Discontinuity And Irrational Relations In Katy Perry's Song 'Rise'

The choreographic intention of “Emergence” was the exploration of merging diverse elements together to see what comes from it, like the emergence in relation to arrangements and structures made in nature. The choreographic intention expanded from the idea of concealment. This was clearly identified in the beginning trio where the female dancer is shown trying to escape from her hiding place. In appraisal, the choreographic intention of “Image” was a more simplistic interpretation, one that explored identity and how it is made up of personal experiences we endure and that along the way we are influenced and sometimes inveigled, which can make revealing who we really are at the core oppressive. In comparison to “Emergence”, the movement in “Image” was more vague and indefinite in relation to linking movement to the choreographic intention. Through manipulation of structural devices such as groupings, stillness, tempo and dynamics, the

also makes use of discontinuous editing, in a sequence that finds the projectionist/Sherlock Jr. sweeping outside a movie theater. After he sweeps and straightens a sign, the film suddenly employs an unanticipated straight cut to the projectionist walking up to a store. The projectionist is wanting to buy something he doesn’t have enough money for, then, after realizing he is short of funds, another quick straight cut shows him sweeping the movie theater again. In this instance, discontinuous editing is utilized to build on the narrative of the movie; following his encounter at the store, the projectionist is searching for the money he needs inside the pile of trash he was

The space, time and usage of dynamics were powerful yet elegant-elements that added to the overall quality and tone of the work. The solo dancer used her body to perform various movements with specific ranges of motion, showing her ability to control, express and properly connect to the audience through her performance. In this performance, there seems to be a spiritual side when the dancer, Marilyn Banks, sits on the bench and starts to swing her arms in wide semi-circles to show looks of anguish and despair. Ms. Banks also varied movement by quivering her hands-movements such as a shaking or slight trembling with her hands when reaching outwards. She also used a lot of ornamentation or embellishment through her movements. Her body and her path of movement embellished her gestures since she was performing spins across the stage.

The camera lurched backward and she followed. The camera slowed - she did not! The camera took off backward again, this time with a violent wobble, a wobble explained when electric cables came into view on the studio floor. The studio audience waited breathlessly for her to wade through the mess of cables in her high heels, but sadly, as suddenly and erratically as she'd advanced, she began dancing backward toward the intended performance space, gesturing impatiently for the camera to

Before entering the exhibition the viewer is introduced to an energetic video montage of all the works with a sound created by Kevin J. Simon. This fast pace hip-hop sounding song at first seems very out of place from the work, but after listening to it for some time you do hear

In the film Run Lola Run, the proficient use of soundtracks and background music can be seen by viewers through out. From the aspect of film sound, music is the core element of the film. The music in Run Lola Run has a metal feeling, of which represent Run Lola Run’s short gasps and the sound of heart beat. For example, when Lola is running through the city, the heavy soundtrack music rhythm is quite noticeable to viewers and viewers can have a more surreal experience of the intense time pressure Lola is undergoing. Viewers can distinctly feel how Lola’s situation and her nervousness. The Fast-paced music allows the film to add more intensity into the action and to play up the atmosphere, at the same time to speed up the film through the music rhythm.

Simultaneity, also known as cross-cutting, shows two events happening at the same time by repeatedly cutting between each event (Sampson, Lecture 6.1). John becomes livid after finding out that Sherlock had been lying to him this entire time, thus allowing him to grieve, and decides he wants nothing to do with him anymore. Thus, they both try to go on with their lives, as Sherlock searches for a new case, and John continues to see patients. However, this sequence cross-cuts between the two lives so that they explicitly connect to each other. When Mrs. Hudson asks Sherlock about John, he replies, “He made his position quite clear,” which then cuts to a shot of John’s middle finger as he is putting on gloves.

“Motel 6” is the first track of Jean Deaux’s debut album, Soular System Vol. I: Dark Matter[s]. It describes Deaux’s mental state after being a victim of sexual abuse. The music video, released in October 2014, provides a visual for the gritty depiction of her emotional pain. Deaux’s audience are those who have been raped or affected by sexual assault. Through this music video, she provides an outlet for victims to relate and displays the mental and physical pain of sexual abuse. The music video for “Motel 6” only uses visuals to express a story, an element I would like to attempt to use in my project. Visuals without narration open the interpretation of the art to the audience. This allows discussion to form and creates a more interesting

In the second film, “Strung Out Between Beginnings and Endings”, Sky is joined by another dancer by the name of Toni Cannon. In this film, which was featured in Topsy-Turvy Queer Circus’ 4th production named “Paradise: A New Mythology”, these two artists show black queer love in a new light. One that is completely in sync, free from stigma, and gender-free. The blending of energies from these two artists is more than powerful, it is life changing. Watching this, one cannot help, but to be compelled by the magnificent beauty which is performed on this stage. This dynamic expression of black queer love is so sensual and so pure at the same time. The viewer is granted the opportunity to witness more than just interpretive dance, but also how when it is unconstrained, how the soul’s energies are supposed to mix with each other. The concept of a rigid binary is demolished when one sees this film as well. Throughout it, both dancers exemplify the fluidity of principal energies, thus invalidating the concept that masculinity and femininity are two polarized dynamics, especially in relation to black bodies. A union of expressionism unlike any other ever before seen when black

Another noteworthy element, in the first part of the narrative, the costumes were reflective of stereotypical attire for each gender: the woman wore a dress, and the man wore a shirt and pants. In the second sequence, they are wearing the same type of shirt, perhaps indicating there is less significance in their attire than their physicality. This second sequence is intercut with the cutaway sequence and with the third and final part of the narrative. The result of this is a visual collage of dance, allegorical representation, and conventional video narrative. The second part of the narrative is also the point in the music video where the abusive nature of the relationship is solidified through the movements within the

Take, for example, the way Katy Perry changes her passive role to be a strong woman that makes the listeners admired and surprised in her song “Roar”. Katy Perry fascinates the

Katy Perry takes a similar approach by creating a song that allows people to be the way they are. Katy Perry had created the song “Fireworks.“ This song is an inspirational song that allows people to reveal themselves to the true world instead of keeping it a secret. Katy is trying to portray the fact that people should not be afraid to represent the way they truly are. She wants everyone to show his or her “true colors“. In a sense, Katy wants to people to embrace what they are. In the first few lines she states, “Do you ever feel like a plastic bag. Drifting through the wind. Wanting to start again“ (Fireworks). This part of the song reveals that a lot of people go with the flow. They just follow the norms of society and do not fight against it. She continues on to talk about how people continue to go with the flow until she states, “Do you know that there 's still a chance for you. 'Cause there 's a spark in you“ (Fireworks). This portion of the song reveals there is hope even if want to go against the norm. Just a small push is needed in order to get over the hurdle. Then Katy states, “ 'Cause baby you 're a firework. Come and show 'em what you 're worth. Make 'em go "oh, oh, oh! As you shoot across the sky-y-y“ (Fireworks). When you do reveal yourself, it will feel like a huge burden is lifted off your shoulders. Katy is trying to say to her fans be motivated and keep reaching for the stars. Being unique might be a bad thing, but don‘t let their voice reach you.

Ryan Heffington’s unconventional style has the public wide-eyed and craving more. From his choreographic work in Sia’s Chandelier and Elastic Heart videos, among many others, Heffington’s name is on the frontier of the commercial dance, film, music, fashion and film industries (“Sir Heffington”). His work parallels the definition of edgy. The public has experienced his work at Walt Disney Concert Hall, Hammer Museum L.A.C.E. gallery, L.A. County Museum of Art, and the Dorothy Chandler Pavilion and the Museum of Contemporary Art. He has choreographed over 10 music videos, reaching success and award nominations both in the U.S. and the U.K. Heffington can be compared to a modern day Jack Cole, as both artists delved into the world of

Modern music videos were initially made and used as a publicizing device intended to promote the sale of music recordings. They are often called ‘promos’.

The interpretation of this piece is referring to a photograph in times of someone’s absence when people are forgetful and having rough days. This songs category descends in “Pop” which is an abbreviation for the word “popular”, mainstreamed in commonly known radio stations, and available in most cultures. Performing media in this piece includes the guitar, piano, and drums. The song’s dynamic is high and becomes low at the end, it also has a tone of irregular vibrations and a range of high to low pitches. The rhythm consists of a slow tempo retaining one hundred eight beats per minute, and a 4-4 meter, meaning it has four quarter notes. The melody has a series of smooth tones that include the artist switching between using high notes to low notes. The harmony of this song is consonance, signifying the blend of notes that are in harmony with each other because they share a connection between their frequencies. The song concentrates on major keys which give the audience a cheerful tone. This piece includes a combination of homophonic and polyphonic textures interpreting one melody accompanied by chords and the capability of producing more than one note at a time. The artist creates continuity and variety in this piece by starting the song with a slow melody