Chris Cunningham is a British video artist. Cunningham has primarily directed music videos for ambient music and electronica acts such as Autechre and Aphex Twin.In the 2000s, Cunningham began doing music production work. He has also designed album artwork for a variety of musicians. Cunningham has had close ties to Warp Records since his first production for Autechre. Videos for Aphex Twin's "Come to Daddy" and "Windowlicker" are perhaps his best known. His video for Björk's "All Is Full of Love" won multiple awards, including an MTV music video award for Breakthrough Video and was nominated for a Grammy for Best Short Form Music Video.
These music video directed by Gondry and Cunningham are alternative because they do not follow the typical conventions of music videos. Both of these music videos have futuristic and computer animated themes to them. These types of alternative music videos reflect the artist/directors and represent their own memories. Gondry and Cunningham's unique directing approach is shown through their visual effects and settings.
Gondry and Cunningham's music videos are original, this means that they do not come from mainstream music videos because they include new ideas such as the use of robots. Their music videos are different from other genres of music such as Hip-Hop and Pop because of how they are portrayed to the audience being distinct to mainstream music. Their videos reflect Hebdige theory with the idea of 'little cultures in their own rights'. This theory can be applied as the Alternative genre is so different that audiences can perceive different ideas from the same music video. This is due to the different emotions they evoke towards the audience. These videos by Cunningham and Gondry support Dyer's star theory and the idea of paradoxes because the directors are shown as both ordinary and extraordinary. The ordinary aspect comes from the fact that the lyrics match the song and represent the visuals creating various feelings, emotions and moods for the audience. However the extraordinary aspect comes from the use of technology in the video which the audience idolise because very few music videos include robots.
Neither of the videos can be applied to Laura Mulvey's male gaze theory because there are no women in the music videos represented as "sexualised". This is arguably good because it shows how the audience can still be entertained and engaged by a music video without the need of women being given the status of an object due to their physical appearance.
On the other hand both videos can be applied to Andrew Goodwin's theory because they include some of the features within his theory. Firstly they contain intertextual references to computer animation and "Rubber Johnny" has a video game feel to it. Also the visuals match the music because in "All is full of love" the music has a slow pace so the editing has longer slower paced shots, whereas in "Rubber Johnny" there is a fast paced beat so the visuals show fast paced short takes of edited shots. On the whole the music matches the visuals.
These music video directed by Gondry and Cunningham are alternative because they do not follow the typical conventions of music videos. Both of these music videos have futuristic and computer animated themes to them. These types of alternative music videos reflect the artist/directors and represent their own memories. Gondry and Cunningham's unique directing approach is shown through their visual effects and settings.
Gondry and Cunningham's music videos are original, this means that they do not come from mainstream music videos because they include new ideas such as the use of robots. Their music videos are different from other genres of music such as Hip-Hop and Pop because of how they are portrayed to the audience being distinct to mainstream music. Their videos reflect Hebdige theory with the idea of 'little cultures in their own rights'. This theory can be applied as the Alternative genre is so different that audiences can perceive different ideas from the same music video. This is due to the different emotions they evoke towards the audience. These videos by Cunningham and Gondry support Dyer's star theory and the idea of paradoxes because the directors are shown as both ordinary and extraordinary. The ordinary aspect comes from the fact that the lyrics match the song and represent the visuals creating various feelings, emotions and moods for the audience. However the extraordinary aspect comes from the use of technology in the video which the audience idolise because very few music videos include robots.
Neither of the videos can be applied to Laura Mulvey's male gaze theory because there are no women in the music videos represented as "sexualised". This is arguably good because it shows how the audience can still be entertained and engaged by a music video without the need of women being given the status of an object due to their physical appearance.
On the other hand both videos can be applied to Andrew Goodwin's theory because they include some of the features within his theory. Firstly they contain intertextual references to computer animation and "Rubber Johnny" has a video game feel to it. Also the visuals match the music because in "All is full of love" the music has a slow pace so the editing has longer slower paced shots, whereas in "Rubber Johnny" there is a fast paced beat so the visuals show fast paced short takes of edited shots. On the whole the music matches the visuals.
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