Storyline VJing
From Live Cinema Research
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| - | The pardox lies here: because the audience/strategies of both avant-garde and mainstream film to create an arresting, powerful sequence of events do not necessarily apply to VJing. But | + | <i>The pardox lies here: because the audience/strategies of both avant-garde and mainstream film to create an arresting, powerful sequence of events do not necessarily apply to VJing. But yet this same audience that is going to VJ performances, clubs, raves, etc. have been weened on mainstream narrative film, reality television, and plot-driven shows, so the sophistication at recognizing certain cultural codes, filmic conventions, branding, and semiotics is relatively advanced. How can an audience so accustomed to conventional film and television be brought under the sway of the VJ?</i> |
| - | yet this same audience that is going to VJ performances, clubs, raves, etc. have been weened on mainstream narrative film, reality television, and plot-driven shows, so the sophistication at recognizing certain cultural codes, filmic conventions, branding, and semiotics is relatively advanced. How can an audience so accustomed to conventional film and television be brought under the sway of the VJ? | + | |
Revision as of 09:17, 23 March 2006
Aus dem VJ-Book:
The pardox lies here: because the audience/strategies of both avant-garde and mainstream film to create an arresting, powerful sequence of events do not necessarily apply to VJing. But yet this same audience that is going to VJ performances, clubs, raves, etc. have been weened on mainstream narrative film, reality television, and plot-driven shows, so the sophistication at recognizing certain cultural codes, filmic conventions, branding, and semiotics is relatively advanced. How can an audience so accustomed to conventional film and television be brought under the sway of the VJ?