Analyze and discuss the issues of music and authenticity in relation to two or three of the films - Essay Example

Visual arts and Music of Introdution GREASE Worship songs The theme song performed by Frankie Valli and thesong Youre the One That I Want became popular right after the first screening of the film. Grease is an adaptation of a musical created in Chicago in 1971, with the theme Youth 1950, contributors include Jim Jacobs and Warren Casey. Discussion Grease allowed in effect to John Travolta and Olivia Newton-John the status of stars was adored and admired   worldwide. Travolta came to celebrity world with the general public in Saturday Night Fever (1977), while the second, Olivia, was better known as a country singer in the United States. Musical par excellence, "Grease" owes its success to its timeless songs that everyone has heard at least once. From "Youre the only one that I want" to the title song "Grease" by Frankie Valli, its good humor melodies are always contagious. Especially with John Travolta and Olivia Newton-John, two fine specimens of the Love Attitude. They sing, dance, flutter and twirl in a swirl of colors and songs. In short, they created a cult. The other great strength of "Grease" is that it happens in the 50s, an era that is undeniably attractive. It is a little "High School Musical" of the 70s. In this movie, the audiovisual uses multiple communication channels including mainly: image, sound, verbal language (written or spoken). The sound acts directly on the senses of viewers, much more than the image and the verb. Its impact is much more subtle:  an image or a word provide immediate intellectual meaning and cause reactions largely conscious. Instead, this movie is largely beyond an intellectual analysis because its benchmarks are not palpable. The viewer receives it and reacts subjectively. The sound in this movie,  more than any other carrier, is handling affective and semantics means of an audiovisual message: images and words. There is a connection between a musical vocabulary, referring to aesthetic and sensory phenomena, and the vocabulary of everyday life, covering an ethical and intellectual reality of this time. Reconciling these two semantic universe can only afford to develop a specific speech and the music gives the tone to the speech in this movie, the music is in very tight collaboration with the sentences, with the environment, with the epoch. In the world of entertainment, the design of a musical message partially escapes its own creators: the intuition and experience offset the lack of a grammar of the language of music. The effectiveness of the message comes with a simple observation: "it works" or "it does not work”... Music and movies can be found in their embrace of time, the wedding of memory and eternity, sensitive and impalpable. Through its place in the narrative, and its sensory effect, the music in Grease gives the rhythm to the movie and focus the viewer on important elements of the history of the American youth. The music is like a side-show in the movie itself. Music affects us in subtle ways as it affects our feelings; it can be translated in a psychological or physiological manner. Music and speech use in our brain separated neural circuits. Intelligence verbalized can therefore die but musical ability remains intact. We may forget part of the movie details, but we will not forget its music. Film music becomes diegetic when it is caused by the inherent logic of the fictional reality of the visual production, i.e., when the source of this music is part of this fictional reality. You can see the music source as audible music to the characters, and part of the game in the scene where it occurs. The source may be visible on the screen. For example, a band, a band in a nightclub, a parent singing a lullaby, a concert, an organ in a church or congregation, a teenagers party, etc… express the emotions of the actors, or use music to communicate the emotions felt by the people taking the role on screen (Cornett, 1999) . The role of music in the movie Grease? Strengthen cohesion in human groups that is to say their survivability. The musical "Grease" is an ideal medium for the discovery of the United States in the 70s. Diners, drive-in, high school ... all typical places that make the distinction and fascination of young people the world over for the "American dream."  The Grease music ensured the long remembrance of this movie and of the American society of the 70s. Delightfully retro with catchy songs, the film quickly becomes worship, making the public forget his stage version created ten years earlier. In this film we find the friends that we want to keep even after college has ended. Music, whether the rhythm or the lyrics, is catchy, fun and the choreography, which is from this epoch, is giving a touch of humor when they sing. During the dance competition, it is a real pleasure to see the dances of the time, music, cameras, television in black and white. The costumes are also very good, black leather coat for the rebels with the neck wound and pink leather girls, original mini shorts for the athlete from the 70s, long dresses for girls, of different colors, all this takes us well back in the 70s. The transformation of Sandy is also impressive, which shows the multiple talents of Olivia Newton-John for singing, dancing, and her interpretation but also in her change of style. This film is a real success, it puts us in a real atmosphere and that is always a pleasure to see even if the generation has changed its music style. This film just takes us back in time, and so does its music. It is an effective mix of rythmnblues, disco and boogie-woogie. Beyond the famous sequences assembled as clips, you can savor the incredible swaying Travolta, Elvis clone on springs, and Olivia Newton-John, with white socks and pony tail. This music expresses and says what happens in the head of the teens. The aim is clearly to bring back memories and play with public nostalgia through the music of this time perfectly adapted to the scenes, the clothing, and the actions of the actors. Through the movie Grease, we can also see how music influences our judgment. This has been demonstrated by U.S. researchers in the 1980s. They presented to students two photos with almost similar pencils as background music for the first "Grease" musical comedy very much in vogue at that time, and the second a Indian melody least appreciated. Result: 79% of students chose the pen with background music for "Grease." If Grease deserves respect as a musical, it is mainly for this care at the precisely highlighted ahead musical scenario (a blessing in disguise?). It is also the only movie of the period to have captivated a large audience (the last success of the genre back to West Side Story in 1961). FAME It is a true reinvention of the Oscar-winning cult film, Fame book a portrait bubbling energy and visually stunning young determined to impose their talent and find their way artists. In the electric atmosphere of the prestigious High School of Performing Arts in New York, dancers, singers and actors compete for four years all the challenges of a highly competitive environment. Everyone is given the chance to fulfill his dream ... provided they are gifted to demonstrate an absolute commitment to work and never falter. Addition to the requirements of learning, each must confront his doubts, and experience everything that makes life at this age: friendships, first love and the discovery of his own limitations ... While each struggle to reach the spotlight, everyone will find out who among them has enough talent and discipline to really experience the glory (Cornett, 1999) .  Fame, true musical explosion, at both choreographies (the one from the beginning to the cafeteria, the street and the last sequence of the film) at the level of songs (hence his reward: the Oscar for Best song!). Staged sustained that takes us to the heart of New York in the 80s, in a public art school where all social backgrounds meet. Between joy and the many clashes, these students are followed during their four years of study and hard work, to the final competition (superb representation beautifully concludes that became legendary work). Fame takes you to the dance, until the end credits, you never lose the way. Fame book a bubbling energy and visually stunning young determined to impose their talent and portrait artists find their voie.Dans the electric atmosphere of the prestigious High School of Performing Arts in New York, dancers, singers and actors face four years for all the challenges of an ultra compétitif.Chacun environment is offered the chance to fulfill his  dream ... provided they are gifted to demonstrate an absolute commitment and work without faiblir.Parallèlement the requirements of learning, each must confront his doubts, and experience everything that makes life at this age: friendships, first love and the discovery of his own limitations ... While everyone struggles to reach the spotlight, all will discover who among them has enough talent and discipline to really experience the glory ... Fame meets both young people and adults with choreography and music that listen to all ages. This is a real change of scenery for the eyes (dance), ears (singing) and our heart (the personal stories of the characters). A movie to relax but with a message such as: "Any apparent ease, any success is the fruit of an intimate rigor" But we live in the United States, Italy and France, the values conveyed by the film are nearly universal: to get what you want, and works to become an artist and a good man, rest yourself. Musical, film, and television series Fame rocked an entire generation in the 80s. And the title track, once again performed by Irene Cara, does not seem to have taken a ride ... "Fame /Im going to live forever /Im going to learn how to fly /I feel it coming together /Will people see me and cry " "Musical" is a fairly broad term that is often confusing. If the current trend is to use this terminology to define any movie or show featuring musical scenes, such is a much more coded reality. Try here decoding features in musical films (Hetland, 2014). There is no general definition of recursive! Genre film itself. A genre is a category empirically used to name, classify, and distinguish filmic works containing both a same set, semantic elements and a common narrative structure in which these fit. However, it should not be seen as a kind of  box sealed in which would rank a group of films. Genres are not fixed, they cease! evolve, revive, not only with each new film product, each new type of set up, but also as a function of socio-economic and spatial-temporal context. The first major feature of the musical is in its mounting highly particular, alternating between dialogued scenes and musical moments (sung and / or danced). Thus, they are not considered as belonging to the musical films sung from beginning to end (The Umbrellas of Cherbourg, Evita) or containing that one or two musical pieces (Alison Forever, Beetle juice), although these sequences use other characteristic elements of the genre. A musical play is constantly on the relationship between the various parcels comprising, developing an actual transition of the art. The binder element between musical and non-musical usually takes two forms. It is regularly based on a pretext screenplay it is often more subtle and worked. Not trying to justify the presence of a Musical scene, it leaves movements and the music speak for themselves. The music is not just a simple game to mind. It fulfills a biological need. A need to belong. Humans are a highly social species. To preserve this feature, it would have kept in a small part of his brain, music as a unifier. In the evolution of our species, the musical brain was an adaptive advantage retained by natural selection. FAME is a musical film directed by Alan Parker in 1980.Many teens try to pass the entrance to the famous Fiorello H. LaGuardia High School of Music & Art and Performing Arts in New York exam. Many are called, few are chosen. After four years of hard training, few will succeed in the (fame) celebrity. The different dance styles shown in the film, from classical dance to jazz to hip-hop and African dance are perfectly integrated into the story as subjects that could be taught in a school of the arts show. This is not a film about a school where future stars are formed, but dedicated to the performing arts tribute, and energy of youth. The school is then a convenient stage. Anyway they are all very professional and know everything. The beginning is clearly shown with the redhead who tells her conflicted relationship with her mother, and when the camera moves away, we realize that weve been having: she passed an audition. Good casting, superb choreography in-door and out-door, Beethoven is near disco rhythms without setting a sham, racial tensions evacuated by the competition, and everyone stays in the same boat, we come to beautiful neighborhoods with street anecdotes that summarize the point. Like the original film, Fame is not a musical, nor even a real dance film comedy; this is a film about the performing arts in general. Thus, if it is not his main subject, it still contains six scenes choreographed with more steps outlined here and there. Hairspray A musical Comedy A good modern musical comedy, but the film is a bit "all is well in the best of worlds," at the end where everybody dances with everybody,  and people are not racist anymore… Good morning Baltimore ... "From his first notes, Hairspray 2007 version takes us on his torrent of good humor and simplicity. A pure musical glucose,  even playing, never exceedind  the prescribed dose. Adam Shankmans film is a tidal wave that carries everything in its path at the option of sweet and catchy songs. The plot is obviously schematic (and secondary): the struggle of a young plump teen  to accept people "different" in a TV show and in everyday life. Hairpsray enjoys simple but strong characters: the Gentiles are endearing, the detestable villains, and everyone invective pushing the song. The buzz revolved around John Travolta, replacing Divine in the role of big mamma: but if it delivers a nice benefit, it is definitely not the attraction of the film. Him we prefer young Nikki Blonsky, whose devastating power makes us forget she is overweight; Christopher Walken, growing in self-mockery; and especially Michelle Pfeiffer, ghost multi-lifted, flawless and a tyrran ique racist bitch. The message of tolerance going pretty well, the film swings from side to side, despite a few lengths (Goldthorpeb, 2014). The rest is in the tradition of musicals "committed" to the U.S.: a nice bright ode to the difference, a denunciation of racism, an ode to solidarity and friendship. Hairspray is a movies that moves and makes us move too. This film inspires you to take dance lessons. The music is not as memorable as that of Grease or Hair, but it still manages to captivate. When we say that this music is not memorable, we mean, the songs do not really have melodies that stay in the back of our heads to sing them again and again. When you see Grease, the music is kept firmly in mind. That is unfortunately not the case with Hairspray. What young people have in common is that their future is in front of them, they grow in the social, economic and political context of their time which produces inequalities with other generations who have lived a youth under other auspices (Goldthorpeb, 2014). Conclusion Through these 3 movies, what is mostly expressed by the music is the changing youth, the problems they had to confront in the society of those days, and they found a beautiful way of expressing themselves : music. References Heller, K. (2014). International Handbook of Giftedness and Talent. [online] Google Books. Available at: http://books.google.com.pk/books?  Google Books, (2014). A History of Art Education. [online] Available at: http://books.google.com.pk/books? Persky, H., Sandene, B. and Askew, J. (1997). The NAEP 1997 Arts Report Card: Eighth-Grade Findings from the National Assessment of Educational Progress. ED Pubs, P.O. Box 1398, Jessup, MD 20794-1244; toll-free phone: 877-433-7827.. [online] Available at: http://eric.ed.gov/?id=ED423213 Cornett, C. (1999). The Arts as Meaning Makers: Integrating Literature and the Arts throughout the Curriculum. Merrill Prentice-Hall, Inc., Order Processing, P.O. Box 11071, Des Moines, IA 50336-1071; Tel: 800-526-0485 (Toll-Free); Web site: http://merrilleducation.com ($36).. [online] Available at: http://eric.ed.gov/?id=ED425470   Stechow, W. (2014). JSTOR: An Error Occurred Setting Your User Cookie. [online] Jstor.org. Available at: http://www.jstor.org/discover/10.2307/426455?uid=2&uid=4&sid=21103865777831  Hetland, L. (2014). Studio Thinking 2. [online] Google Books. Available at: http://books.google.com.pk/books?hl=en&lr=&id=3-E2018bTKQC&oi=fnd&pg=PR3&dq=visual+arts+and+music&ots=-al9w0Gn5N&sig=mXA_wnLCxn410iw9QvedtFZqcfM#v=onepage&q=visual%20arts%20and%20music&f=false  Goldthorpeb, J. (2014). Social stratification and cultural consumption: The visual arts in England. [online] Sciencedirect.com. Available at: http://www.sciencedirect.com/science/article/pii/S0304422X07000204  Google Books, (2014). Cognition and the Visual Arts. [online] Available at: http://books.google.com.pk/books? Read More