the system of the culture industry, is a part of the system and not an excuse for it. If one branch of art follows the same formula as one with a very different medium and content; if the dramatic intrigue of broadcast soap operas becomes no more than useful material for showing how to master technical problems at both ends of the scale of musical experience – real jazz or a cheap imitation; or if a movement from a Beethoven symphony is crudely “adapted” for a film sound-track in the same way as a Tolstoy novel is garbled in a film script: then the claim that this is done to satisfy the spontaneous wishes of the public is no more than hot air.
We are closer to the facts if we explain these phenomena as inherent in the technical and personnel apparatus which, down to its last cog, itself forms part of the economic mechanism of selection. In addition there is the agreement – or at least the determination – of all executive authorities not to produce or sanction anything that in any way differs from their own rules, their own ideas about consumers, or above all themselves.
In our age the objective social tendency is incarnate in the hidden subjective purposes of company directors, the foremost among whom are in the most powerful sectors of industry – steel, petroleum, electricity, and chemicals. Culture monopolies are weak and dependent in comparison. They cannot afford to neglect their appeasement of the real holders of power if their sphere of activity in mass society (a sphere producing a specific type of commodity which anyhow is still too closely bound up with easy-going liberalism and Jewish intellectuals) is not to undergo a series of purges. The dependence of the most powerful broadcasting company on the electrical industry, or of the motion picture industry on the banks, is characteristic of the whole sphere, whose individual branches are themselves economically interwoven. All are in such close contact that the extreme concentration of mental forces allows demarcation lines between different firms and technical branches to be ignored.
The ruthless unity in the culture industry is evidence of what will happen in politics. Marked differentiations such as those of A and B films, or of stories in magazines in different price ranges, depend not so much on subject matter as on classifying, organising, and labelling consumers. Something is provided for all so that none may escape; the distinctions are emphasised and extended. The public is catered for with a hierarchical range of mass-produced products of varying quality, thus advancing the rule of complete quantification. Everybody must behave (as if spontaneously) in accordance with his previously determined and indexed level, and choose the category of mass product turned out for his type. Consumers appear as statistics on research organisation charts, and are divided by income groups into red, green, and blue areas; the technique is that used for any type of propaganda.

Analysis of a poster


Wednesday 5 October 2011

Adorno and Horkheimer: Part One


Long before “postmodernism” became fashionable, Adorno and Horkheimer wrote one of the most searching critiques of modernity to have emerged among progressive European intellectuals. Dialectic of Enlightenment is a product of their wartime exile. It first appeared as a mimeograph titled Philosophical Fragments in 1944. This title became the subtitle when the book was published in 1947. Their book opens with a grim assessment of the modern West: “Enlightenment, understood in the widest sense as the advance of thought, has always aimed at liberating human beings from fear and installing them as masters. Yet the wholly enlightened earth radiates under the sign of disaster triumphant” (DE 1, translation modified). How can this be, the authors ask. How can the progress of modern science and medicine and industry promise to liberate people from ignorance, disease, and brutal, mind-numbing work, yet help create a world where people willingly swallow fascist ideology, knowingly practice deliberate genocide, and energetically develop lethal weapons of mass destruction? Reason, they answer, has become irrational.
Although they cite Francis Bacon as a leading spokesman for an instrumentalized reason that becomes irrational, Horkheimer and Adorno do not think that modern science and scientism are the sole culprits. The tendency of rational progress to become irrational regress arises much earlier. Indeed, they cite both the Hebrew scriptures and Greek philosophers as contributing to regressive tendencies. If Horkheimer and Adorno are right, then a critique of modernity must also be a critique of premodernity, and a turn toward the postmodern cannot simply be a return to the premodern. Otherwise the failures of modernity will continue in a new guise under contemporary conditions. Society as a whole needs to be transformed.
Horkheimer and Adorno believe that society and culture form a historical totality, such that the pursuit of freedom in society is inseparable from the pursuit of enlightenment in culture (DE xvi). There is a flip side to this: a lack or loss of freedom in society—in the political, economic, and legal structures within which we live—signals a concomitant failure in cultural enlightenment—in philosophy, the arts, religion, and the like. The Nazi death camps are not an aberration, nor are mindless studio movies innocent entertainment. Both indicate that something fundamental has gone wrong in the modern West.
According to Horkheimer and Adorno, the source of today's disaster is a pattern of blind domination, domination in a triple sense: the domination of nature by human beings, the domination of nature within human beings, and, in both of these forms of domination, the domination of some human beings by others. What motivates such triple domination is an irrational fear of the unknown: “Humans believe themselves free of fear when there is no longer anything unknown. This has determined the path of demythologization … . Enlightenment is mythical fear radicalized” (DE 11). In an unfree society whose culture pursues so-called progress no matter what the cost, that which is “other,” whether human or nonhuman, gets shoved aside, exploited, or destroyed. The means of destruction may be more sophisticated in the modern West, and the exploitation may be less direct than outright slavery, but blind, fear-driven domination continues, with ever greater global consequences. The all-consuming engine driving this process is an ever-expanding capitalist economy, fed by scientific research and the latest technologies.
Contrary to some interpretations, Horkheimer and Adorno do not reject the eighteenth-century Enlightenment. Nor do they provide a negative “metanarrative” of universal historical decline. Rather, through a highly unusual combination of philosophical argument, sociological reflection, and literary and cultural commentary, they construct a “double perspective” on the modern West as a historical formation (Jarvis 1998, 23). They summarize this double perspective in two interlinked theses: “Myth is already enlightenment, and enlightenment reverts to mythology” (DE xviii). The first thesis allows them to suggest that, despite being declared mythical and outmoded by the forces of secularization, older rituals, religions, and philosophies may have contributed to the process of enlightenment and may still have something worthwhile to contribute. The second thesis allows them to expose ideological and destructive tendencies within modern forces of secularization, but without denying either that these forces are progressive and enlightening or that the older conceptions they displace were themselves ideological and destructive.
A fundamental mistake in many interpretations of Dialectic of Enlightenment occurs when readers take such theses to be theoretical definitions of unchanging categories rather than critical judgments about historical tendencies. The authors are not saying that myth is “by nature” a force of enlightenment. Nor are they claiming that enlightenment “inevitably” reverts to mythology. In fact, what they find really mythical in both myth and enlightenment is the thought that fundamental change is impossible. Such resistance to change characterizes both ancient myths of fate and modern devotion to the facts.
Accordingly, in constructing a “dialectic of enlightenment” the authors simultaneously aim to carry out a dialectical enlightenment of enlightenment not unlike Hegel's Phenomenology of Spirit. Two Hegelian concepts anchor this project, namely, determinate negation and conceptual self-reflection. “Determinate negation” (bestimmte Negation) indicates that immanent criticism is the way to wrest truth from ideology. A dialectical enlightenment of enlightenment “discloses each image as script. It teaches us to read from [the image's] features the admission of falseness which cancels its power and hands it over to truth” (DE 18). Beyond and through such determinate negation, a dialectical enlightenment of enlightenment also recalls the origin and goal of thought itself. Such recollection is the work of the concept as the self-reflection of thought (der Begriff als Selbstbesinnung des Denkens, DE 32). Conceptual self-reflection reveals that thought arises from the very corporeal needs and desires that get forgotten when thought becomes a mere instrument of human self-preservation. It also reveals that the goal of thought is not to continue the blind domination of nature and humans but to point toward reconciliation. Adorno works out the details of this conception in his subsequent lectures on Kant (KC), ethics (PMP), and metaphysics (MCP) and in his books on Husserl (AE), Hegel (H), and Heidegger (JA). His most comprehensive statement occurs in Negative Dialectics, which is discussed later.

Analysis of a digipak

Analysis of a digipak


Journal:05/10/11

In todays lesson we are making a start on our ancillary tasks. To begin with we are going to be researching and analysing digipacks and posters in preparation for us to make our own ones. We have to take into consideration the codes and conventions included in both promotional products to ensure we promote our artist in a way which will appeal to the targeted audience.

Monday 3 October 2011

Mood Board: Music Video

On fridays lesson we finalised our ideas for our music video and put them all together on a mood board. Here are the main sections of our mood board which highlight the major elements that we will look to feature in our music video:
We decided to change the name of the artist we were originally given in our brief , we came up with DJ DES.

In previous music video we have looked at we found that one of the main characteristics was bright colours; we
took this feature into consideration and thought that the best location to carry out the filming of our video was
Brighton.
Due to the fact that the location we chose was very bright, colourful and fun- it was only right that the costume
matched the same concept. This is the reasoning behind the 70s inspired clothing which we hope to use.
After watching numerous other music videos we really liked the concept of time lapse, so we want to include
 an element of time lapse at the beginning and end of the music video. 
This is the mood board as a whole,  we included costume, time lapse, location, influences and lyrics.