Cannes: female film makers back in the running

After last year where the Cannes festival was dominated largely by male film makers, Lynne Ramsay is leading the way in the more female orientated short list. This is the largest representation of women in the events 64 year history according the The Guardian. It is refreshing to see female directors and film makers gaining more recognition today, however, to say it is equal would be a large overstatement.

Kathryn Bigelow stormed the awards ceremonies last year, become the first woman to win the Oscar of best director for her film The Hurt Locker, beating former husband James Cameron and Avatar. She has transformed from a less known art film director to a complete success, however in doing this has she sacrificed her usual styles in order to fit into Hollywood’s “Male Gaze”?

This question is being constantly addressed after female directors claim recognition for their work. Another example would be Sofia Coppola‘s Lost in Translation. Whilst the movie contains incredible camera shots, this could be down to her cinematographer Lance Acord. Right from the beginning we are shown the lovely Scarlett Johannson’s see through knickers, and the film cleverly captures Bill Murray’s affection for the young Scarlett, without being intrusive yet sometimes leaving us feeling a little uncomfortable.

Jane Campion is another example of a recognised female director, however her style has not strayed as far from her original art house form. Yet, she has received less critical acclaim for her work, and is this because she does not conform to the glamorisation of Hollywood film?

The fact that female directors and film makers are gaining appreciation more for their work is a good step forward from before. Yet, as previously mentioned, it will be a long time before they are acknowledged as widely as men are for being behind the camera instead of just in front of it. This could be because Hollywood finds a repetition and style which favours the “Male Gaze” and women are less inclined/able to represent this accurately. However, I think it is incredible that today when people are striving for political correctness and equality, that these excellent female film makers are being shunned into the background.

Hopefully, in time, they will be acknowledged for their astounding work, and rightly so.

Bafta hopes for Human Planet

The BBC’s Human Planet has got the nod for seven Bafta nominations, and quite deservedly too. The series investigates the human species alongside the earth, examining how we adapted to differing environments around the world. It’s an incredible documentary series, and if you haven’t seen it yet I urge you to take a look.

It took three years to shoot, capturing over 70 different locations. What I have been interested in most, however, is the images that  photographer Timothy Allen has taken along the way. For an insight to his experiences you should take a look at his blog, but he rounds up the entire experience here by saying… “I’m sure you won’t be too surprised to learn that I can report back that human beings are the same the world over… individuals dealing with their own versions of personal struggles to secure food, find a mate, put a roof over their heads and protect their offspring.  I’m also sure that you won’t be too shocked to discover that no matter where I went in the world, doors were opened to me, food was shared with me, knowledge was exchanged freely and help was offered unconditionally.”

He has continued onto his own website which you can access here. Whilst I would love to place all of his astounding images within this post, they are copyrighted so please take a minute to have a look for yourself. Because believe me, it’s worth your while.

Analyse How True Blood Deals With Race

The Southern Vampire Mysteries (also known as the Sookie Stackhouse Novels, or now the True Blood series) was originally published in 2001. Written by Charlaine Harris, the books follow innocent protagonist Sookie Stackhouse and her new-found relationship with vampire Bill Compton. The television Series 1 was broadcast in England on Channel 4 late last year. Currently, there is a trend of films and television series regarding the supernatural creatures; Twilight, Cirque du Freak: The Vampires Assistant and The Vampire Diaries (also all adaptations) to name a few. Although they all address the issues of the vampire race attempting to integrate with humans normally, I will argue that True Blood is cutting edge in that it successfully combines contemporary society with the old urban legend. James Holte states that “the vampire is a creature who stands outside of the conventions of civilisation, conventions that impose order and hierarchies within a culture.” Harris successfully overcomes this usual tradition however, whilst giving the audience a refreshing insight into a modern world’s reaction to the public ‘outing’ of the supernatural race.

Alan Ball’s adaptation of True Blood stays fairly true to the novels, yet he provides a heteroglossic approach, giving the audience a window into the lives of other characters in the book as well as Sookie. This includes two black characters, cousins Tara Thornton and Lafayette Reynolds. Although neither are related, nor play particularly large roles in the books (Lafayette is in fact killed off in the first novel), Ball clearly decided they were both valuable members for his series, and this is for various reasons.

Tara (originally a white character in the books) plays Sookie’s best friend, and provides a very contrasting character to the protagonist. Sookie is represented, by actress Anna Paquin, as a virginal, clean cut, somewhat naive white girl from Louisiana. Although her parents died when she was seven, she was brought up by her Christian grandmother appropriately to become a respectable young Christian woman. This contradicts Tara’s upbringing, which (in the TV series) shows a young Tara hiding at Sookie’s house to escape her abusive alcoholic mother. Rutina Wesley (Tara) plays an outwardly confident character, constantly referring to her colour, especially in difficult situations. Fighting with what she believes are her inner demons, Tara results in going for an exorcism, after witnessing her mother being cured of former alcoholism through one (although the exorcist turns out to be a fake).

All of these representations within her character imply various racial connotations and, perhaps, racist stereotyping. Mark Auslander argues “…What precisely is being exorcised from Tara and from her mother? Might it be, among other things, the enduring violent echoes of enslavement?”  The opening credits contain images of a Klansman, alongside other links within the modern programme concerning the gay and civil rights movements. Yet Auslander’s statement seems a little far fetched, as there are no real implications that this is the case.

When considering the personality of Tara, in reference to various previous multi-ethnic programmes and films, she portrays the stereotypical “angry black woman” and is illustrated as unholy, in her language and attitudes to sex. Such a vast contrast to Sookie’s character, in the first few episodes, it could almost appear that Tara is simply there to enhance the audience’s love for the protagonist. However, as the programme continues through series one, the audience is given a totally different side to her character. She softens, as the series progresses, begins a proper relationship, and secures a better home life. Whether Ball wanted his audience to pick up on the initial racial stereotypes or not, he manages to salvage them towards the end of the first series. Equally as attractive as Anna Paquin, Rutina Wesley generally provides the viewer with a positive, modern representation of a leading black character.

As previously mentioned, Lafayette (played by Nelson Ellis) was originally killed off in Charlaine Harris’ novels. Ball stated however, “I was not interested in him being effeminate and vulnerable” and this is clear when comparing the on and off screen roles. Generally they are the same, in that they are both very glamorous and very gay, black characters. In the book, Lafayette is only really mentioned in passing, being another employee at the place that Sookie works. Yet as Ball utilises the multi-voiced technique, giving almost equal air time to separate characters, this gives the audience a broader variety of storylines to enjoy, including that of Lafayette. In the first series, alongside working as a chef, he takes part in dodgy drug dealings (of “black market” vampire blood “V”) and prostitutes himself out to vampires. Not the most positive attributes to have, it makes one think why Ball decided to so radically enhance his part, in comparison with the books. Is it because he wants to portray negative representations of African-American characters in True Blood? Yet if all of the roles of the Bon Temps residents are considered, vampires, shape-shifters, werewolves, telepaths, maenads, fairies etc included, Lafayette seems a suitable candidate, used as a technique of adding further variety to the programme as an ‘interesting’ human, rather than another ‘standard’ supernatural being.

His visual flamboyance and hyper-sexuality continues to contrast with Sookie’s character, in a similar but more obvious way than Tara. Chained up and suffering from vampire abuse in a dungeon in series two, the audience are shown Lafayette in a terrible state, covered in blood, bruises and dirt. When considering slave treatment before and during the Civil Rights Movement in America, the connections here are obvious. What Ball is trying to depict, however, is not, as Lafayette got himself into trouble with the vampires, and is eventually released. Probably adding to the underlying political and cultural tones of the programme, this is not a racist representation as such, just creating more contexts for the audience to possibly pick up on. This is relevant also, when considering Lafayette’s sexuality “…The Six Feet Under creator says the gay themes on his latest show–which include a subplot about a Westboro Baptist-like church–are simply topical. “If it was 50 years ago, the analogies would have been about African-Americans.”…”

Whilst Ball’s depictions of African American characters in the TV show are questionable, the main themes of race within the adaptation are with the vampires.  “We are not human. We can pretend to be, when trying to live with people… in your society. We can sometimes remember what it was like to be among you, one of you. But we are not the same race. We are no longer of the same clay…” The award winning opening sequence further contextualises the programme, containing various political, religious and sexual images, such as a sign stating “God Hates Fangs”, members of the KKK, what could be a rape scene, and all are ended by a night time baptism shot. Created by Digital Kitchen (who also made the opening title for Six Feet Under) the Creative Director, Matt Mulder said that “Ball tweaked Charlaine Harris’s original stories, on which the show is based, to parallel the vampire-as-social-outcast characters in True Blood to the very real racial, sexual or social outcasts in America. In short we were to expose the soft pink underbelly of rural stereotypes to find what could be just under the surface.”

After the audience has been either shocked, or enthralled by the alternative opening sequence, the issues concerning the acceptance of the vampire race into human society are addressed. Right from the first episode, we are informed that a few years ago the vampire race had made themselves known, and we see a world struggling to cope with this enlightenment. Although, in the series, synthetic blood has been created in order for them to ‘live’ as normal lives as possible, humans are somewhat unsurprisingly prejudiced towards the creatures. A large group of Christians form a type of church cult against the vampires, and in the adaptation, Jason (Sookie’s own brother) is an innocent member. Called the ‘Westboro Baptist Church’, or ‘Fellowship of the Sun’, in the book Harris states “what the Klan was to African Americans, the Fellowship of the Sun was to vampires. It was the fastest growing cult in America.”  In True Blood, the Church turns people against vampires, with no specific reason in doing so. The second series even shows Jason in the preparation for vampire Godric’s “meeting the sun”, assisting in the creation of a large wooden cross, which shall hold Godric whilst he burns. The imagery of the burning cross bears complete resemblance of Ku Klux Klan practices, where they would use this as a form of symbolic intimidation.

Humans associated with vampires are largely frowned upon by others. As Sookie and Bill embark on their inter-species relationship, she receives a lot of grief from human friends and onlookers, and even other vampires have difficulty adjusting to the situation. “I thought you were going to say you were dating a black, but you’ve gone one better, ain’t you girl?” Whilst humans believe they are of a higher rank to the minority (like the white people’s prejudices towards the black people) the vampires assume the opposite. Just as society was before the Civil Rights Movement, there is no understanding for the inter-racial relationship. They are viewed as different and almost disgusting to most, whilst Bill and Sookie themselves can see no wrong in it. In the beginning few episodes, within various shots of news reports regarding the contemporary type of ‘Civil Rights’ struggle for the vampires, we are informed that vampire marriage has not yet become legal. This only adds to the controversy of Sookie’s relationship, but is also contextual when considering gay rights to marriage and a strong link is obvious here.

Whilst humans are afraid of this supernatural race, they believe themselves to be above them. Yet when considering the prejudices from the minority’s point of view, the feeling is somewhat neutral. As quoted in the introduction, Holte deciphers from previous adaptations, literary works and early myths that vampires “stand outside conventions of civilization” and “hierarchies within a culture”.  However Harris has introduced a ranking system within the undead race, some more powerful and high up than others (even including Kings and Queens). When the more ‘traditional’ vampire considers humans in this mixture, they are believed to be very much below the vampire race. “Fangbangers” (humans who offer themselves to vampires for sex and use of their blood) are perhaps a modern portrayal of slavery, pretty much owned by their “Master”, often ending up dead. Similarly to the human attitudes, the undead vary with different characters. Bill Compton is an example of a vampire who is simply attempting to integrate into normal society as well as he can, trying not to judge. Whereas Bill’s ‘acquaintances’ Malcom or Diane treat humans as meat, to be used and abused.

On the other hand, it is perhaps a little narrow minded to only consider the vampire and human race when discussing True Blood. Although unknown to the majority of humans, there is a large combination of supernatural beings within the series (as previously mentioned); most of them disliking one another for little reason other than they differ from one another. This loosely coincides with unprovoked racial discrimination between different ethnic groups. Each race tends to stereotype one another also and rarely do they socialize or combine forces with one another, unless they have to. Sookie, in fact, is discriminated against herself for being slightly ‘different’. Although having all qualities of a ‘normal’ human being, she is a telepath and can read minds. Named a freak, and sometimes treated with little respect, the humans in the series continue to be prejudiced towards what they don’t know.

Overall, the political and cultural undercurrent of the book and television series is present throughout, and certainly isn’t subtle. Alan Ball said that “I wanted to find a fun, irreverent way to show how easy it is to disenfranchise a group”, and that has certainly been achieved here. For the modern day viewer, it is refreshing to be given a metaphorical insight into how America may have been just after the Civil Rights Movement, and how hard it was for the African Americans to integrate. However, it is not in any way suggested that there are any similarities between the African American race and the supernatural beings of course. Just in the complexity of the harmonization of the two races. The issue with True Blood however, is that this is never really solved. Although only two series have been released on television, and nine books written so far, the prejudice and unsettlement between races is still apparent, and perhaps will never be solved in this case.

References:

Auslander, M., 2008., Cultural Productions: Theorizing Race and Slavery in HBO’s True Blood , Available from http://culturalproductions.blogspot.com/2008/12/theorizing-race-and-slavery-in-hbos.html

Accessed [29^th December 2009]

Benshoff, H., Griffin, S., 2004 America on film; Representing Race, Class, Gender and Sexuality at the Movies, Cornwall: Blackwell Publishing Ltd.

Breen, M., Broverman, N., Eleveld, K., Garcia, M., Harmon, A., Jameson, J., Kinser, J., Macdonald, P., Ring, T., 2009 Alan Ball. Advocate, Issue 1033/1034, p76-76, 1/3p Available from: https://mybu.bournemouth.ac.uk/webapps/portal/frameset.jsp?tab_id=_111_1

Accessed [10^th January 2009]

Harris, C., 2009 True Blood Omnibus, Chatham: Orion Publishing Group.

Holte, J., 1997 Dracula in the Dark: The Dracula Film Adaptations , Greenwood Publishing Group Ltd. Available from: http://site.ebrary.com/lib/bournemouth/docDetail.action?docID=10004883

Accessed [22^nd December 2009]

http://news.creativeleague.com/feature-dks-true-blood-the-making-of

Accessed [3rd January 2009]

Contemporary Television Texts Are Made To Have Meaning By Readers?

1. ‘Texts are made to have meaning by readers.’ Discuss with reference to at least ONE theoretical account of the role of the reader.

When referring to reader response theory and its criticisms, Allen said that “If every story presumes a teller, it also presumes someone to whom the story is told” (1992 pg. 101) There are so many forms of media texts and it would be impossible to consider all institutions when assessing this question. This essay will determine whether texts are made to have meaning by readers within contemporary television. This will be evaluated by using four theorists; Iser, Fish, Fiske and Barthes, looking at diverse genres of contemporary television; a drama series, a talk show, and reality TV.

Shameless is an ongoing television drama which represents a family; the “Gallaghers”, and their everyday lives. Set in dismal “Chatsworth Estate”, the family are portrayed as lower class-with leading role Frank Gallagher playing a drunken, disorderly and generally absent father. Allen applied Iser’s gap filling theory to soap operas, which are not dissimilar to Shameless in that they are ongoing, and every episode is left unresolved. Allen states that “the final page of a soap opera never comes, nor is it ever anticipated by the viewer.  As soap opera viewers, we cannot help but be inside the narrative flow of the soap opera text.” Allen (1992 p.109) Iser determines that the absence of the narrative is almost as important as reading the text itself, with anticipation and discussion further involving the reader.  (Iser, 1974) Allen recognises Iser’s theory that syntagmatic gaps between scenes, flittering from one situation to another can also heighten reader response. Using the most recent episode as an example, the viewer is shown a scene where Mimi is confronted in the Jockey (pub) by an old enemy Ruscoe. The next scene shows Maxine and Ian at their house, who are in trouble as they are keeping a man hostage who previously attacked Maxine. Ian has just found out who is the hostage’s boss, as he says “Ruscoe…” and Maxine replies “Ian, we need help with this”. This means that it is dependent on the viewer to place the scenes together and it involves them in the story line, as they are included in the adding together process. Channel 4 uses other media to supplement the programme; namely the internet. Whilst series 8 is currently filming, viewers have the option to vote-“Who’s the Daddy?” (In reference to character Mimi’s shock pregnancy.) This may engage viewers more actively, especially with the implication that they can in fact control the next story line. However there are arguable points against this. The programme is already filming, so whilst viewers may feel they are predicting the new storylines, they have already been formed and written. Also, the act of going onto the website in itself is a distraction from viewing the original text, and is not applicable to the whole audience.

Stanley Fish (1976) has established that there are interpretive communities to acknowledge in relation to audience and the role of the reader. He applies his theory to text; however it is relevant for contemporary television as well. Shameless portrays a lower class, northern English culture. It is arguable that for those watching who also represent this class bracket might relate to some of the situations, comparing their lives to those in the series. However, it would be fair to say that these are highly over exaggerated stereotyped characters. In another sense, those of the more upper class may see it as a humorous programme and a form of escapism-perhaps shaping their ideas of what this lifestyle is like, although this would not be so accurate at times. Fiske (1987) stated “It would be ridiculous to suggest that all members of the working class or all women would construct identical meanings that were determined directly by their social situation. However, it would be equally ridiculous to suggest that there is no such thing as a working class reading or a feminine reading.” (pg. 81) Shameless caters for many-fitting into the drama and comedy genre – yet how the viewer perceives the storylines can be ever changing, some finding it too crude and un-realistic, and others viewing these characters as an accurate representation. However, it is not the main aim of the writers of Shameless to educate their audiences with fact, but entertain them with far-fetched storylines.

The next genre of contemporary television with which to contemplate the role of the reader is the talk show. Although talk shows have been aired and popular with viewers for many years, one current example to look at is the Graham Norton Show. Looking at one of the recent episodes aired on BBC one, Graham Norton introduces diverse guests; Johnny Knoxville, Joan Rivers, Catherine Tate and performers Pet Shop Boys. A rhetorical form of television, Allen (1992) applies Iser’s concepts to talk shows “Direct address is but the most obvious way in which the viewer is represented on television” (pg. 120) Norton begins the show in the audience, who will act to represent the audience at home, being told when to cheer or clap. He addresses the camera directly saying “Good evening to one and all.” Within the programme, Norton questions audience members on past experiences; when and why they were last hurt (in reference to Johnny Knoxville who is promoting his new stunt film ‘Jackass 3D’) Whilst Iser might deliberate that this is a technique of involving audience members and those at home, Allen (1992) reminds us “even when the characterized viewer is allowed to speak as an individual member of the studio audience, his or her discourse is carefully regulated and channelled.” (Pg. 123) Norton (therefore ultimately, the BBC) controls who he chooses to talk, and how long for; as he is in control of the microphone.

Fiske suggests that television appears to be the natural way of seeing the world. (Fiske, 1987) Graham Norton is a recognisable character on British television, and this adds to the regular naturalisation of the programme – the viewer is comfortable and familiar with his persona; so therefore more inclined to trust him. The BBC website says that “Graham Norton presents a show focusing on the people, trends, stories, and aspects of celebrity culture that interest him most…” (2010) This implies that Norton selected his guests himself, making the show more personal. The guests are all of differing ages, sexes and professions; appealing to a more rounded audience. However, they are all on the show to promote something (e.g Rivers’ new documentary, or Knoxville’s new film). This pulls away from the ‘self-selected’ implications of the Graham Norton Show, yet whether viewers will recognise this is questionable.

This is applicable to Fish’s theory on interpretive communities, and seeing the audience as a whole. It is reasonable to say that the show is representing different cultures to a degree, and certainly different ages and sexes-also different forms of sexuality. However, these celebrities are all extreme representations of those. The programme airs at 10.35 on a Friday evening, and Norton is known for his slightly risqué shows. Therefore his target audience is older, with it airing on the BBC-they fit into a B-C class demographic bracket. Producers of the show, whilst they may think they are appealing to a broad range of viewers, it’s what is current and entertaining that over-rules this. “They (the reader) are ignored because the text is taken to be self sufficient – everything is in it – and they are devalued because when they are thought of at all, they are thought of as disposable machinery of extraction.” Fish (1976 pg. 474) The talk show follows a set standard procedure every week, and the programming is highly disposable – who the programme is appealing to is ever changing and may depend on week to week-therefore this is not a high priority for the producers of this show.

In recent years of television culture, one of the most dominant genres in the current market is reality TV. The X-Factor is one of Simon Cowell’s creations to take over our television screens in the run up to Christmas. There are similarities between rhetorical programmes such as the X-Factor and the Graham Norton Show in relation to the role of the reader, using the current series as an example. Using Iser’s (1974) theory – Dermot O’Leary, again a friendly house hold name and face-uses direct address, talking into the camera. Sometimes O’Leary refers to the live audience and people at home as “you guys” in a casual manner. The panel of judges on the show are also recognisable characters, reappearing every year, and ‘well known’ in the tabloids. The live audience continue to represent the viewers at home, with their directed responses to the performances (cue cards for “clap”). Yet the live studio audience act more as a voice for the home viewers here than they would have on the Graham Norton Show. They “boo” acts they don’t like (Wagner-one of this year’s contestants has had this reception), and they also “boo” comments from the panel if they disagree. Whilst this goes against the traditional canned audience role within commercial television, it still adds to the drama of the programme, something which producers are always striving for.

Allen (1992) applies Iser to TV audiences: “The television addresser attempts to solicit the viewer’s participation in a communication transaction in which a prospective audience member agrees to play the role of the listener/viewer”. (pg.118) The audience is addressed and responds as a group. The panel of judges, especially when disagreeing, often state things like “listen to that reaction” or “they’re the ones you need to impress”. The judges including the studio audience reaction as a voice for the people is a technique to further involve the reader. However, during one week, Louis commented “it’s not them; it’s the people at home who are voting.”This contradicts the earlier comment, separating one from the other, yet it is debatable that he continues here to assume a relationship with the home viewer, mentioning them personally.

As previously mentioned, Allen (1992) applied Iser’s gap filling theory to soap opera viewing. This is applicable here as well. The X-Factor leaves all interpretations open after an episode, and leads to many discussion between viewers, voicing their opinions on contestants and the judges’ comments. ITV have also used the internet as a technique to assist readers with further familiarising themselves with contestants. Video diaries have been available of all the finalists this year, which shows them answering fan questions, giving the impression that it is only them, and the camera. They are addressing the camera directly, and answering the questions using the fans’ names.  Yet it is open to debate whether the producers picked the questions themselves, and whether contestants were told how to act. Producers ultimately control the edit of the film clip, and what is broadcasted onto the website. The fact that viewers are ‘in control’ of who returns the following week is another factor to consider in relation to gap filling. However, the act of picking up a phone and calling during the programme, or searching on the internet for more footage can distract the viewer from the original reading intended, and does not include the audience as a whole.

Barthes’ (1977) theory of the readerly or writerly reader is appropriate when acknowledging the phone-in voting system of the programme. The act of voting empowers the viewer to determine who continues through the series-who they want to see more. This sways more towards the writerly aspect, how the reader can ‘write’ what is to happen next, and control the narrative. On the other hand, the programme can be seen as a readable text. Although viewers have the ability to control aspects of the programme, ultimately it is heavily edited and controlled by producers. The impression we gain of the contestants is down to what the producers include in their weekly ‘behind the scenes’ video, and when it comes down to it, the judges choose between the bottom two contestants anyway.

The phrase ‘reality TV’ comes under question here, as to how much is actually real. The impression is given that the viewer is in control of who continues in the series, and that in outside discussions, there are comparisons of who prefers which person, and who thinks who is better. The programme is aired live, and this contributes to the genuine feel of the experience for the reader – “television can and does simulate face-to-face communication in that a performers address to the camera can be seen and heard by the viewer at the moment of its articulation.” Allen, (1992 Pg. 116) Yet realistically, in relation to the contestants, viewers only really see their singing performance, and their reactions to the judges’ comments live. The impressions viewers’ are meant to gain of contestants, is all down to how the producers represent them in their editing.

Overall, it would be ignorant to suggest that texts are not made to have meaning by readers. The question would be what meaning is derived by readers; dependent on how they interpret the texts-and their own experiences and backgrounds. Whilst producers are striving to get their point across, there is always room for exception, and the audience should not be viewed as a mass. “In the procedures I would urge, the reader’s activities are at the centre of attention, where they are regarded, not as leading to meaning, but as having meaning.” Fish (1976 pg. 474) This however, is not always recognised by writers and producers of contemporary television. A lot of the programming available today has a quick turn over-and is fairly disposable. This is especially applicable to the reality tv and talk show genres discussed. Creators are looking to entertain and ultimately advertise – whether it is promotion of guests or seeking funding from phone-ins. “The segmented, fractured nature of television, its producerly texts, and its active audiences, come together to oppose any forces of closure within its narrative structures” Fiske (1987 pg. 147) What the reader interprets from each text is interchangeable, and the message intended is not always read by the viewer.

Allen, R.C. (1992) Audience-Oriented Criticism and Television. In R.C. Allen (ed.) Channels of Discourse: Reassembled.

Barthes, R. (1977) The Death of the Author. In Image-Music-Text, transl. S.

Heath, Fontana.

Fish, S. E. 1976 Interpreting the “Variorum”. Critical Inquiry, Vol.2, No.3 p465-485 Available from: http://www.scribd.com/doc/19935549/Stanley-Fish-Interpreting-the-Variorum [Accessed 12 November 2010]

Fiske, J. (1987) Television Culture. Routledge.

Iser, W. (1974) The Implied Reader. Johns Hopkins University Press.

The Graham Norton Show Available from: http://www.bbc.co.uk/programmes/b006xnzc [Accessed 12 November 2010]

FAQ – Mick Rock

Who is Mick Rock? Mick Rock is a famous photographer, often referred to as “The Man Who Shot The Seventies”. He specialises in photographing famous musicians and bands, and had created many recognisable images in his time.

Where did it begin? He claims he never intended to be a photographer. Either a case of being in the right place at the right time, or being friends with the right people, he went on to become one of  the best music photographers to date. He knew Syd Barrett, and shot his first few photographs in Syd’s mother’s basement. Rock also became close with David Bowie, Lou Reed and Mick Jagger.

What is he most famous for? Although Mick is still taking photographs of musicians and bands today, his past images are his most iconic. He is behind Queen’s image for Bohemian Rhapsody, Lou Reed’s Transformer and Coney Island Baby. Rock was also the official Bowie photographer, and is responsible for most Ziggy Stardust images. Rock directed and produced several of Bowie’s music videos including John I’m Only Dancing, Jean Genie, Space Oddity and Life On Mars.

What else has he done? In recent years he has published a series of books, many based on his classic images: A Photographic Record 1969-1980 (Century 22 Books 1995), Blood & Glitter – Glam: An Eyewitness Account (VisionOn Books 2001), Psychedelic Renegades / Syd Barrett (Genesis Publications 2002), Moonage Daydream / Ziggy Stardust (with David Bowie) (Genesis Publications), Rock ‘n Roll Eye (Tokyo Metropolitan Museum of Photography 2003), Killer Queen (with Brian May and Roger Taylor) (Genesis Publications 2003), Picture This – Debbie Harry & Blondie (foreword by Debbie Harry) (Sanctuary Books 2004), Raw Power – Iggy & The Stooges(foreword by Iggy Pop) (Omnibus Books 2005). (Urbis.org.uk)

What is he doing now? Mick Rock: Rock Music in association with Zippo can be seen at the Idea Generation Gallery until 16 January 2011.  This exhibition contains images of his new book Exposed: The Faces of Rock N’ Roll and you can hear him talking about his images for the BBC here. He has currently shot the likes of Snoop Dogg, the Yeah Yeah Yeah’s, Kate Moss, The Chemical Brothers, The Killers, The Rapture, Lady Gaga to name some. Rock also still works with close friends Lou Reed, David Bowie and Debbie Harry.

John Lennon Timeline

December 8th 1980, former Beatle John Lennon was assassinated outside his Manhattan home. Last year marked the 30th year since the incident, and I feel a timeline of his life and career seems appropriate.

1940: John Lennon was born in Liverpool to parents Julia Stanley and Alfred Lennon, reportedly during a WWII air-raid.

1952: Lennon starts highschool at Liverpools Quarry Bank Grammar School

1956: Lennon gets his first guitar, bought by his mother. He then goes on to form his first band, the Quarry Men.

1957: Lennon meets Paul McCartney and asks him to join his band after a local performance in Liverpool. This year, he was also accepted into the Liverpool College of Art.

1958: He writes his first song “Hello Little Girl”. Subsequently, Pauls friend George Harrison joins the Quarrymen. This year was also the year Lennon’s mother gets killed. She is hit by a car while crossing the road.

1961: As their front man, the Beatles debut at Liverpool’s Cavern Club. A few months later, record shop manager Brian Epstein is introduced to them.

1962: Drummer Pete Best is replaced byRichard Starkey, otherwise known as Ringo Starr. This year John enters his first marriage with Cynthia Powell.

1963: The Beatles release their first album Please Please Me, which was recorded in one day. Powell gives birth to Lennon’s first son; Julian.

1964: The Beatles begin their first American tour, and Lennon has a book published “In His Own Write”.

1965: Lennon writes “Help”, and his second book “A Spaniard in the Works” is published. This is the first big year for the Beatles. They meet Elvis Presley, and then go on to play in front of 60,000 fans in New York.

1966: Lennon states in an interview that the Beatles are more popular than Jesus. This creates an uproar and the public react by burning Beatles albums.They go on to play at Candlestick Park in San Francisco. Lennon films “How I Won the War”, and writes “Strawberry Fields” during the making. This is also the year that Lennon and Yoko Ono meet, at an art gallery in London.

1967: Sgt. Pepper’s Lonely Hearts Club Band is released, during a time where he is experimenting with all kinds of drugs, especially LSD. Lennon then composes “I Am the Walrus”.

1968: Lennon and Ono experiment with sounds as well as drugs, creating various unconventional sounds after dropping some acid. He then leaves his home, and moves into Starr’s house with Ono. They are arressted for possession of marijuana. Lennon and Powell are then divorced, reportedly, not to her knowledge. Ono and Lennon release album Two Virgins, of their sound effects created earlier that year. The cover shows them posing naked, and was released in a brown paper wrap.

1969: Lennon and Ono get married in Gibraltar and on their honeymoon in Amsterdam, they stage a “bed-in” for peace, and to celebrate their marriage. Subsequently, “Give Peace A Chance” is recorded at another “bed-in” in Montreal. In September, Lennon returns his MBE, protesting against Britains support of the Vietnam War.

1970: Debut of Lennon’s album Plastic Ono Band.

1971: Imagine is recorded at Lennon’s home studio in Tittenhurst Park.

1972: Senator Strom Thurmond believes Lennon should be deported because he is associated with Jerry Rubin and Abbie Hoffman. And so he begins his four year struggle, fighting against deportation.

1973: Lennon and Ono buy an appartment in the Dakota Building. He leaves for Los Angeles, beginning his separation from Ono.

1974: This year Lennon makes his final concert appearance. This is along side Elton John at the Madison Square Garden.

1975: Lennon and Ono are reunited, and his deportation order is overturned in U.S Court of Appeals. Lennon’s second son Sean Ono Taro Lennon is born, in New York City.

1977-1979: Lennon stays in his Dakota Building, looking after his son, making rare public appearances.

1980: He decides to sail to Bermuda, and the inspiration for writing returns. Double Fantasy was then released. December 8th, Lennon was then shot outside his appartment by deranged fan Mark Chapman.

1994: John Lennon is inducted into the Rock and Roll Hall of Fame as a solo artist.

Yoko Ono posted on her Twitter a story “The Teamaker”, about her time with John, and asked for others to post their memories beneath. It’s a good read so I would reccomend it. You can access her IMAGINEPEACE website here.

Travel to Amsterdam

These are a few more photographs from recent travels. In November I was lucky enough to go to Amsterdam. It wasn’t at all what I expected, you were able to walk pretty much everywhere so no public transport needed really. We did take a canal tour, however, and visited the Rijksmuseum and the Anne Frank house. The locals were very friendly and parts of the architecture reminded me slightly of Paris. I wasn’t expecting so much water, and even though it was freezing temperatures, it looked beautiful at night with Christmas lights reflecting in the canals, bringing the busy town to life.

Arcade Fire’s New Music Video

If you are enjoying the new Arcade Fire album as much as me then here’s a little something you might find interesting. They teamed up with Google Chrome and released an interactive music video, written and directed by Chris Milk.

We Used To Wait is one of the leading tracks off the album and this new wave style of music videoing is just the beginning… Enjoy…

The Wilderness Downtown.

Comparative Analysis of Two Websites

Comparative Analysis of Two Websites: Journalism

The purpose of this essay is to compare two major competing magazine websites; Grazia and OK Magazine. Whilst they are both successful and renowned print magazines in the UK and Europe, the internet is quickly replacing means for having to go out and purchase hard copies of editorials. Therefore it is increasingly important that these companies manage to achieve good website useability, creating more unique users and providing an easy to use service.

There are many different aspects to consider when analysing websites. These mainly correspond with the website useability, however appearance is also important. OK magazine is known for its red and white logo, and this branding is continued on their site. Navigation bars and headlines also follow this pattern. This is clever as it further associates the users with the branding they are already familiar with. OK is more prestige than some celebrity magazines such as Heat or More. However, although the red associates the user with the logo, and the yellow background catches the eye, the website looks quite tacky. Grazia is comparable to OK in that it has a similar target audience, and is a slightly more expensive magazine to purchase. It follows OK with their branding colours yellow, black and white making up the header, navigation bars, and background. This site looks more sophisticated than OK’s with a simpler squared layout, but still the bold colours can also make it look a bit cheap.

Simpson (2010) states that “a website with good usability and mediocre appearance will almost always outperform a website with good appearance and mediocre usability.” This further proves the point that although a websites appearance can create either positive or negative first impressions, it is how they work that is more important.

In order for the websites to be easily accessed, they need to achieve good search engine optimisation. When typing in OK Magazine to Google, after “OK” the first choice on the drop down bar reads “OK Magazine”, and they are also the first choice on the list. With Grazia, after typing in “Gra”, Grazia appears fourth on the drop down list, and first on Google after putting in the full name. It is difficult to compare the search engine optimisation between these two websites. They both achieve first place when the full term is entered onto Google. However, OK appears higher on the drop down list. Yet, this could be for a few reasons. OK consists of fewer letters, and is a more commonly used phrase in the English language. The magazine is also commonly known as just “OK”

Nielson (2001) states that “the primary purpose of a homepage is to facilitate navigation elsewhere on the site, it’s critical that users be able to find the appropriate navigation area effortlessly, differentiate between the choices, and have a good sense of what lies beneath the links.” The main navigation bar for OK is easy to access at the top of the page, with further options and links at the bottom. It follows the pattern of most journalism websites setting out information in three main columns, giving the user lots of choice of links, without over crowding or complicating the site. The website contains a search engine bar, in which you can search for specific articles, and this also links to Google. There is a drop down option to choose a celebrity if you wish to look at articles specifically related to them. This helpful for users to easily access information they may want, without having to search through archives to get it.

Grazia ‘s navigation has a similar style, with the main bar at the top, search engine, and more links at the bottom of the page. Their article links are mainly in the two left hand columns, leaving the third for mostly advertising. This is a familiar layout again, and does not complicate or overcrowd information. Grazia also have different search bar options. You can search for specific fashion shows, and designers, to gain access to information on them. As mentioned before, this is helpful for users to achieve their goal in an easy to do fashion. Grazia also has a tag cloud unlike OK, to increase navigation simplicity.

Online communities and social networking sites are one of the most common forms of communication today. User generated content-interaction between different users and the website-further involves the reader. It enables them to get involved with the sites and interact between one another. OK Magazines website doesn’t encourage a lot of UGC in comparison to Grazia. At the end of each article there is an option to share the page via facebook, email or “Tweet” the article. However, there is no option for users to comment or view comments from others. Yet you can “like” the page which shows up on your facebook, and view whether friends have done the same. They are persuading you to discuss with others via your own social networking page, rather than the website. It is a little old fashioned to instigate this. Quandt (2008) stated: “websites do not make use of the World Wide Web’s potential for new types of writing, producing, linking and interacting—but maybe that is also not an issue for the users. It is highly likely that they just want their usual news—fast and reliably.” This may be because this is a magazine rather than a social networking site; yet if these options are readily available, why not offer such services? There is a large obvious link to receive an RSS feed, however it is at the bottom of the site. The magazine should consider placing this at the top, for it to catch the eye more easily.

Grazia are different to OK in this way. They give you the option to log in to the website, enabling you to comment on different articles offering your opinion. Whether users are members or not, they still have access at the end of every article to comments, which is successful as it prompts people to sign up and join in with discussion. Similarly to OK, you can share articles on facebook, through email or via twitter easily. Grazia also offers a blog, in which you can follow staff members through the website. Within these blogs, comments are also enabled, to further increase UGC. “Book Club” on the navigation bar leads to a link in which books are reviewed and authors are interviewed. A live web chat has taken place here. It is an updated version of a book club meeting where people would gather and discuss. Although the web chat happened in August, users can still access the chat and read what was said. Here, the magazine has found an innovative way to carry on what would be otherwise a dying out tradition, prompting user interactivity. Their RSS feed link however, is more difficult to find. Only after selecting the “About” section at the bottom does it appear, very subtly on the right hand side. This is a fault as they should be promoting this more obviously, for it to reach full effect.

Multimedia, e.g audio or video clips, should enable a magazine to share new information with readers on their websites, where they cannot in a printed copy. OK have not taken on this opportunity successfully. Using their recent homepage links as an example, if you choose any X-Factor story, the current music video with advertising comes up, but this is not their own footage. Similarly, they have a clip from The Simpsons in another link. This, however, was posted by someone else on Youtube, and they are using it. This is as far as their multimedia links go. Being a magazine, conducting interviews with celebrities, it is surprising that they don’t offer a more vast collection of videos/audio, using some of their own footage. Grazia varies in that their website contains audio/video clips of various fashion shows and interviews etc. An example of this is a video interview of celebrity Alexa Chung. The link to the article is on the homepage, and the clip accompanies the type.

Unique users of the sites were hard to find, and only the figures for 2009 were available for both. OK gained 318,733, and Grazia had 961,603, tripling OK’s figures. However, it would be correct to assume that since then, both of those figures will have risen, as online journalism popularity has increased over the year.

Overall, it would be accurate to say that both websites need updating in different areas. OK should prompt more UGC and multimedia options. Grazia need to promote their RSS feed more effectively, and both sites could do with rejuvenating their appearance. However, as the 2009 figures suggest, Grazia is a user friendly interactive website; encouraging more unique users. OK has a much more old fashioned style of site, and should take advantage of different forms of media available-offering more varying information for their website users.

References

Nielson, J. Tahir, M 2001 Homepage Useability: 50 Websites Deconstructed. Indianapolis: New Riders Publishing. Available from: http://www.useit.com/homepageusability/guidelines.html [Accessed 4 December 2010]

Quandt, T. (2008). (NO) NEWS ON THE WORLD WIDE WEB?. Journalism Studies, 9(5), 717-738.

Available from: http://ehis.ebscohost.com/eds/results?vid=1&hid=101&sid=df15479c-300f-4524-86b1-8d7e49acf56c%40sessionmgr111&bquery=((multimedia+AND+%22in%22+AND+websites))&bdata=JnR5cGU9MCZzaXRlPWVkcy1saXZlJnNjb3BlPXNpdGU%3d [Accessed 6 December 2010]

Simpson, T, 2010. What Makes a Good Web Page – Appearance or Usability? USA: Ezine Articles. Available from: http://ezinearticles.com/?What-Makes-a-Good-Web-Page—Appearance-or-Usability?&id=5383064 [Accessed 4 December 2010].

Moscow and Saint Petersburg, Russia

In 2007 I went on a trip to Saint Petersburg and Moscow, Russia. Studying History at the time, I was able to visit many remarkable places; Saint Basil’s Cathedral, Moscow Kremlin, Red Square, and I gathered lots of photographs-particularly focusing on the amazing architecture.