The return on the analogue aesthetic in Hip Hop music videos. by studioarshakyan

The return of the analogue aesthetic in Hip Hop music videos

Elena Arshakyan DWR 21041

The return of the analogue aesthetic in Hip Hop music videos Elena Arshakyan Graphic Design Prague City University School of Art & Design 2021-2022 Word count: 5824

Introduction

The comeback

1 Introduction. Explaining the resurgance of the analogue aesthetic across different industries.

2 The comeback. Showcasing the return of the analog aesthetic across different industries.

page 11

page 16

2.1 The comeback

page 18

2.2 Digital vs analog debate — directors’ takes

page 24

2.3 Nostalgia, rosy retrospection, and declinism

page 26

2.4 Defining the analogue aesthetic

page 28

03 04

Analogue aesthetic in Hip Hop 3 Analogue aesthetic in Hip Hop.

page 34

3.1 Resurgence through Hip Hop

page 36

3.2 Hip Hop and authenticity

page 40

3.3 “Real” vs “Fake” Hip Hop and materialism in music videos

page 41

3.4 Sampling and reinvention

page 42

3.5 Hip Hop and fashion

page 44

HIp Hop music video trend progression 4 Hip Hop music video trend progression.

page 46

4.1 Pre 2000

page 48

4.2 2000 - 2010s

page 52

4.3 Post 2010

page 54

05 + + + 8

Conclusion 5 Conclusion

page 60

Bibliography

page 62

Reference list

page 66

Image reference list

page 70

Introduction

Abstract The resurgence of the use of analogue film techniques and their associated aesthetic in Hip Hop music videos reflects broader visual cultural trends, as hip hop has evolved from a niche urban subculture into a large mainstream pop-cultural influence.

1. Introduction Each industry is subject to the trend cycles in one way or another, it is a typical pattern in human societies. The photography and music industries are no exception. Things from 20 years ago suddenly become relevant again and are used in a slightly reinvented way. Music videos are no exception. Music videos have for over 30 years, since the creation of MTV in 1981, played a huge role in shaping how viewers and music consumers perceive music, including the steady rise of the Hip Hop genre. After MTV included rhythm and blues artists in their programme and music videos for songs like Beat it (1982) by Micheal Jackson aired on the network, it became a huge success. Not only showcasing the strength of music videos as a format but also showing that it had the potential to skyrocket artists’ commercial success. In just a few years after its start, MTV has changed the music and entertainment industry, since now it was equally as important for music artists to present themselves well on MTV as it was to sound good. (MTV | History, Music Videos, Shows, & Facts, 2008) This thesis will examine the decline and the recent rise of the analogue aesthetic as a general trend across the different industries and the role that Hip Hop music videos and visuals play in propagating it in the mainstream media and pop culture. Research is based on the analysis of the most viewed and influential Hip Hop music videos of the last 30 years. The work is divided into 3 sections. The first section will describe the resurgence in popularity of analogue technology and aesthetics for the reasons of evoking nostalgia, digital fatigue and simply directors’ personal tastes. The second section will discuss the origins of the Hip Hop genre and culture and the discussion of the evolution of the genre over time. The last section will analyze the visual trend progression in Hip Hop music videos with a variety of examples from the past 30 years which will show the resurgence of the analogue aesthetic post-2010. The music video analysis will be done in three sections: pre-2000s, 2000 - 2010s and post-2010.

a variety of music videos featuring the analogue aesthetic 2013 - 2021

The comeback

Fig. 1 Fig. 1 (Kendall Jenner - Instagram, 2022)

2.1 The comeback In recent years there has undoubtedly been a rise in the popularity of analogue photography and aesthetic whether it is using photos from a disposable camera on social media or shooting entire Hollywood productions on analogue film cameras. “I think it’s a lot more authentic to capture a photo just on film” mentioned Kendall Jenner during a 2017 interview with Jimmy Falloon. Kendall herself has a large pop-cultural influence with 209 million followers on Instagram. With the invention of social media, celebrities became much more accessible to the audience and became a part of pop culture like never before. Celebrities like Kendall became unanimous with pop culture. She has been shooting and posting candid film photos of her friends in the fashion and music industry for many years as well as shooting some magazine covers herself, also on film. (Jimmy Fallon Models for a Kendall Jenner Photo Shoot, 2017) Fig. 1 (Kendall Jenner - Instagram, 2022) (kendalljenner, 2022) The music video industry is also following this trend, and there are clear examples in the hip hop genre. This inclination for using analogue or imitating the analogue aesthetic goes directly against the overall growing trend of digitalization in both video and photography. This inclination is a result of a general tendency to return to imperfection after almost two decades of perfectly polished imagery and video. It has been described as “digital fatigue”. In 2020, three of the five Grammy nominees for best music video were shot on film as well as the winner - Beyonces’ Brown Skin Girl. Two of those nominees were Hip Hop artists. Tara Razavi, founder and head producer of creative production agency, Happy Place, Inc. that produced music videos such as A$AP Rocky’s Kids Turned Out Fine and Tyler, the Creator’s EARFQUAKE, speaks on the advantages of film “The whole analog film process is different and it just feels a little more special and it feels a little more specific. Tyler [the Creator] only shoots on film. Dexter Navy only shoots on film. Vincent Haycock only shoots on film. And it’s even more fun from a creative producer standpoint.” (MALLARI, 2020)

Film companies like Kodak and Fujifilm are returning to the markets, “We’re seeing film growth of 5% year-on-year globally,” says Giles Branthwaite, the sales and marketing director at Harman. “Our professional film sales have been increasing over the last two or three years,” confirms Dennis Olbrich, president of Kodak Alaris’ imaging, paper, photo chemicals and film division. Many filmmakers are also returning to the analog aesthetic to give their footage character. Andréi Rubets, a Kiev- born filmmaker and music video director talks about the magic of using analogue in an interview with SKVOT mag. “Shooting on film is quite difficult. You are limited in the number of frames, sometimes you can’t see what you are shooting … But film gives you magic, there is something alive and real in it. It’s as though you are watching a warm home video on an old projector. Our eyes, accustomed to the magic of film, will not get bored of it for quite some time. Film — it’s not about the trends, but about enhancing the emotional colouring of the video. It also glosses over many imperfections. You can make a mistake somewhere, but because of the beautiful look the audience will forgive you.” ( , 2020) Film grain has been becoming a very popular overlay for filmmakers who are unable to afford to buy actual rolls of film. “What’s the point?” Well, I think of it like music — how some people prefer listening to music on a vinyl record player. The hums, hisses, and pops of a vinyl record fill in the empty space and create a full sound that feels . . . warm. Digital silence is much different than analog silence — in digital silence, there’s no information being processed, so there is no sound output. With an analog source like a record player, the needle will continue to play the information that it finds in the grooves of the record. It’s comforting in an odd way. Film grain works the same way — it cuts the “silence” of digital video with a bit of motion and grit that brings warmth to an image. - Robbie Janney from PremiumBeat by Shutterstock. (JANNEY, 2019)

This ties in with the use of analogue effects and transitions in many Hip Hop music videos. Without them, the videos may feel too clean, there is no personality or warmth in them. The imperfections may also act as a grounding factor, bringing an element of normality and casualness to many of the videos featuring things like big houses and cars. Professional photographers play a huge role in fueling this growth, thanks to a new generation of practitioners who grew up with digital but have begun dabbling in film, says Olbrich: “They discover the magic of film photography and many of them simply fall in love with it.” (LAURENT, 2017) On Instagram alone, if you search up “#35mm”, over 34 million posts will show up and if you search “#Filmisnotdead” almost 22 million posts show up as of November 2021. In a documentary published by NBC Left Field in January 2020, the same #Filmisnotdead hashtag has been used and over 14 million posts came up. (NBC Left Field, 2020) Statistically, this suggests that the interest in the analogue aesthetic has almost doubled online since last year. In 2006, Kodak’s sales fell 96% percent after multiple years of consistent decline. Soon enough, the company was on the brink of bankruptcy. This pushed famous proponents of analog film to speak up on the issue and behind reversing the wheel of analog’s downfall. “What happens is you tend to get accusations to undermine a particular medium, in this case film. Accusations that it’s more expensive or it’s prohibitively expensive or it’s too difficult or there aren’t any projectionists left to project the film prints … We’ve spent the last few years just patiently explaining that film is here to stay and it’s a wonderful medium that we can all enjoy. … It’s really not about film versus digital, it’s about preserving this medium for future generations of filmmakers to be able to use it” says Christopher Nolan during a press conference. (This isn’t about film Vs digital: Christopher Nolan, 2018) Some of the biggest and most anticipated films released in recent years have also been shot on analogue film. Examples are Christopher Nolan’s Interstellar (2014), Dunkirk (2017) and Tenet (2020). (Schlagwein, 2021) One of the most anticipated releases of 2021 has been No Time to Die, directed by Cary Joji Fukunaga and also shot on film.

The analogue aesthetic in the visual industry is a trend that has come back to us in a cycle. Trendalytics Content Strategist Kristin Breakell noted, “I think trends will always reference the past in one way or another. The trend cycle is called a cycle for a reason”. (KLIEST, 2021) The same nostalgia trend appears in the fashion industry and not only in the clothing styles themselves. As pocket film cameras have come into popularity, many models and designers began sharing behind the scenes shots of fashion shows and parties, and many fashion campaigns have also been shot on film. Fashion and Hip Hop have formed a bond over the past 30 years. The trends influence one another and hip hop has been a significant impact on the enormous rise in “street fashion”.

2.2 Digital vs analog debate — directors’ takes In recent years, there has been a rise in the use of analogue technology, whether in photography or film and one must ask why? As analogue gains popularity, so does the debate among some of the biggest names in the film industry, such as Christopher Nolan, Steven Spielberg, Quentin Tarantino, Paul Thomas Anderson and Roger Deakins, on the topic of what is better - film or digital, and what will persist in the future. Viewers, producers and studios must wonder if this is simply a trend or not? This discussion is very much relevant in the topic of Hip-hop music, videos because most music video directors follow the steps and seek inspiration from the imagery and aesthetics created by those top names in the industry. In a different interview with IndieWire Nolan mentioned “I’ve had conversations with studio heads, where I’ve been advocating passionately for shooting on film and projecting on film. And someone will say, ‘Well at the end of the day doesn’t storytelling triumph?’ And I say, ‘No it doesn’t. If it did, we’d make radio shows, because they’re a lot cheaper.” “Walter Murch said this beautiful thing. You shoot an empty room with a chair and an open door. You shoot it on film and you shoot it on video. When you watch it on film you feel that someone is about to come through the door; when you watch it on video you feel that someone has left. On digital, you lose your sense of time passing and with it that sense of expectation that you absolutely have with film.” (Matheou, 2015) On the other side of the argument, we have creatives like Roger Deakins who believes digital cameras and projection are just tools like any other “It depends on the project, you choose a different camera like you used to choose a different film stock. It’s digital projection, that’s going to be the norm, that’s just the way the world’s going. … It (digital) certainly got a lot of advantages film never had, consistency being a really big one. It’s about the eye behind the camera, it’s not about the bloody technology.”

In a different interview, Deakins mentions that digital gives him more than film which is why he prefers it. Not because he can do it digitally or because it’s easier but because there are more options. He prefers being able to collaborate with the director on set and be able to rely on the camera to do its job with no surprises. “I know some cinematographers like the mystery of the black box, and you’ll find out in the morning at dailies, I don’t like that … I like the collaboration. This is one of the biggest arguments against film — the uncertainty, using analogue film is always a risk because you can’t see whether the shot is successful or not straight away. Quentin Tarantino is another very strong supporter of film and chooses to shoot his movies exclusively on film, during a press conference he discussed both sides of the argument. He acknowledged that digital technology gives filmmakers opportunities since it is so much more accessible, “a young filmmaker can actually now just buy a cellphone and if they have the tenacity to actually put together a crew … come up with an interesting story … They can actually make a movie and that film can go on the film festival circuit and they can be legit”. The price is one of the most significant downsides to analogue technology since most filmmakers do not have access to large budgets. “Now why an established filmmaker would shoot on digital, I have no idea, I don’t get it at all” (Quentin Tarantino and Roger Deakins Polarizing Opinions on Film VS Digital, 2021) The discussion of what is “better” can go on forever; however, analogue film and digital are still two mediums, the choice between which still remains in the hands of the director and their personal tastes. Both sides of the argument are in many ways right and there seems to be no concrete right answer however, film should always have its place in the movie and photo industry, no matter how much technology advances, presenting filmmakers with a choice is important.

2.3 Nostalgia, rosy retrospection, and declinism Nostalgia is one of the possible explanations of the resurgence of the “vintage” analogue aesthetic. Nostalgia is a word that originates from the Greek words Nostos (homecoming) and Algos (longing or pain). Nostalgia is a “sentimental longing or wistful affection for a period in the past.” according to Oxford Languages. Rosy retrospection is also a fitting term “Rosy retrospection refers to our tendency to recall the past more fondly than the present, all else being equal. It is a cognitive bias that runs parallel with the concept of nostalgia, though the latter does not always directly imply a biased recollection. The phrase stems from the English idiom, “rose-tinted glasses,” where people see things as better than they were.” (Rosy retrospection - Biases & Heuristics | The Decision Lab, n.d.) Declinism is another reason why people choose to see things in the past as much better than they actually were. “Declinism is the tendency to see the past in an overly positive light and to view the present or future in an overly negative light, leading us to believe that things are worse than they used to be. Declinism is often a feeling harboured about the overall state of a country, society, or institution, with the view that it is in decline or getting worse.” (Declinism - Biases & Heuristics | The Decision Lab, n.d.) All three things can cause many Hip Hop listeners to feel as though Hip Hop was better back in its formation days and therefore long for the same aesthetic they saw from that time which results in the resurgence of the analogue aesthetic trend in the music videos.

2.4 Defining the analogue aesthetic For the purposes of this work, the differences between the digital and the analogue aesthetic must be explained. There are seven main characteristics that appear in analogue videos or ones edited in a way to make them appear analogue. The first characteristic is faded muted colours and bleeding of the edges. (Fig.2) This look is mimicking the look of an analogue VHS camcorder. According to Harry Frank, product and content designer at Red Giant, the muted colour is the result of more information being dedicated to the black and white information, the “luminance part of the image”. The colour gets downsampled, as there is less information there, so it tends to get soft and bleed out of the edges. The second characteristic is the horizontal lines across the screen that you see in a lot of analogue/analogue styled videos. (Fig.3) They are called “pop lines”, this is a result of dust specs and any kind of debris getting stuck to the tape and it then rolls around the scan head and that will create a streak.ww The third characteristic is the most common and recognizable one and it’s the analogue glitches or “VHS transitions”. (Fig. 4) This is a result of quite literally destroying the device with a VHS tape inside it, “Essentially just taking the device and then you do a lot of bad things to it” says Matt Nixon, Lead QA Engineer at Ged Giant.

Fig. 2 (How The 90s VHS Look Works, 2018)

Fig. 3 (How The 90s VHS Look Works, 2018)

Fig. 4 (How The 90s VHS Look Works, 2018)

Fig. 5 (How The 90s VHS Look Works, 2018)

Fig. 6 (Arshakyan, 2018)

Fig. 7 (Arshakyan, 2018)

The fourth characteristic is the “scrolling wrinkles”, which happen when the tape jams up. (Fig. 5) (Scott, 2018) The fifth characteristic is light leaks. This is a very recognizable part of analogue film. This can happen when the seal inside the film camera malfunctions and allows light to get in, overexposing the image. (Fig. 6) There is also the grain. (Fig. 7) This is probably the most used and sought after analogue “effect”. Grain is the result of visible silver crystals in a film negative’s emulsion. These lightsensitive silver halides change into pure metallic silver when exposed to light, which is how an image is captured on film. The higher the ISO of the used film, the more pronounced the grain will be. (Everything You Need to Know About Film Grain and Pixelation, n.d.) The last notable characteristic is teal shadows and orange highlights. This of course depends on the film stock used, some have different undertones. Flash is also very commonly associated with analogue film photography. (Fig. 8)

Fig. 8 (colesprouse, 2021)

The opposite of the “analogue aesthetic” is a the clean and sterile digital look. Very clean, grainless and barely colour graded footage that clearly looks digitally made would be categorized and digital. The main difference between analogue and digital is the technology used in the making, digital is shot using digital cameras while analogue is shot on film, using an analogue camera. Examples of digitally shot videos are the following frames from the 2006 music video for Nelly Furtado’s song “Promiscuous” featuring Timbaland. (Fig. 9, 10) The video has 442 million views on youtube. Another example is this frame from A$AP Rocky’s 2011 music video “Peso”. (Fig. 11)

Fig. 9 (Nelly Furtado “Promiscuous (Official Music Video) ft. Timbaland”, 2009)

Fig. 10 (Nelly Furtado “Promiscuous (Official Music Video) ft. Timbaland”, 2009)

Fig. 11 (ASAP Rocky “Peso”, 2011)

Analgoue aesthetic in Hip Hop

3 Analogue aesthetic in Hip Hop At the beginning of Hip Hop as a movement, it was merely a subculture with a loyal fanbase, but over the past 40 years, it has grown into a global industry. Hip Hop is the most popular and streamed genre in the global charts today. Rock was surpassed by Hip Hop in 2017. (Ryan, 2018) According to Nielsen Music’s semi-annual report, hip-hop (including R&B) has overtaken rock music for the very first time. Hip-hop claims 25.1% of all music consumption in the U.S., while rock music is at 23%. Today 31.1% of streams (song listens through any streaming music service application) are R&B or Hip Hop. Hip Hop music videos amass millions and sometimes billions of views. Because of this growth and cultural influence of the genre, music videos have become more and more high budget and carry larger importance. As the analogue aesthetic was gaining popularity in Hip Hop music videos towards the end of the 2020s, it has a much broader reach and influence as it has become a more influential, visible and popular part of global popular culture.

Fig. 12 (travisscott, 2022)

Fig. 13 (feliciathegoat, 2022)

3.1 Resurgence through Hip Hop The analogue aesthetic is very prominently seen recently in the Hip Hop industry, especially in Hip Hop music videos. (CRAIGHEAD, 2018) The Instagram profiles of any top streaming artists like Drake, Travis Scott or A$AP Rocky will show you that the analogue aesthetic and film photography is at an all-time high. The majority of photos on their profiles are frames from their music videos, campaigns and candid photos, a large portion of which are taken on film.

Fig. 14 (champagnepapi, 2022)

3.2 Hip hop and authenticity The notion of authenticity has always been linked with Hip Hop. It is the culture of being true to yourself and owning it. (Williams, 2007) When a reporter from a Polish Hip Hop news channel went around NYC, the birthplace of Hip Hop and asked some of the pioneers of the genre, what is the essence of Hip Hop to them? These were some of the answers: “Doing whatever you wanna do with style” “Love, peace, unity and having fun. Hip hop is way for young urban kids to express themselves and to build a connection to other neighbourhoods and communities” “Beats, rhymes and life. Your experiences with the music, the culture, how we dress, our slang. It varies from generation to generation.” “Very unapologetic attitude. It was ok to be ourselves” “Hip hop didn’t invent anything, but reinvented everything. It’s just a reinterpretation of our generation of all the common hip hop elements. People were always playing music in the street, they were always poets. There was gle and the pure enjoyment of just doing it and being a part of it” “It’s about being true to yourself, knowing about your roots, not just this generation of music but the generations before.” (What is the ESSENCE OF HIP-HOP? We asked NY legends: Grandmaster Caz, General Steele, Masta Ace..., 2019) To summarise all of the above, Hip Hop is supposed to unite people and embrace everyone’s true authentic selves. It is about taking from what generations before you have given and transforming it into something that and rhymes. The resurgence of the analogue aesthetic could be linked to the notion of authenticity since it’s features resemble the look seen in older Hip Hop videos and imagery from the 70s to mid 80s.

3.3 “Real” vs “Fake” Hip Hop and materialism in music videos In recent years there has been a rise of genres such as mumble rap and other sub-genres and as a result, the conversation has ignited about what is actually “real” Hip Hop and what isn’t. Artists like Young Thug, one of the people who popularised mumble rap, was named the most influential rapper of the 21st century. (Weiss, 2019) There are certain listeners and forums who believe that the nonsensical lyrics and materialism found in many videos don’t align with what Hip Hop once stood for. Even older Hip Hop heavyweights like Eminem don’t align with the new genre. “For him, [mumble rap] is a little bit of a culture shock because there’s a new wave of hip-hop that’s not really what he’s about … So he was just talking to me about how that felt. I could see he was frustrated by it.” said Eminem’s producer Rick Rubin on the Broken Record podcast. (Pushkin Industries, 2017) It can be argued that The lack of “authenticity” in the themes and style of newer Hip Hop could be the reason for creative directors’ return to an aesthetic that is linked to the origins of Hip Hop, therefore satisfying people’s nostalgia. Many listeners claim that Hip Hop now has fallen into a hole where all the lyrics in songs and visuals in the music videos are materialistic, misogynistic and show taboo topics like sex and drugs. (Williams, 2018) However, it is important to note that Hip Hop as a movement “was founded by kids in the Ghettos and projects of America. Some of whom were former or active gang members and criminals. So a lot of these original B-boys, DJs, MCs and graffiti writers, could’ve been stickup kids, drug dealers, drug users or even killers.” (Real Hip Hop Vs. Fake Hip Hop, 2017) Hip Hop was a way for them to take this violence and transform it into something else - an art that gave them potential opportunities in the future, or at the very least, a creative and unique outlet for their own voices and stories, which had mostly been ignored or marginalized. That is not to say the content of their lyrics was very sophisticated. Music videos came into the conversation after the beginning of MTV in 1981, this gave Hip Hop artists immense opportunities.

3.4 Sampling and reinvention According to a former member of the Black Spades - a street gang that originated in the Bronx, many members of which would later be founders of Zulu Nation (an international Hip Hop awareness group) - Hip Hop was a derisive term used by the Disco crowd to downplay the new movement that was coming up. So basically older heads talking down on the younger heads. (HipHopDX, 2017) The same argument can now be applied to the new mumble rap subgenre. It is something reinvented and because it is different, many people are uncomfortable with it. Perhaps the return to the analogue aesthetic isn’t only trying to “get back to the roots” but rather taking something old and doing it in a new way. Reinventing. It is important to note that taking things from the past and reworking them is actually a part of the essence of Hip Hop. A good example of this is how sampling is an integral part of Hip Hop music. Record producer Jason O’Bryan explained that sampling is “when you include an element of a pre-existing recording by someone else in your composition. The sample can be anything that you’ve ‘sampled’ from another track; a rhythm, a melody, a beat, vocals or speech, which you then manipulate, edit, chop up or loop to fit creatively within your work.” (SAMPLING: IT’S ROLE IN HIP HOP AND ITS LEGACY IN MUSIC PRODUCTION TODAY, 2020) This is an obvious example of old becoming new, specifically in the Hip Hop industry. For example Kanye West sampling Ray Charles’ 1954 song I’ve got a woman in his 2005 song Gold Digger. Or Dr. Dre sampling the 1968 song The Edge by David McCallum in his hit 2000 song the next episode. Another extremely famous example is Coolio sampling Stevie Wonder’s 1976 song Pastime Paradise in his 1995 international smash hit Gangster’s Paradise. The music video for Gangster’s Paradise also has 822 million views. Sampling and paying homage doesn’t only apply to songs, it also applies to album covers, artwork and to the music videos themselves. For example, Eminem’s cover for his 2018 album “Kamikaze” features an aeroplane nearly identical to the cover of Beastie Boys’ 1986 album “Licensed to Ill”, but it’s been reworked and contextualized to fit the release date of the new Eminem album. The original aeroplane illustration on License to Ill was

meant to playfully mock the rock ‘n’ roll lifestyle according to the producer of the album Rich Ruben. (Stafford, 2015) In the 2013 music video for Berzerk Eminem also imitated bits of the 1992 So What’Cha Want music video by the Beastie Boys. (Smith, 2018) The referencing however goes even deeper than the Beastie Boys, since their album name is a pun on James Bond’s license to kill movie. Run-DMC also had a top 40 hit with “You Be Illin’” just two months prior to License to Ill’s release. (Stafford, 2015)

3.5 Hip hop and fashion Among other branches that have been affected by Hip Hop, there is also fashion. In its origins, New York b-boy culture largely dominated fashion in hip hop. B-boys were breakdancers, one of the four groups who helped Hip Hop form as a genre. One of the biggest Hip Hop and fashion benchmarks to date is the Run-DMC ad campaign and endorsement with the way for future brand and artist collaborations as well as cementing fashion into the centre of Hip Hop culture (Fig. 15) is from the collaboration between Run DMC and because this moment is a huge benchmark, that could be the reason we are looking back to this aesthetic as part of our current trend cycle. (Warnett, 2016)

Fig. 15 (Ebet Roberts, Run-DMC in Hollis Queens, New York, 1986)

Hip Hop music Video trend progression

Fig. 16 (A Tribe Called Quest - Electric Relaxation (Official Video), 2012)

Fig. 17 (A Tribe Called Quest - Electric Relaxation (Official Video), 2012)

4.1 Pre 2000s During the 80s and 90s, the videos looked a certain way — grain, light leaks,colours, and saturation — because at the time there was no available technology to make the videos look any different. Considering the first digital camcorders came out in 1995, marking the beginning of a rapidly growing era of digitalization in videography. (HARLOW, n.d.) What happened before the 2000s was Hip Hop was on its rise, it. You can see this in videos such as the 1993 video for the song “Electric relaxation” by A Tribe Called Quest. (Fig. 16, 17) The video is visibly low budget and was done with something portable like a camcorder.

4.2 2000 - 2010s After the 90s came the era of airbrushed music video visuals of the 2000s with videos for songs like “Just a little bit” by 50 Cent released in 2002, produced by Scott Storch. The “Just a little bit” video has 410 million views on Youtube. Technology has advanced and editors have been presented with tools that haven’t been available to them prior. Where before you could not conceal imperfections in music videos, now you could. These were the early stages of the perfectly curated and Facetuned social media culture of today. The following stills are from the music video for the 2002 song “I know what you want” by Busta Rhymes and Mariah Carey Typically in music videos of that time period, women were the ones who fell victim to the excessive airbrushing while men were left with their imperfections and well, skin texture. This played into the portrayal of both genders in Hip Hop music videos; women were beautiful tokens and status symbols, men were the strong imperfect gangsters. Artists and directors understood that you could curate the perfect reality in music videos, which brought us into the 2010s when selling the fantasy life was at its peak.

Fig. 18 (50 Cent - Just A Lil Bit (Official Music Video), 2009)

Fig. 19 (Busta Rhymes, Mariah Carey - I Know What You Want (Official HD Video) ft. Flipmode Squad, 2014)

Fig. 20 (Busta Rhymes, Mariah Carey - I Know What You Want (Official HD Video) ft. Flipmode Squad, 2014)

Fig. 21 (A$AP Rocky - Fashion Killa (Explicit Version), 2022)

Fig. 22 (A$AP Rocky - Fashion Killa (Explicit Version), 2022)

Fig. 23 (Travi$ Scott - Upper Echelon (Official Music Video) ft. T.I., 2 Chainz, 2013)

4.3 Post 2010 The start of the 2010s was filled with digital silence and grey ungraded videos. The progression into the analogue aesthetic is very visible in music videos of artists like A$AP Rocky and Travis Scott. The previously mentioned video for A$AP Rocky’s 2011 song “Peso” is an example of the visuals at the beginning on 2010s. The “Peso” video has a bare look, the focus of the video being the representation of the Harlem neighborhood in New York City. It appears as though it was shot on a simple digital camera with minimum editing. (Fig. 21. 22) are frames from A$AP Rocky’s 2013 music video for the song Fashion Killa and you can see that there is barely (if any) colour grading present. The video still has 76 million views, showing it’s commercial success. (Fig. 23, 24) are frames from Travis Scott’s Upper Echelon music video. The look overall is a little sterile. However, there is some colour grading present, the colours used attempt to mimic the analogue aesthetic. There is however no grain applied or any other “stylistic” analogue elements. The video has almost 30 million views.

Fig. 24 (Travi$ Scott - Upper Echelon (Official Music Video) ft. T.I., 2 Chainz, 2013)

Moving into the second half of 2010s, the music video for “A$AP Forever” (Fig. 25) demonstrates the analogue aesthetic very well. The video has over 76 million views on youtube, so its impact is quite large. Another example is from the video “Praise The Lord”, (Fig. 26, 27) also by A$AP Rocky featuring Skepta. The video is also from 2018 and has 377 million views on youtube.

Fig. 25 (A$AP Rocky - A$AP Forever (Official Video) ft. Moby, 2018)

Fig. 26 (A$AP Rocky - Praise The Lord (Da Shine) (Official Video) ft. Skepta, 2018)

Fig. 27 (A$AP Rocky - Praise The Lord (Da Shine) (Official Video) ft. Skepta, 2018)

Fig. 28 (Haim - Summer Girl, 2019)

Fig. 29 (Travis Scott feat. Young Thug & M.I.A. - FRANCHISE (Official Music Video), 2020)

Fig. 30 (Travis Scott feat. Young Thug & M.I.A. - FRANCHISE (Official Music Video), 2020)

Examples from other genres include Haim’s 2019 video for the song “Summer girl”. (Fig. 28) The video was shot on 35mm film and directed by Paul Thomas Anderson. The analogue aesthetic becomes even more predominant in videos like Franchise (Fig. 29, 30, 31) by Travis Scott (2020). The video has 87 million views on Youtube and was also shot on film.

Fig. 31 (Travis Scott feat. Young Thug & M.I.A. - FRANCHISE (Official Music Video), 2020)

Conclusion

Conclusion In conclusion, film and the analogue aesthetic have made a huge comeback in the past 10 years for a variety of reasons. As digital photo and video have taken over the market in the 2000s, the future of film looked very bleak with Kodak, one of the largest analogue film companies eventually filing for bankruptcy. However, this pushed film enthusiasts across the film and photography industries to come together and bring analgoue film and the aesthetic associated with it back into the mainstream. Hollywood directors like Christopher Nolan and Quentin Tarantino stayed true to analogue film as a medium through the turbulent period of technological change that took place in the past 20 years. This allowed the medium to survive and be discovered by younger generations of filmmakers and photographers. As the battle of film and digital took place, Hip Hop has steadily grown from a small sub-culture into a chartdominating industry and with its growth it perpetuated the use of the analogue aesthetic into pop culture as well as the general visual culture in the entertainment industry. The aesthetic doesn’t only carry a stylistic purpose in Hip Hop, it also acts as a nostalgic homage to the formation days of the genre. The return of the analogue aesthetic went directly against the general technological trend of digitalization, showing that just because new tools come along we musn’t always turn down the technologies and aesthetics of the past. As technology overtook everything we do and so much time is now spent behind the screen, the resulting digital fatigue left creatives longing for a tactile experience, causing many to return to older methods of capturing images. The evolution and rise of Hip Hop has shown that authenticy and personal stories matter in art and music, as well as the importanceof valuing what previous generations have given. The past may very much be the best source of inspiration.

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Fig 27 - LIVELOVEASAPVEVO. 2018. A$AP Rocky - Praise The Lord (Da Shine) (Official Video) ft. Skepta. Youtube. com. [online] Available at: <https://www. youtube.com/watch?v=Kbj2Zss-5GY&ab_ channel=LIVELOVEASAPVEVO> [Accessed 28 October 2021]. Fig 28 - HaimVEVO. 2019. Haim - Summer Girl. Youtube.com [online] Available at: <https://www.youtube.com/watch?v=ZjuA_ o6Jzyo&ab_channel=HaimVEVO> [Accessed 5 January 2022]. Fig 29 - TravisScottVEVO. 2020. Travis Scott feat. Young Thug & M.I.A. - FRANCHISE (Official Music Video). Youtube.com. [online] Available at: <https://www. youtube.com/watch?v=_VRyoaNF9sk&ab_ channel=TravisScottVEVO> [Accessed 27 December 2021]. Fig 30 -TravisScottVEVO. 2020. Travis Scott feat. Young Thug & M.I.A. - FRANCHISE (Official Music Video). Youtube.com. [online] Available at: <https://www. youtube.com/watch?v=_VRyoaNF9sk&ab_ channel=TravisScottVEVO> [Accessed 27 December 2021]. Fig 31 - TravisScottVEVO. 2020. Travis Scott feat. Young Thug & M.I.A. - FRANCHISE (Official Music Video). Youtube.com. [online] Available at: <https://www. youtube.com/watch?v=_VRyoaNF9sk&ab_ channel=TravisScottVEVO> [Accessed 27 December 2021].

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