{"id":97921,"date":"2024-02-27T14:00:22","date_gmt":"2024-02-27T14:00:22","guid":{"rendered":"http:\/\/gamefootballmobileanimeiphone.com\/?guid=226dcbd3cf2e09a2c51d1519ed527aa3"},"modified":"2024-02-27T14:00:22","modified_gmt":"2024-02-27T14:00:22","slug":"when-pop-stars-become-auteurs","status":"publish","type":"post","link":"https:\/\/gamefootballmobileanimeiphone.com\/index.php\/2024\/02\/27\/when-pop-stars-become-auteurs\/","title":{"rendered":"When pop stars become auteurs"},"content":{"rendered":"
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V<\/span>isual albums are not quite poetry to film\u2019s prose, nor are they a chapter in film\u2019s fictional development. Rather than a trend or a style, they function as a discipline, taking the expectations of traditional filmgoers and upending them, building something fresh and lively that breaks free of a story\u2019s traditional structure. In this way, they feel more like the comic book to a film\u2019s novel. As in comic books, the visual album\u2019s story is suggested, tucked into the gap between frames, observers implicated as storytellers in viewing. The best stars pour the history of their music, the stories that lay dormant in the writing process, into the waiting structure of the visual album, filling it with non-literal meaning. Visionaries from Prince to Kate Bush understood that music and film are only ever a few feet away, twin creative impulses on an inevitable collision course.<\/p>\n

Of course, where there is art, there will be auteurs: people whose ideas and expressions are curbed around immovable objects and events that fill their vantage point. The visual album has become a touchpoint for our most formidable pop singers, their recognisable fingerprints clinging to every newly released image. Every few months, a new iteration of the visual album is released, prompting the next wave of frustrating discourse, both denigrating the skill in launching such a project (treating it as an overlong music video) and overstating the artistic impulse necessitating its release (which is always tied to the marketing of a personal brand). When Jennifer Lopez released the trailer for her bizarre and unexpected passion project entitled This is Me\u2026 Now: A Love Story, it prompted a round of questions<\/a> surrounding the precedent and legitimacy of this storytelling mode.
\n___STEADY_PAYWALL___<\/p>\n

Each new visual album is tangled in the early offerings of the medium, stretching back to the likes of A Hard Day\u2019s Night \u2013 the kind of light-hearted, trivial outing that could only thrive in a genre\u2019s early, unrehearsed moments. The Richard Lester-directed movie employs an absurdism that both upends and explains The Beatles\u2019 undeniable success. Their early tunes were catchy and enticing to a new generation of post-war teenagers desperate to escape their cautious, frugal parents. Inevitably those teenagers would develop into stern parents, and The Beatles would be treated as a pop rock relic of their youth. They are now firmly woven into our cultural memory and responsible for the predictable patterns which ensue, but A Hard Day\u2019s Night arrived on the \u201860s scene as a strange, unexpected emblem of the future. Ever since then, artists have been seeking out new and thrillingly imperfect containers for their music, reckoning with that first prickly, uneven shape.
\nThis is Me\u2026 Now shares in A Hard Day\u2019s Night\u2019s frantic deliriousness, yet Lopez and her fellow women in pop can\u2019t summarise their personalities and careers in such frivolous visual outings. Audiences expect a degree of reality, or at least relatability from these women. As such, Lopez and director David Meyer (who had previously collaborated with her for the \u2018I\u2019m Real\u2019 music video) adopt an epic lens. In This is Me\u2026 Now, Lopez plays The Artist: a woman in therapy, a subject of interest for the cosmos-bound Zodiac council, a child from the Bronx pursuing her dream. Ultimately, the film can\u2019t always justify its own grandiosity, but like all visual albums, it succeeds in assembling a host of filmic references within which the star is located. <\/p>\n

Pop music is often accused of being bland in its accessibility, smoothed into a shiny, reflective surface that listeners can spot themselves in. Through these films, artists have a chance to weave more obviously respected scenes and images into the tapestry of their albums, complicating those critical misgivings and proving that pop music is traceable, born from an author and one with a specific point of view. As Andrew Sarris wrote in (the controversial) \u2018Notes on the Auteur Theory in 1962\u2019, the \u201cinterior meaning\u201d of a director\u2019s work is inexplicable in \u201cany literal sense, because part of it is imbedded in the stuff of cinema and cannot be rendered in non-cinematic terms.\u201d As an image-maker, Lopez and her pop music peers understand that a successful transition to cinema requires an understanding and embodying of film history. Great moving images are only explicable through images that came before \u2013 a sequence of obscure, imperfect translations.<\/p>\n

For Lopez, the artificiality of the CGI-ed set mimics the feel and design of the classic musicals that first inspired her. Visual nods to Sweet Charity and Singin\u2019 in the Rain abound, all of which lend the idea of Jennifer Lopez \u201cThe Artist\u201d real weight. Nothing feels as deliberate as her fascinating and frequent reference to Barbra Streisand. After a cacophony of breakups, Lopez\u2019s character lies on the sofa watching Katie (Barbra Streisand) and Hubbell (Robert Redford) argue in The Way We Were. \u201cWe\u2019d both be wrong! We\u2019d both lose!\u201d Hubbell concludes. \u201cCouldn\u2019t we both win?\u201d Katie and Lopez respond earnestly, one from the screen, one from the living room. Streisand is the key to unlocking Lopez\u2019s practice of image-making; a New York-born romantic, directed by an otherworldly sense of destiny, still preoccupied with life\u2019s maddening what-ifs.
\nAll the best visual albums wear their references on their sleeve, pushing the medium forward through a brash refashioning of famous images. Perhaps none more so than Beyonc\u00e9\u2019s Lemonade, which remains the 21st century standard for the visual album. Like Lopez\u2019s offering, it is ambitious, writ large on the biggest canvas possible. And like This is Me\u2026 Now, it is also a deeply personal response to the speculation around her marriage, but one that patiently merges home videos with moments of cinema history (specifically drawing back to Julie Dash\u2019s Daughters of the Dust). The success of pop albums isn\u2019t dependent on filmic nods, but reverence for great art is an indication of a great artist, and such major celebrities can use the visual album to platform their taste, remodelling public attention around their new, creative standing \u2013 just as Beyonc\u00e9 did in 2016.<\/p>\n

Lemonade\u2019s earth-shattering success<\/a> reoriented the market and refocused her career, replacing the blurry image of Solange launching herself at Jay-Z in the corner of the MET elevator with the more marketable moment of Beyonc\u00e9 approaching the camera, swinging a baseball bat across her shoulders: an obvious and effective repositioning of social power. This too is the mark of an auteur, faced with a cacophony of public interest, choosing to direct that interest inward, concerned solely with (what Sarris described as) the shifting relationship \u201cbetween a director\u2019s personality and his material.\u201d <\/p>\n

Janelle Mon\u00e1e\u2019s Dirty Computer exists in a similar genre-bending plane to This is Me\u2026 Now, using the aesthetics of science fiction to lend Mon\u00e1e\u2019s optimistic messaging a recognisable shape. Mon\u00e1e is Jane 57821, a woman subject to the oppressive tests of a totalitarian government and reminiscing on a history of whirlwind romances. The singer-slash-film-star and her production designer Fernanda Guerrero employ an aesthetic that merges cold, grey robotic imagery and the warmth of Americana; the future and past collapsing into one another in kaleidoscopic bursts. With this style, Dirty Computer\u2019s dramatising of the battle between state and spirit is potent, held under the multi-coloured spotlight. <\/p>\n

Like Lemonade, or even A Hard Day\u2019s Night, Dirty Computer\u2019s sense of political and personal context is what elevates it from trending topic to respected output. This is Me\u2026 Now doesn\u2019t graduate to these heights, but it does prove that this form remains a meaningful tool of self-definition, a haven of free expression for the celebrities involved. For the rest of us, visual albums are a strange, memorable deep dive into famous psyches, one where the egos running amok are not just executives operating from studio offices. These famous faces are up front, blatant in proving they see where they fall in film history and refreshingly obvious in their desire to be seen.<\/p>\n<\/div>\n<\/div>\n

The post When pop stars become auteurs<\/a> appeared first on Little White Lies<\/a>.<\/p>\n\n

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The visual album is a key, genre-defying vessel for pop music titans transferring the symbolic power of their music to image-making.<\/p>\n

The post When pop stars become auteurs<\/a> appeared first on Little White 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