![]() The overflow of playing children in “Hush”. Jonze continued this style in videos for Wax, X, and The Breeders, all heightened by touches of visual fancy: His video for Chainsaw Kittens utilized a similar skate treatment: wobbly wide angles of the band performing and hanging out, interspersed with randomly applied color tints and energetic cross-cutting. Jonze’s first collaboration with the Beastie Boys marks another direct lift of skate footage cut with fuzzy, mosh pit-heavy live performances of one the Beastie’s most punk sessions.Ĭhainsaw Kittens: High in High School (1992) The journey in contradictions began there, with classic black and white skate footage repurposed as expressionist memory, infusing a sense of longing within imagery typically depicted as flippant and fun. Grunge lore has it that Mark Gonzales passed Kim Gordon a VHS of "Video Days", which is what led to Jonze co-directing Sonic Youth's “100%” video, brought in to serve as a “skate footage” specialist. Sonic Youth: 100% (1992, co-directed with Tamra Davis) ![]() This hybrid of the gritty and the fantastical encapsulates his contradictory style, a contrast that threads throughout Jonze’s entire oeuvre. ![]() In assessing such a prolific music videography, Spike Jonze’s background in BMX and skateboard culture can’t be underemphasized.Ī telling segment in "Video Days", one of his earliest and most widely revered skate videos, intercuts footage of skateboarder Mark Gonzales with scenes from Willy Wonka and the Chocolate Factory.
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