"the appropriation of his aesthetic by others for commercial means."
April 11, 2016 8:40 PM Subscribe
The Koyaanisqatsi clips in the trailer they were reconstructing:
https://www.youtube.com/watch?v=PirH8PADDgQ
posted by girl Mark at 8:54 PM on April 11, 2016
https://www.youtube.com/watch?v=PirH8PADDgQ
posted by girl Mark at 8:54 PM on April 11, 2016
From the Vimeo description: "A testament to Reggio's influence on contemporary motion photography, and the appropriation of his aesthetic by others for commercial means."
I must dispute this as presented. It's clear that Koyaanisqatsi's genius was Ron Fricke's genius. Consider both Fricke's post-Koyaanisqatsi work (Baraka) versus Reggio's (Naqoyqatsi).
Fricke deserves the [his aesthetic] credit.
posted by chimaera at 9:06 PM on April 11, 2016 [6 favorites]
I must dispute this as presented. It's clear that Koyaanisqatsi's genius was Ron Fricke's genius. Consider both Fricke's post-Koyaanisqatsi work (Baraka) versus Reggio's (Naqoyqatsi).
Fricke deserves the [his aesthetic] credit.
posted by chimaera at 9:06 PM on April 11, 2016 [6 favorites]
Yeah, if anything, this is Fricke's aesthetic. But honestly, more than stock or anything "appropriating [the] aesthetic for commercial means", if anyone's appropriating the aesthetic here, it's the person who cut this together, for, I don't know, clickbaity means?
I mean, I like this, it's fun, but to pretend that the fact that you can make something that feels like Koyaanisqatsi by cutting together stock footage is no big revelation. Fricke didn't invent timelapses or slow motion shots of crowds (though he certainly did a lot to perfect them), his shots in Koyaanisqatsi and Baraka get their power from the juxtaposition with other shots, in other words, in the editing, and also the soundtrack. Standing alone, they're pretty and technically accomplished, but not much else.
(I would also argue that whatever power they have in those movies is in the service of a pretty banal message, but that's probably just me. I love the visuals, though, and the whole package inspires something resembling awe, but there's just not a lot of there there, for me.)
posted by Joakim Ziegler at 10:33 PM on April 11, 2016 [4 favorites]
I mean, I like this, it's fun, but to pretend that the fact that you can make something that feels like Koyaanisqatsi by cutting together stock footage is no big revelation. Fricke didn't invent timelapses or slow motion shots of crowds (though he certainly did a lot to perfect them), his shots in Koyaanisqatsi and Baraka get their power from the juxtaposition with other shots, in other words, in the editing, and also the soundtrack. Standing alone, they're pretty and technically accomplished, but not much else.
(I would also argue that whatever power they have in those movies is in the service of a pretty banal message, but that's probably just me. I love the visuals, though, and the whole package inspires something resembling awe, but there's just not a lot of there there, for me.)
posted by Joakim Ziegler at 10:33 PM on April 11, 2016 [4 favorites]
There was a message in those movies? I thought it was just meant to be a vaguely inspiring montage of awesome scenes without much in the way of narration.
posted by MartinWisse at 11:20 PM on April 11, 2016
posted by MartinWisse at 11:20 PM on April 11, 2016
How did they leave out That Asian Girl in Every Stock Photo?
posted by chavenet at 2:03 AM on April 12, 2016 [3 favorites]
posted by chavenet at 2:03 AM on April 12, 2016 [3 favorites]
MartinWisse: "There was a message in those movies? I thought it was just meant to be a vaguely inspiring montage of awesome scenes without much in the way of narration."
You watched it wrong.
posted by chavenet at 2:03 AM on April 12, 2016 [7 favorites]
You watched it wrong.
posted by chavenet at 2:03 AM on April 12, 2016 [7 favorites]
I'm trying hard to imagine how Koyaanisqatsi could be seen as inspiring. I love it, even saw it with Glass performing the soundtrack live in front of it but it's mostly pretty depressing.
posted by octothorpe at 3:35 AM on April 12, 2016 [1 favorite]
posted by octothorpe at 3:35 AM on April 12, 2016 [1 favorite]
...the fact that you can make something that feels like Koyaanisqatsi by cutting together stock footage is no big revelation.
Maybe I missed something, but I thought what was being shown was how much modern stock film- commercials, I guess- owes to Koyaanisqatsi, rather than the idea that, for instance, 'we can do Star Wars with Legos'.
posted by MtDewd at 3:59 AM on April 12, 2016 [2 favorites]
Maybe I missed something, but I thought what was being shown was how much modern stock film- commercials, I guess- owes to Koyaanisqatsi, rather than the idea that, for instance, 'we can do Star Wars with Legos'.
posted by MtDewd at 3:59 AM on April 12, 2016 [2 favorites]
The first time I watched Koyaanisqatsi in a film class back in the late 80s, all of us in class noticed the parallel between the film and Chevrolet's "Heartbeat of America" ad campaign.
Art is the creation of new aesthetic ideas and visions never seen before. Then it filters into the rest of the culture, becomes mainstream, and incorporated into our commercial, personal, and aesthetic lives, even if we aren't aware of its origin.
This video is more about Koyaanisqatsi's massive influence on our culture rather than some kind of warning of aesthetic appropriation
posted by deanc at 6:58 AM on April 12, 2016
Art is the creation of new aesthetic ideas and visions never seen before. Then it filters into the rest of the culture, becomes mainstream, and incorporated into our commercial, personal, and aesthetic lives, even if we aren't aware of its origin.
This video is more about Koyaanisqatsi's massive influence on our culture rather than some kind of warning of aesthetic appropriation
posted by deanc at 6:58 AM on April 12, 2016
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posted by the man of twists and turns at 8:40 PM on April 11, 2016