Schermi, mediazioni e autenticità nel concerto popular: due casi di studio

Giulia Sarno

doi:10.13125/2039-6597/3342

Giulia Sarno Università degli Studi di Firenze https://orcid.org/0000-0002-3758-9790

DOI: https://doi.org/10.13125/2039-6597/3342

Keywords: Kraftwerk, Gorillaz, Authenticity, Concert video design, Authorship

Abstract

The article investigates the implications of the use of video projections in the popular music concert with two case studies: that of Kraftwerk, who develop a “double” aiming to de-humanize the performance, in line with the celebration of the machine and the android, crucial in their aesthetics; and that of Gorillaz, virtual band consisting of animated characters acting on screens or as holograms, while the “real” musicians stay hidden. The use of projections thus affects the ontological status of the author/performer, problematizing the concept of physical presence as a certificate of authenticity.

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Author Biography

Giulia Sarno, Università degli Studi di Firenze

She began research into Popular Music Studies in 2008, defending a BA dissertation in Literary criticism and Comparative literature at University of Siena on the relations between poetry and popular music. She took an MA in Ethnomusicology at University of Florence with a dissertation on the musical practices of the comici dell’Arte, which was awarded the 2017 “Maria Rosa Calendoli” Prize. She is currently a PhD candidate at University of Florence, where she is investigating the history and archives of the research centre for music Tempo Reale. Her publications include works on music analysis, historic and aesthetic discussion of popular music, the history of actors in Renaissance theatre and music iconography. She is a member of the editorial staff of the online periodical Drammaturgia (Firenze University Press) and is an editorial assistant at Perarchi. Rivista di storia e cultura degli strumenti ad arco(LIM).

References

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Filmografia

Bananaz, Dir. Ceri Levy, UK, 2008.

Gorillaz. Demon Days: Live at the Manchester Opera House, Dir. David Barnard – Grant Gee, UK, 2006 (la registrazione del concerto è anche su YouTube: https://www.youtube.com/watch?v=7x1H1FBlD00, ultimo accesso 14/01/2019).

Kraftwerk and the Electronic Revolution, Dir. Rob Johnstone, UK, 2008.

Kraftwerk: Pop Art, Dir. Simon Witter – Hannes Rossacher, UK, 2013.

Sitografia

Amon Tobin 'ISAM' Live: Mutek Premiere (Official), 2011, https://www.youtube.com/watch?v=WWai4UZ0OqI (ultimo accesso 14/01/2019).

Gorillaz – Clint Eastwood (Live BRITs Performance), 2002, https://www.youtube.com/watch?v=xxLWuM_SHcI&start_radio=1&list=RDxxLWuM_SHcI (ultimo accesso 14/01/2019).

Gorillaz – Feel Good Inc. (Live At The MTV EMA's), 2005, https://www.youtube.com/watch?v=BdAXIj5QViw (ultimo accesso 14/01/2019).

Gorillaz ft Madonna – "Feel Good Inc & Hung Up" LIVE at Grammys 2006, 2006, https://www.youtube.com/watch?v=JRPtGdF_nxE (ultimo accesso 14/01/2019).

Kraftwerk – The Robots, 1978, https://www.youtube.com/watch?v=u_DZmgArjqU (ultimo accesso 14/01/2019).

Kraftwerk – Taschenrechner (Live 1981 - ORF), 1982a, https://www.youtube.com/watch?v=mopXKac2R3E (ultimo accesso 14/01/2019).

Kraftwerk – Documentary 1981, 1982b, https://www.youtube.com/watch?v=Ad65YPNaX1k (ultimo accesso 14/01/2019).

Kraftwerk – Heimcomputer (Live 1981 - ORF), 1982c, https://www.youtube.com/watch?v=3AmMnFk3imI (ultimo accesso 14/01/2019).

Kraftwerk – Musique Non Stop 1986 Music Video, 1986, https://www.youtube.com/watch?v=O0lIlROWro8 (ultimo accesso 15/01/2019).

Van den Hoogenband, Corey, “From The Archies To Gorillaz: A Timeline Of Cartoon Bands”, Indie88, 2017, https://indie88.com/from-the-archies-to-gorillaz-a-timeline-of-cartoon-bands/ (ultimo accesso 13/01/2019).

Screens, mediations and authenticity in the popular music concert: two case studies

Abstract

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Author Biography

References