Bruce Woolley and the Camera Club once crooned that video killed the radio star, but their tongue-in-cheek song would later become MTV's first music video. The '80s ushered in an explosion of vivid, colorful music videos decked out with big hair, ripped chests, and gratuitous displays of wealth. The decadent glam of Madonna's "Material Girl" and the steaminess of Prince's "When Doves Cry" embody the sexy, fun spirit of the decade. In contrast to the outburst of color, you could also find moody, artsy concepts in A-ha's "Take On Me" and The Police's "Every Breath You Take." Whatever camp you prefer, you have to admit that '80s music videos had style. Keep reading to see the cream of the crop, boomboxes and neon dancewear optional!
- 11/8/2018
- by Stacey Nguyen
- Popsugar.com
Part of the Tony Scott: A Moving Target critical project. Go here for the project's description, index and links to project's other movement.
To the overabundance of text, sounds, images—and moving images—in Tony Scott, we reply with something like our own. So let me (try to) keep this (almost as) short as a Tony Scott shot. Scott’s death this past summer would elicit film critics’ own counterpart to American politics: opinions and generalizations bandied between two camps who were, as always, preaching to their respective choirs. And needless to say, such discourses would be about as useful, informative, and interesting as American politics. For Scott’s work was hardly encamped: the outward liberalism of Enemy of the State, perhaps Hollywood’s most overt attack on our surveillance nation and the Nsa, possible only before 9/11, concludes that only Nsa aspirants can take down the Nsa, just as Man on Fire,...
To the overabundance of text, sounds, images—and moving images—in Tony Scott, we reply with something like our own. So let me (try to) keep this (almost as) short as a Tony Scott shot. Scott’s death this past summer would elicit film critics’ own counterpart to American politics: opinions and generalizations bandied between two camps who were, as always, preaching to their respective choirs. And needless to say, such discourses would be about as useful, informative, and interesting as American politics. For Scott’s work was hardly encamped: the outward liberalism of Enemy of the State, perhaps Hollywood’s most overt attack on our surveillance nation and the Nsa, possible only before 9/11, concludes that only Nsa aspirants can take down the Nsa, just as Man on Fire,...
- 12/3/2012
- by gina telaroli
- MUBI
This article is part of the critical project Tony Scott: A Moving Target in which an analysis of a scene from a Tony Scott film is passed anonymously to the next participant in the project to respond to with an analysis of his or her own.
<- the previous analysis | movement index
(Fill The Screen, Crank The Sound)
***
"We were a serious race. If you want other proof of it, besides our record in war and in politics, you only have to look at our art."
—Henry Adams, Mount Saint Michel and Chartes
***
"The attempt to write a formal rule book for targeted killing began last summer after news reports on the drone program, started under President George W. Bush and expanded by Mr. Obama, revealed some details of the president’s role in the shifting procedures for compiling “kill lists” and approving strikes. Though national security officials insist...
<- the previous analysis | movement index
(Fill The Screen, Crank The Sound)
***
"We were a serious race. If you want other proof of it, besides our record in war and in politics, you only have to look at our art."
—Henry Adams, Mount Saint Michel and Chartes
***
"The attempt to write a formal rule book for targeted killing began last summer after news reports on the drone program, started under President George W. Bush and expanded by Mr. Obama, revealed some details of the president’s role in the shifting procedures for compiling “kill lists” and approving strikes. Though national security officials insist...
- 12/3/2012
- by gina telaroli
- MUBI
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