Authenticity in Contemporary Design Analytical Essay

Introduction

Immediately after the development of the art and craft style, the field of design changed significantly, and ass such, new and better products surfaced.

The main aim of establishing the art as well as craft style was to search not only an aesthetic design but also decoration. In addition to this, it was started as a way for reacting against machine-produced styles.

In the old days, craft products were elementary in form and did not have superfluous decorations.

Kettley & Smyth (2011) “asserted that the expectation in designing the method was that with increased physicality in the mode of representation, involving more of the senses the perception of materiality would be increased.

In other words, the participants would exhibit both conceptual and sensory understanding more fully, and be more inclined to attribute the design with potential for personal meaning and authenticity” (7).

Today, craft aesthetic has been fully realized, and this is evidenced in every product being produced. It is traceable in

Contemporary products, interiors, communications as well as media among other fields. The implication of this is that; they are authentic products of a maker or a designer.

According to many research studies, while some designs are identified as being products of designers or makers, as well as small studios, others results from large corporations and industrial productions (Engestrom 2005).

Using three examples of contemporary designs that incorporate the aspect of actual hand craft, that is; film, title sequence as well as music clip, this paper will focus on explaining the elements of their aesthetic and production that convey the contribution of their designer.

In addition to this, the paper will identify how these elements speak about authenticity and even sustainability of the products (Knight &Thomas 2012).

Discussion

With regard to film, title sequence as well as music clips, there are several elements of authenticity contained in them that depict the contribution of the producer. In order to understand these, it is essential that each product is assessed.

One example of contemporary design that incorporates the aspect of actual handcraft is films production. “Films incorporate the aspect of nostalgic impulses, and as such it increases the film’s authenticity and production” (Campbell 2009).

Nostalgia refers to sentimentally longing for the old and past typically with regard to place or period in which there were personal associations.

Therefore, nostalgic impulse in contemporary films refers to a situation where the maker of the film produces a film basing it on events of another film, which was produced long time ago (Engestrom 2005).

Recalling appealing scenes in a classic film and incorporating them in a modern film increase both the value and desirability of the film maker. An example of a film incorporating the element of nostalgic impulses is the film ‘Rewind’.

This film is based on scenes of three films produced between 1980 and 1990. They include Robocop, Driving Miss Missy Ghost Busters and Baby Boom (Campbell 2009).

Contemporary film makers also incorporate the aspect of moving image. Film makers have websites from where customers can watch the movie trailer from prior to purchasing the films.

For instance, the producer of the film ’Rewind’ has established a website, that is; bekindmovie.com, from where the movie trailer can be watched (Campbell 2009). Also, through You Tube, one can watch trailers and get an overview of the films.

The two elements are viable in the authenticity as well as sustainability of films. With regard to nostalgic impulses, authenticity and sustainability is depicted by fondly recalling the VHS era meaning that the films are of digital age with their surfaces incorporating tributes to analogue sensibility, which are computer generated (Walters 2008).

For online moving image, Knight and Thomas (2012) indicates that “access to online moving image collections and archival materials has allowed a greater degree of interaction between those viewers and moving image materials” (17).

Authenticity and sustainability are depicted by the movies being romantically cinephilic. Further, the authenticity and sustainability are depicted by catering to atomized audiences.

It is through this that people become united in the pleasures constituted in cooperative endeavors as well as shared culture (Walters 2008).

Another example of contemporary design that incorporates the aspect of actual handcraft is title sequencing. A title sequence can be described as a method by which titles, key production as well as the cast members are presented or even how conceptual visuals and sounds are utilized.

In the movie the terminator, the producer gives a detailed description of the characters as well as their roles in the movie (Metcalf 2009).

Among the authenticity elements in title sequencing includes superimposed opening credits. As compared to classic films, the contemporary films incorporate the aspect of superimposed opening credits where not only is the title and the name of the producer is acknowledged but also the characters who are either directly or indirectly involved.

While the characters of the movies play a direct role in a film, individuals such as sound controllers, lightning controller as well as theme setters act as indirect parties to the film and as such, they also play a significant role.

Another authenticity element is the use of suspense. Suspense is an authenticity element, and as such, it refers to an uncertainty feeling regarding the consequences of a certain action and more often, it refers to the perceptions of an audience with reference to a dramatic piece of work (Galbraith 2001).

Suspense is used in films as a way to keep the audience desiring to know what will happen next that is to keep guessing. It is used in catchy areas of the film and it keeps the views glued to the screen (Levine 2009).

By incorporating superimposed opening credits, the public view about the film is usually positive, that is, the authenticity is increased since each and every character in the movie, whether directly or indirectly involved is acknowledged.

A superimposed opening credit is an indispensable element as it makes a film be acknowledged as a standard movie and encourages viewing (Inwood 2007).

With regard to suspense, it shows the authenticity and sustainability of a film by making the view making a decision that he will not miss any episode.

Suspense is also used by the film maker to create value for the viewers, and again, this increases the authenticity of the film (Metcalf 2009).

The third example of contemporary design that incorporates the aspect of actual hand craft is music clips production. In modern art works, the producers incorporate the various elements in music products to increase the authenticity of the film. Elements constituted by music clips include the instrumentals, music effects and genres.

With regards to Music instrumentals, when blended with Vocals, they make up a song. Instrumentals are the beats, and they support the vocals and, therefore, coming with a desirable article (Levine 2009).

Another authenticity element is music genres. Music comes in different genres. Example of music genres includes; rhythm and blues, rock and roll and techno music among other genres.

When a music producer ensures that different genres of music are employed, it follows that his works’ or product’s authenticity is increased.

Even in real life, people have several music genres as favorites (Kettley & Smyth 2011). This means that listening to one genre will come monotonous at some point and, therefore, one will become bored.

With regard to instrumentals, it is an essential authenticity element of music clip production. It is commonly established that life without music is meaningless.

Therefore, when a music producer incorporates the aspect of sound tracks in his music products, it follows that the authenticity of the music clips is remarkable and increases with the continued viewing and hearing (Browning 2010).

Different music genres are essential, and as such, a music producer must employ them. The ability to use different music genres signifies that the music producer has a sense of authenticity creation.

With different genres, the music fanatics will be able to enjoy, not only the vocals of the music but also the instrumentals accompanying the song. This encourages the continued viewing of the film by the viewer and as such, authenticity is created.

Conclusion

From this analysis, it is evidently clear that authenticity is of a film is a particularly vital aspect for the media industry and producers must be continually vigilant in establishing those that bring authenticity to their products.

With reference to the media works, this analysis has established that some of the elements that create authenticity for film products include; nostalgic impulses and online moving images (Engestrom 2005).

For the title sequence, the elements that show or increase authenticity include both the superimposed opening credits and suspense.

In addition to this, those that bring authenticity to music clip art work include both music genres and instrumentals to the music.

Generally, contemporary producers must ensure that they use these elements in order to increase their authenticity. Wade (2008) suggests that “surprise, which I closely connected to suspense, increases the reader engagement”(286).

References

Browning, A. 2010, Making it, video recording, Handmade, Melbourne. Web.

Galbraith, M. 2001, Embedded Systems for Computational Garment Design, Masters Thesis, Oxford Digital Thesis Program 2000. Oxford Digital Thesis Program. Web.

Inwood, M. 2007, Heidegger; A Very Short Introduction, Oxford University Press, Oxford, UK.

Kettley, S. & Smyth, M. 2004, ‘The Materiality of Wearable Computers, Craft & Authentic User Experience, Vol. 7 no. 2, pp. 32-41.

Levine, F. A. 2009, Handmade Nation, video recording, Video Education Australasia, Sienna.

Walters, B. 2008, ‘DIY Hard, Sight and Sound, Vol. 18 no. 3, pp. 22-24.

Knight, J. & Thomas, P. 2012, Reaching Audiences: Distribution and Promotion of Alternative Moving Image, Bristol, UK, Intellect Books.

Wade, D. 2008, The Viability of Fictional Research Writing in Academe, Michigan, ProQuest.

Campbell, M. 2009, ‘Canvas’, The Age, Vol. 21 no. 5, pp. 3-25.

Engestrom, U. 2005, Draft Craft Manifesto. Web.

Metcalf, B. 2009, Craft Gadfly. Web.