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Simulating the Meaning and Meaning of the Simulation: New Narrative Strategies in the Video (Analysing the Clip “Iridescent” by Linkin Park)

Received: 11 November 2020     Accepted: 8 December 2020     Published: 20 February 2021
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Abstract

“What kind of narrative games does cinema play?” – These questions are particularly relevant in relation to such a cinematic phenomenon as the clip, which by the end of the XX century formed into a quasi-short film, which is a synthesis of web design and cinema, and is an ontological borderline of the film text. One of the latest narrative strategies with a flourish featured in the Linkin Park video for the main soundtrack of the movie "transformers 3: Dark side of the moon. The entire movie text of the clip is a manifestation of the hyperreal in all its features: empty no space, relatable discrete time, visual simulacra, devoid of its own meaning, but simulating similarity to images of real cinema. Moreover, the clip is full of so-called Semo-simulations, i.e. signs that are similar in outline to the signs of the ancient civilizations of Egypt and Sumer, but they are not, i.e. there is no meaning behind these figures. However, if all of the above complete content of the clip-this work would not make sense. In the video, there is a "third element" (Eisenstein) because all the Grand visual simulation created within the Hyper/art, which is cinema, met with poetic text and music. The poetry and music of the song "Iridescent" come into conflict, almost in denial of what is unfolding on the screen. The very name of the song "Descended from the rainbow" refers to the old Byzantine and Orthodox icons on which Christ depicted sitting on a rainbow, the entire text of the song is an internal monologue, turning to God for help after disappointments, losses, and spiritual devastation. It is the music track and the text that are the elements of existence that finally bring the narrative of the video to the realm of intellectual phantoms, which gives the audience a sense of freedom, the presence of a higher good force and true human reality, which (for now?) simulacra and simulations of meaning will not destroy it.

Published in History Research (Volume 9, Issue 1)
DOI 10.11648/j.history.20210901.14
Page(s) 31-38
Creative Commons

This is an Open Access article, distributed under the terms of the Creative Commons Attribution 4.0 International License (http://creativecommons.org/licenses/by/4.0/), which permits unrestricted use, distribution and reproduction in any medium or format, provided the original work is properly cited.

Copyright

Copyright © The Author(s), 2021. Published by Science Publishing Group

Keywords

Narrative Strategies, Movie Text, Music Video, Creolized Text, Simulacrum, Simulation, Hyper/Art

References
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[3] Cook, D. A History of Narrative Film. «W. W. Norton & Company», New York- London. 1995, 864 р.
[4] Langer Suzanne K. Feeling and Form. Rout ledge and Kegan Paul. London. 1953, 423 p.
[5] Jameson, F. Postmodernism, or, The Cultural Logic of Late Capitalism. «Duke University Press», Durham, 1992, 451p.
[6] Goodwin, A. Dancing in the Distraction Factory: Music Television and Popular Culture, «Rout ledge», London. 1993, 237 p.
[7] Clip as a leading language of mass communication: opportunities and limits of Analytics (materials of the theoretical seminar). Access mode: http//www.//anthropology.ru/projects/media/seminars/2002
[8] Eisenstein S. Not Indifferent nature. Volume 2: on the structure of things/Comp. N. Kleiman. M.: Eisenstein center; Museum of cinema, 2006, 624 p.
[9] Sorokin, Yu. A., Tarasov, E. F. (1990). Creolized texts and their communicative function. // Optimization of speech impact. - M.: Higher school, 1990, P. 180 – 186.
[10] Eco. U. Baudolino, Bompiani, 2000, 528 p.
[11] Baudrillard, J. Simulacres et simulation. Paris: Galilée, 1981, 240 p.
[12] Eco U. Articulations of the Cinematic Code, in Nichols B. (ed.) Movies and Methods. An Anthology (Berkley & Los Angeles: University of California Press, 1976, P. 590-607.
[13] Virilio P. La machine de vision, , 1988 г. Éditions Galilée, 1988, 144 p.
[14] Elsaesser Th. and Hagener M., Film Theory: An Introduction through the Senses. Routledge, London, 2010. 226 p.
[15] The term «hypermyth» introduced by Francisca Foortai. Development of the concept and its individual provisions in the works:// Design myth and the myth of design. Philosophy of the new art style.//Strategies of ethical and aesthetic reflection: Proceedings of the all-Russian conference on November 18-19, 2005-Saint Petersburg: 2006-pp. 220-224.
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[17] Cimmerian shadows at the dawn of epic fantasy (on the question of the social role of the movie hero in popular culture). // "Antropotopos" - theoretical journal in the field of philosophical Sciences. - № 1-2, Omsk, 2008. - p. 89-94.
[18] Phenomenon of virtuality in mass culture or Welcome to our nightmare.// Bulletin of the Leningrad state University n. a. A. S. Pushkin. No. 3, volume 2 (Philosophy Series). Saint Petersburg: LSU, 2009, pp. 112-120.
[19] The phenomenon of clipping in modern popular culture: attempt of cultural analysis. // Bulletin of the Leningrad state University n. a. A. S. Pushkin. No. 4, Vol. 1 (Philosophy Series). Saint Petersburg: LSU, 2009, pp. 126-135.
[20] Night and Day as archetypes of a large artistic style.//Bulletin of the Leningrad state University n. a. A. S. Pushkin. No. 3, Vol. 2 (Philosophy Series). - Saint Petersburg: LSU, 2010. - p. 219-225.
[21] Cult of the eye "and "packing effect". An art object in contemporary art. //International journal of cultural research. International Journal of Cultural Research, "Art theory and artistic imagination of the twenty-first century", №2 (3), 2011- c. 44-55. Access mode: http//www.Cultural research.ru.
[22] On the question of the archetypal continuity of neo-Gothic. // Omsk scientific Bulletin: series philosophy, psychology, social sciences, cultural studies and art criticism. - №1. 2012, - Omsk, 2012-P. 213-223.
[23] Cinema of the XXI century: twilight zone. // Bulletin of the Leningrad state University n. a. A. S. Pushkin. No. 3, Vol. 2 (philosophy Series). – Saint Petersburg: LSU, 2011. - p. 222-229.
[24] "Digital folklore" as a new socio-cultural and artistic phenomenon. //"Cultural Sciences in the perspective of digital humanities": proceedings of the international conference. Scientific Conf., October 3-5, 2013/edited by L. V. Nikiforova, N. V. Nikiforova. - St. Petersburg: Asterion, 2013. - p. 290-296 (600 p.).
[25] Trailer as a borderline form of cinema text: apophatica of the narrative and enigmaticity of the image. // VI international conference "Actual issues of theory and practice of art" "Actual problems of theory and practice of art"// conference Materials, Moscow: 2015, P. 27.
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    Francisca Foortai. (2021). Simulating the Meaning and Meaning of the Simulation: New Narrative Strategies in the Video (Analysing the Clip “Iridescent” by Linkin Park). History Research, 9(1), 31-38. https://doi.org/10.11648/j.history.20210901.14

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    Francisca Foortai. Simulating the Meaning and Meaning of the Simulation: New Narrative Strategies in the Video (Analysing the Clip “Iridescent” by Linkin Park). Hist. Res. 2021, 9(1), 31-38. doi: 10.11648/j.history.20210901.14

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    Francisca Foortai. Simulating the Meaning and Meaning of the Simulation: New Narrative Strategies in the Video (Analysing the Clip “Iridescent” by Linkin Park). Hist Res. 2021;9(1):31-38. doi: 10.11648/j.history.20210901.14

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  • @article{10.11648/j.history.20210901.14,
      author = {Francisca Foortai},
      title = {Simulating the Meaning and Meaning of the Simulation: New Narrative Strategies in the Video (Analysing the Clip “Iridescent” by Linkin Park)},
      journal = {History Research},
      volume = {9},
      number = {1},
      pages = {31-38},
      doi = {10.11648/j.history.20210901.14},
      url = {https://doi.org/10.11648/j.history.20210901.14},
      eprint = {https://article.sciencepublishinggroup.com/pdf/10.11648.j.history.20210901.14},
      abstract = {“What kind of narrative games does cinema play?” – These questions are particularly relevant in relation to such a cinematic phenomenon as the clip, which by the end of the XX century formed into a quasi-short film, which is a synthesis of web design and cinema, and is an ontological borderline of the film text. One of the latest narrative strategies with a flourish featured in the Linkin Park video for the main soundtrack of the movie "transformers 3: Dark side of the moon. The entire movie text of the clip is a manifestation of the hyperreal in all its features: empty no space, relatable discrete time, visual simulacra, devoid of its own meaning, but simulating similarity to images of real cinema. Moreover, the clip is full of so-called Semo-simulations, i.e. signs that are similar in outline to the signs of the ancient civilizations of Egypt and Sumer, but they are not, i.e. there is no meaning behind these figures. However, if all of the above complete content of the clip-this work would not make sense. In the video, there is a "third element" (Eisenstein) because all the Grand visual simulation created within the Hyper/art, which is cinema, met with poetic text and music. The poetry and music of the song "Iridescent" come into conflict, almost in denial of what is unfolding on the screen. The very name of the song "Descended from the rainbow" refers to the old Byzantine and Orthodox icons on which Christ depicted sitting on a rainbow, the entire text of the song is an internal monologue, turning to God for help after disappointments, losses, and spiritual devastation. It is the music track and the text that are the elements of existence that finally bring the narrative of the video to the realm of intellectual phantoms, which gives the audience a sense of freedom, the presence of a higher good force and true human reality, which (for now?) simulacra and simulations of meaning will not destroy it.},
     year = {2021}
    }
    

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Author Information
  • Faculty of Philosophy, Culturology and Art, Leningrad state University Named After A. S. Pushkin, St-Petersburg, Russia

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