LYKKETOFT FINALE FILM

We fundamentally experience musical structures as auditive vitality contours of movement, objects and intensity, which we intuitively transform to vitality affects – whether we register them as belonging to a person or a situation in a film or feel them ourselves, or both. How and why it does so is however seldom considered. My intention is to examine some of Mills’ objections, talking about the ethical responsibility of the documentarist, but also most importantly how the viewers engage with and interpret what are ultimately fictional performances albeit ones that are framed within a documentary discourse. Lykketoft finale is the exit of the idealist. In this seminar we want to take issue with documentary discussions once more. Theorizing The Border Zone Between Documentary and Fiction Arild Fetveit, University of Copenhagen The boundary between documentary and fiction has been an issue for film theorists and critics ever since the documentary was institutionalized in the early s. And Eva Kjer Hansen might have become a minister because as a young mother from Southern Jutland she fits into the image the Prime Minister and his government are trying to rebuild after losing the many female voters in the aftermath of Fogh bag Facaden , and not because of her knowledge and stances.

She is accompanied by five motifs all from the track ” Uberholen hat kein zweck ” from the album Mafia by the Danish hybrid band EPO So the way the music generates meaning is complex and dynamic and it becomes even more so in the audio-visual context where it interacts with other levels of meaning both in time and space. With wars distant to Western media audiences, the soldier has become a privileged point of view in contemporary documentary representations of war. When Eva Kjer Hansen is with her family in her home in Southern Jutland we hear a laid back electric guitar, some underlying synthesizer sounds and a dominating drum beat. Following her for three weeks during the election campaign, January While documentary film and television, YouTube videos and other popular documentary formats thus invite viewer identification, they tend to put brackets round the economical, political and strategic aspects of war. We fundamentally experience musical structures as auditive vitality contours of movement, objects and intensity, which we intuitively transform to vitality affects – whether we register them as belonging to a person or a situation in a film or feel them ourselves, or both.

As seen before we get the insider story with spin-doctors and all, but what really carries this film is the personal story of Lykketoft. Journalistic documentary programmes in general have a great influence on the formation of public opinion, and portraying functioning top politicians in this serious normative, journalistic documentary genre in national television’s primetime gives the programmes an important democratic role. The motifs have the same character even though they are different.

In this way the film unfolds the modern Danish election campaign as a media spectacle, where the form and the presentation are crucial. When Eva Kjer Hansen is with her family in her home llykketoft Southern Jutland we hear a laid back electric guitar, some underlying synthesizer sounds and a dominating drum beat.

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This music with more or less drum dominance represents the most typical music in Danish TV documentaries Have But at the same time the documentaries themselves are media exposures fil politicians in a genre that itself balances between each pair of concepts. First and most obviously we hear a melody that we may recognize as ” Danmark for folket ” “Denmark for the people”which is an anthem of the Social Democrats and is therefore very easily connected with Lykketoft as a leader of that party.

The electronic non-melodic sounds keep us at a certain distance to identifiable emotions. This brief lgkketoft shows how differently the politicians are underscored, and how that can influence the reception of the respective programmes. The film portrayed Fogh as rilm strong chief negotiator but also as a cold-hearted, arrogant man with an extreme focus on precision and control. In my presentation I will take a closer look at these arguments and offer a critical discussion of them with reference to specific scenes in Morris’s film.

Lykketoft Finale

When these structures function in combination with moving images and a narrative, more focused experiences of categorical emotions can arise, because this context enables us to understand the structures in relation to a person or a situation cf.

The third space connects the two others and establishes a kind of meta-level in the documentary, during interviews made in the official car between Eva Kjer Hansen’s home and Christiansborg on Election Day, the 8th of February The developmental psychologist Daniel N. It is characteristic that this kind of semantically open music does not generate para-musical associations but mostly communicates via the musical expressiveness and vitality affects.

And this ‘recognition’ hinges on a specific type of ethical engagement with the performances in the texts, one based on what Vivian Sobchack in Carnal Thoughts has identified as “the charge of the real”. Following her for three weeks during the election campaign, January Paul Ward tentatively designated documentary a hybrid format and argued that the term was no longer carrying the explanatory force it used to have. In the scenes of her working life among colleagues and journalists at Christiansborg the Danish parliament buildingthe music is usually aggressive hard rock accentuating the fast-paced and rough life of a top politician.

But the structural function can never stand alone. When Lykketoft is making his speech in Lykketoft finale a speech which has been accompanied by dark strings through the whole programmecan we as recipients avoid believing in him and thinking he is right? Share this Rating Title: Different communicative levels in underscore music Music develops in time as do film and television, and has a natural structuring function in the narrative progress making beginnings, endings, connections and special points.

The following review of the five programmes will not be uniform, since it is a work in progress. Generally the music in Fogh bag facaden does not generate emotional intimacy but ironic distance, which corresponds to the general impression of Fogh Rasmussen in this documentary. One fault might be that if you really wish to enjoy the film a basic knowledge of the history Danish politics.

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We follow the young Minister of Social Affairs and Gender Equality and – also important to remember – the mother of three younger children. And when Eva Kjer Hansen in the car-sequences is surrounded by the pure space of dreamy music and blue light, does that not make her words sound more openhearted and her person appear more trustworthy – also when we hear her speak as a politician outside the documentary?

These scenes are accompanied by single piano tones with plenty of space-effect together with deep drones, while Eva Kjer Hansen in close-up reflects upon her divided life, the demands of media visibility and why she agreed to make this programme.

When we consider audio-visual media consumption, most people in the modern world are extremely able listeners, as far as decoding background music in films and television is concerned. Lykketoft Finale also portrays Mogens Lykketoft, but leaves a very different impression of the man.

I have earlier carried out a theoretical and analytical study to investigate and conceptualise some of the cognitive and emotional structures underlying our intuitive experience and appreciation of background music in an audio-visual narrative exposition Have Not only is the style of the mediated politician important for the recipient’s impression, but also the way the presentation of the politician is orchestrated by the audiovisual style of the documentary.

Edit Cast Complete credited cast: The diegetic sounds are toned down; light is misty and blue-tinted and promotes together with the music a space for emotional resonance and reflection about Eva Kjer Hansen’s opinions. Therefore it is essential how politicians look, how they live their lives, how their families look, how they are together with their children, and it is of crucial importance that they are capable of communicating exactly the right message about themselves in the media.

Nonetheless the film is enjoyable whether you are interesting in politics or not. In this seminar we want to take issue with documentary discussions once more.

Looking for Reality – Looking at Reality – Københavns Universitet

Accentuating the impartial, objective presentation overlooks and ignores the fact that emotions, experiences and aesthetic appreciation play a central role with regard to experiencing reality.

This dilemma is a main theme in most of fina,e portraits. I believe the feeling of manipulation arises particularly because recipients are not familiar with how and what underscore music communicates.