Film Music Report

Gender; A Cultural Construction by Alexandra Lederman

admin — Thu, 04 Mar 2010 16:35:09 +0000

Canadian Cinema is a representation of the nation and its cultural constructions. Gender, a cultural construction, is a major and reoccurring theme in Canadian film. Clear-cut lines and boundaries that define gender are blurred and lacking. Males and females are portrayed in the cinema as more similar than different; men with feminine qualities and females with masculine qualities. This represents Canada’s loose definitions of what is masculine and feminine, unlike American cinema and culture. Canadian cinema depicts men as emotional creatures that can fail and women as accomplished and sexually dominant persons.

Gender identity “is not an innate, natural, eternal characteristic…but rather a product of imagination, a fantasy, a historical constructions based on economic, political and cultural power…that is open to historical change, hence always potentially unstable, fragile and insecure”6 . Canadian imagination is known for simplicity, culturally predisposed to contemplate life from the margins imagination, and an appreciation of the paradox of enabling conditions6 .

Christine Ramsay describes Canada’s outlook as a ‘will to loose’ while in America the ‘will to win’ dominates the culture, creating the victim or loser in Canada. The victim/loser in America is never male, or the male fails spectacularly and in terms larger than life, creating a hero6.

Canadian film does not glamorize failure the way American cinema and culture; this reveals Canada’s will to lose and compliance to the victim label, creating a notion that Canadian culture is feminine. Gender identity is now intertwined with nation identity, constructing the effeminate male identity and masculine female identity portrayed in Canadian cinema. The American male indulges in “fantasies of aggressively masculine self-realization” while the Canadian male busy themselves with anxious dreams of defeat and failure4 . The Canadian male does not blame his defeats and faults on external conditions and others, specifically females; unlike the male American4. Women are praised in Canadian cinema and depicted as direct and truthful.

The Canadian female heroine tend to exhibit masculine qualities, including;
self-reliance, social authority, physical strength, and freedom to explore
beyond the domestic sphere2 .

The vague boundaries that define masculinity and femininity in Canada permit
gender confusion and the ability to possess both masculine and feminine
traits simultaneously. This simultaneous possession is prominent in the
characters that engross Canadian cinema.

David Cronenberg displays the loose constraints of gender in Canada with the
traits of his characters along with visual and physical manipulation.
Gender, as stated before, is a cultural construct; female and male.
Cronenberg divides reality into two perceptions-subjective and objective, or
internal and external5 . Gender can
be defined by internal organs or how a human presents his or hers character
traits.

David Cronenberg’s *Videodrome* plays with gender in obvious and
subtle ways. The main character, Max Renn, begins the film with energy and
exerts dominance over other men and women; he is a successful businessman.
As time passes he becomes involved ‘in a web of intrigue that results in his
death/suicide” resulting in his loss of power over others and himself and
becomes dominated by others .

Max transforms from a thriving businessman in the television industry to an
emasculated male physically and mentally. Gender confusion is displayed
within the traits of the characters; males tend to make the decisions while
the females do as told. This is not the case for the characters in *
Videodrome*. The domination of Max begins with Nicki, for she is the one
who takes the initiative in their sexual relationship. Nicki “guides Max
across a barrier of prohibition and inhibition” during the sadomasochistic
sexual acts they perform5 . Being
the external source that leads towards the enjoyment of sadistic sexual
acts, Nicki successfully deprives Max of control and making him female and
herself male. Max is also led, instructed and manipulated by Bianca; she is
the dominant power over the male, submissive character. The domination of
Max continues with Convex, he becomes submissive to the hallucinations they
initially create and physically as well.

The male being dominated by the female is not the only gender
topic Cronenberg touches upon. The relationship between Harlan and Max can
be argued as a repressed homosexual desire. Harlan arrives at Max’s
apartment and begins flirting, “deliberately seductive in his cute little
way”, and asks Max if he wants to be a centerfold5.

The dialogue begins to contain sexual double entendres containing “Fuck
you’s” and “asshole’s” implicating a homoerotic desire between Max and
Harlan. One line that exemplifies this homoerotic desire is said by Harlan
in response to Max : “Well, fuck you! I’m not just a servomechanism you can
turn on and off when you want to. You want me to fall out of bed at 7 a.m.
and act like an asshole, you tell me what I’m doing it
for.”5

Cronenberg goes beyond the dialogue and the transformation of
Max as dominant to being dominated by men and women sexually and
non-sexually. Cronenberg portrays the theme of gender in Canada with
shocking visual, physical transformations of the characters. Max begins to
hallucinate, unable to differentiate reality from fantasy in regards to the
pleasure created by his male sadistic enjoyment. One hallucination involves
Nicki’s lips protruding from the T.V. screen, and Max responds by thrusting
his head into them, “a penis into a waiting
vagina”5.
Holding points out that this can be described as Nicki giving Max head,
except it is Max who gives his head to her. Max is surrendering in this
scene and is enjoying being dominated. After this scene there is a
noticeable change in Max, he becomes extremely passive and dominated as the
film goes on. His hallucinations culminate in the “invaginated, raped,
manipulated and programmed” Max by other sadistic
males.

Max being invaginated is the result of his hallucinations. He hallucinates
a slit in his stomach that opens, throbs and can be penetrated; Max has a
vagina. Max has successfully been enfemaled and invaginated; completely
crossing gender boundaries. Max’s slit is raped a few different ways.
Convex tells Max to open up, involuntary his shirt rips open and his
vagina-like slit appears in his stomach. Holding states this involuntary
opening of Max’s slit is like a sadistic rape scene; the slit is opened and
penetrated forcibly by Convex with a videocassette. The gender boundaries
are crossed once more when Max is provided with a new penis; the fleshgun.
The gun invokes the slit to open by simply scratching at the slit. Max then
penetrates his own slit and fully inserts the gun, a phallic symbol. Max
begins the film as the male figure; females then dominate him, making him
feminine and the female’s masculine. He then hallucinates a slit, a vagina,
which transforms Max into a female and then penetrates himself with his new
penis- the fleshgun. Cronenberg’s physical and mental portrayals of gender
in *Videodrome* successfully represent the cultural construct of gender in
Canada.

The similar traits of females and males in Canada can be described as
females with masculine traits and males with feminine traits. This shared
femininity and masculinity between both genders is clearly represented in *
Videodrome*.

Canadian film successfully displays the non-gender constraints
of the culture, for feminine and masculine ‘qualities’ and ‘traits’ are
exhibited and shared in males and females.

Alexandra Lederman
Film Music Writer

What its like to be synchronized with Animal Collective

admin — Wed, 23 Sep 2009 18:24:03 +0000

Animal Collective Dour Festival Review

Animal Collective Live Music Review from Dour Festival in Belgium

I left my campsite about a half an hour before Animal Collective’s set would begin on the Friday night of Dour Festival. My tentmate, Maddi, and I trekked through the grounds and arrived at the tent named Club-Circuit Marquee. We stood around for about 10 minutes, and then the band I have been wanting to experience for this past year enveloped the stage.

My eyes were vast, waiting to submerge myself in the music created by these musicians. I was ready for a set that was going to blow my fucking mind. Turns out the members of Animal Collective (David Portner aka Avey Tare, Noah Lennox aka Panda Bear, Brian Weitz aka Geologist, and Josh Dibb aka Deakin) begin the set together in a minimalistic sound and let their music grow, crescendo and then become a sound that blows your fucking mind.

At the beginning of the set I was not fond of the minimalistic sound that the musicians use as a way to feel and understand one another. I was becoming impatient and nervous. I was just waiting to be enveloped by the noise of Animal Collective. I was so anxious I almost left the tent to retrieve a water bottle from the tent site. Thankfully Maddi talked some sense into me and reminded me how much I have been wanting to see this band for the past few years. So I took a deep breath and became mesmorised by the lighting and this fantastic ball covered in lighting and visual projections. And then the end of the set came. I was so surprised. As I was engulfed by the lighting and visual projections, Animal Collective’s music grew and became the sound that blows your fucking mind. I was completely immersed in their beautiful sound and music.

The musicians of this band have to find and feel each other out before they can create this up-beat experimental noise. My cheeks were aching from the massive smile I had on my face for the entire set. Animal Collective blew my mind. Now when I listen to them, my heart, soul and body is filled with euphoria and my massive smile appears on my face.

I now understand why tickets to see this band live are so expensive and why their ‘Animal Crack Box’ collection has been selling for hundreds on E-Bay.

Seeing this band has almost completed my wants and needs of seeing live music. But I will save up money and do anything to see this band again.

I am constantly listening to them on my I-pod (the one thing that wasn’t stolen!). Every time I listen to them digitally my mind is filled with colors and ecstasy from their live performance.

And so, I feel like I must thank the band for their music. This performance at Dour has changed my outlook on the band and on what live music should be. So, merci beaucoup.

Music for Film Reviews by Alexandra Lederman

Alexandra Lederman
Film Music Writer

Live Music Report: Matisyahu on Live Roots TV Santa Barbara Ventura

admin — Wed, 05 Aug 2009 21:46:13 +0000

August 5, 2009 (Film Music Report Part 1) – Matisyahu Live at Majestic Ventura Theater on Live Roots TV Channel 17 Santa Barbara and Channel 6 Ventura. Hosted by DJ Questionmark, Live Roots TV broadcasts live reggae and groove music from the Santa Barbara/Ventura area. Full episode at Live Roots TV.

Film Music Review: Music for the Film DEAD MAN with Johnny Depp

admin — Wed, 05 Aug 2009 21:39:05 +0000

Film Music from Dead Man

a dark western… dead man

I hate Westerns. Western Films to be more precise. I hate the fake accents, the glamorized lifestyles of the new West and the unrealistic well-kept, clean clothes.

Except for one. Jim Jarmusch’s Dead Man (1995) is not only the best Western film I have ever seen, but is also just a great film. The film is in black and white- which I think is a great, more realistic way to present the Western frontier. The film’s scenery, plot and characters are dark, disgusting and vicious. There are no perfectly mustached cowboys vs. Indians, and brilliant colored clothes. Only men with tangled beards holding muskets against women’s heads in order to receive a blow job against an ally way between decaying, wooden shacks. This film received 2 wins and 5 nominations from various film festivals.

Dead Man received a Screen International Award from the European Film Awards and a Best Cinematography (Robby Müller) award from the New York Film Critics Circle Awards. I personally believe the film should have won their other nominations, but I guess its not my decision.

So yes, the cinematography was incredible in this film. But let us not forget about the music. A rough electric guitar played gently, but in a strong manner through out the film. And who else but Neil Young could create the original music for this film? I don’t think I should write more about the music. Neil Young is all the description I need.

So yes, everyone, see this film. The music fits the cinematography like a glove. Oh, and of course the acting. Johnny Depp becomes his character (like always) William Blake, and delivers an outstanding performance. Oh and he wears this incredible plaid suit…yes, a goodie tooshoes turned bad ass (Depp’s character) head to toe in plaid.

Be sure to have the volume up when inserting the film for viewing. Enjoy.

Article by Alexandra Lederman
Film Music Reporter

Music for Film Reviews by Alexandra Lederman

Film Music Report: The Cool Kids Favorite Films

admin — Mon, 08 Jun 2009 00:52:05 +0000

Santa Barbara, CA (FilmMusicReport) June 7, 2009 — Film Music Report writer Alexandra Lederman talks with The Cool Kids at a recent show at UCSB Extravaganza.

Film Music Report: The Cool Kids with Alexandra Lederman

THE COOL KIDS

My Introduction to the Cool Kids…
I began to climb into my mattress on the floor for an afternoon sleep in my quaint English flat. My phone begins to ring, I contemplate, “do I really want to bother answering that?” I answer. My friend Jullian invites me for a drive around Brighton in his new car. He used to have an Audi, so of course I accept his invitation. I lock up my flat and a Porsche (convertible) is waiting for me. I slither in, experience speeds I have never before and become acquainted with the Cool Kids.

I was listening to sick beats in a Porsche on a sunny afternoon in England. A memory that will never leave me and inspiration to obtain a fuller knowledge of the musicians behind the beats.

The Cool Kids
The Cool Kids consists of Mikey Rocks (Antoine Reed) and Chuck Inglish (Evan Ingersoll) from Chicago and Detroit. They drop sick ass beats and spit about today’s DIY/hipster culture and their personal lives. I was able to get my paws on a demo of theirs, they came out with the album Bake Sale and their newest album Gone Fishing. I recommend Bake Sale over Gone Fishing.

On Gone Fishing, producer Don Cannon makes himself extremely visible, actually annoyingly visible. About every 30 seconds a second layer of vocals says “The Cannon”. It is quite annoying and I think this “big-time” producer should have left the Cool Kids album alone.

I love listening to their music in the car, but that is because it is nostalgic for me. The gym is a wonderful place for their music, it really pumps you up and of course any party and if you’re a dj, start mashing up their music.

UCSB Extravaganza
I blagged backstage entry to UC Santa Barbara’s Extravaganza- a one day music fest, free to the community. This year the line-up included: The Cool Kids, The Cold War Kids, Girl Talk and Ludacris. Since I had access to backstage, my goal was to interview the Cool Kids for this blog. Oh and did

I succeed! They were so kind and very sweet for doing this informal interview. So thank you Chuck and Mikey! You made my fucking night! Oh and your show rocked. Duh.

I asked Mikey and Chuck what their favorite films are. They both gave me their top 5 films, but not in any order.

The Cool Kids Favorite Films

Mikey Rocks top 5 favorite films:
Alice In Wonderland (1951)
Office Space (1991)
Boyz n the Hood (1991)
Friday (1995)
The Royal Tenenbaums (2001)
Paid in Full (2002)

Chuck Inglish’s top 5 favorite films with a short explanation!:
Fresh (1994)- ‘authentic, well written’
Do the Right Thing (1989)
Crooklyn (1994)-
Hoop Dreams (1994)- ‘2 hours of life you’re glad you spent’
Big Fish (2003) – ‘happiest shit ever’

Article by Alexandra Lederman
Film Music Report