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

Francisca Foortai

doi:doi:10.11648/j.history.20210901.14

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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)

Francisca Foortai

Published in History Research (Volume 9, Issue 1)

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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[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.
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[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.
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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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AMA Style

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

Francisca Foortai

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

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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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ACS Style

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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AMA Style

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}
}

Copy | Download

TY  - JOUR
T1  - Simulating the Meaning and Meaning of the Simulation: New Narrative Strategies in the Video (Analysing the Clip “Iridescent” by Linkin Park)
AU  - Francisca Foortai
Y1  - 2021/02/20
PY  - 2021
N1  - https://doi.org/10.11648/j.history.20210901.14
DO  - 10.11648/j.history.20210901.14
T2  - History Research
JF  - History Research
JO  - History Research
SP  - 31
EP  - 38
PB  - Science Publishing Group
SN  - 2376-6719
UR  - https://doi.org/10.11648/j.history.20210901.14
AB  - “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.
VL  - 9
IS  - 1
ER  -

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