![]() ![]() Scarface Is Back, but sold strongly, breaking into the Top 10 on the Billboard 200 chart, and peaking at #1 on the R&B/hip hop album chart. The album was not as acclaimed as his debut, Mr. The album was released on August 17, 1993, by Rap-A-Lot Records and Priority Records. The thesis ultimately infers the existence of a ‘prime’ or ‘original’ meaning for the performer in a cinematic context, against which all other depictions are measured.The World Is Yours is the second studio album by American rapper Scarface. ![]() Evidence suggests that mainstream filmmaking has imbued representations of the performer with certain political ideologies, societal associations, and attitudinal assumptions. This methodology, and Dylan’s conception of himself in a filmic context, contrasts with that of other filmmakers. What can be discerned is a methodological consistency on Dylan’s behalf across media. The resultant investigation suggests the primacy of juxtaposition and contrast to multiple strands of Dylan’s work. Attempts are made to link Dylan’s filmmaking and latter-day song composition to theories of Russian montage editing. The analysis takes a structuralist and narratological approach, and attempts to discern commonalities in the methodology employed by the artist across disciplines. From this, cinematic uses of the artist’s music by mainstream filmmakers are investigated. Through a preliminary analysis of Dylan’s engagement with cinematic form and content, this thesis proceeds to investigate the performer’s films, and illustrates their structural and thematic relation to his musical work. In comparing filmmakers’ use of the performer to Dylan’s own theatrically-released ventures, the thesis postulates a highly coded representational role for Dylan in cinema that often contrasts with the artist’s personal involvement in visual narrative. This thesis examines the appropriation of Bob Dylan in a cinematic context. The sustainable ways, as observed, are organisation, commercialisation, hegemony and exclusion of certain music genres. Nevertheless, the need to survive changes for the long term has triggered the implementation of sustainability in the handling of chuangzuo. The social identity of chuangzuo is built through identity construction, individuality, communion formation and aspiration. This has formed the musical identity of chuangzuo. They usually adopt elements of cultural fusion in their compositions, and they show amateurish characteristics in their music. Chuangzuo is an opportunity for youth to engage with music. The studied gongzuofang represents a typical organisation that provides its members with abundant opportunities in music compositions, as members learn to compose, perform, compete in music contests and produce music concerts or music recording. It exists as an important space for music practice, music learning, idea sharing, planning, music presentation, socialisation, and also life-cycle events. A gongzuofang is the basic unit of chuangzuo that accommodates youth’s music activities. Though mixed language and vocables are included sometimes, the texts are commonly written in the discursive style. Instrumentation is usually simple, and Chinese texts with rhymes are used. ![]() The music is commonly composed in the sentimental style or of a ballad that usually adopts a major key and the common simple quadruple time. Chuangzuo is a music activity for the youth in Malaysia, as the music, mainly performed in Chinese, often depicts the youth’s life-cycle events. The general phenomenon of chuangzuo depicts a scene where youth perform their own music compositions with guitars or light instruments. The secondary setting of the fieldwork is based on related song-writing competitions, concerts and music camp, which were held in Penang and Kuala Lumpur. Observation, interviews and video recordings of important rehearsals and actual performance were rendered. The primary setting is gongzuofang in Penang, namely the Wanderers and CZMusic which have been actively involved in chuangzuo activities. Observation through fieldwork is rendered for this ethnographic research. The specific objectives are to produce a description on the settings of gongzuofang in Penang, an analysis of musical materials of chuangzuo, and a clarification of the identity and sustainability of chuangzuo based on the former two specific objectives. The primary objective of this study is to determine the identity and the sustainability of chuangzuo activities in Malaysia. Chuangzuo has emerged as a music trend through a music movement, and as a popular culture for youth in Malaysia, but the music of chuangzuo have not been described to the general public that is probably not aware of the identity in chuangzuo, the social aspects of chuangzuo as in a gongzuofang, and also how the music has sustained so far. ![]()
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