POMO Mixtape - Powerdown Playlist

Powerdown Playlist

- A postmodern compilation of songs.
- An intimate experience created by  a complilation of music, specifically designed to engage, as well as for the purpose of recalling and recollecting.
- An album to drift off to. An album for late nights.

Download Link

1. Teen Suicide - We Found Two Dead Swans and Filled Their Bodies (2013) 0.00
2. Danai - Apo Mesa Pethamenos (1926) 2.30
3. Sampha - Happens (2013) 5.30
4. Blur - Coffee and TV (1999) 10.35
5. Isaac Gracie - Last Words (2015) 15.45
6. The Fugees - No Woman No Cry (1996) 19.50 
7. Smashing Pumpkins - 1979 (1995)  24.28
8. Jorja Smith - Blue Lights (2016) 28.46
9. Brushy One String - No Man Stop Me (Good Morning Mr.Sun) (Released 2013, Recorded Unknown) 32.25
10. Mac Demarco - My Kind of Woman (2012) 35.52
11. Etta James - I'd Rather Go Blind (1968) 39.02
12. Robert Johnson - Me and the Devil Blues (1937) 41.35
13. Spooky Black - Pull (2014) 44.10
14. Courtney Barnett - Depreston (2015) 48.20
15. Otis Redding - (Sittin' On) The Dock Of The Bay (Recorded 1967) 53.09
16. Milky Chance - Feathery (2013) 55.50
17. Leonard Cohen - So Long, Marianne (1967) 1.00.14
18. Tyler the Creator - Find your Wings (2015) 1.05.55
19. Peter Sarstedt - Where Do You Go To My Lovely (1969) 1.08.55
20. King Krule - Borderline (2013) 1.13.37
21. The Wytches - Summer Again (2014) 1.16.40
22. The Beatles - If I Fell (1964) 1.21.27

1a Topics

The 1a topics are: Creativity Digital technology Research and planning Post Production Real Media Conventions

Past Exam Questions

January 2010 1a. Describe how you developed research and planning skills for media production and evaluate how these skills contributed to the creative decision making. Refer to a range of examples in your answer to show how your skills developed over time.

1b. Analyse media representation in one of your coursework productions.

June 2010

1a. Describe the ways in which your production work was informed by research into real media texts and how your ability to use such research for production developed over time.

1b. Analyse one of your coursework productions in relation to genre.

January 2011

1a. Describe how you developed your skills in the use of digital technology for media production and evaluate how these skills have contributed to your creative decision making. Refer to a range of examples in your answer to show how your skills developed over time.

1b. Apply theories of narrative to one of your coursework productions.

June 2011

1a. Explain how far your understanding of the conventions of existing media influenced the way you created your own media products. Refer to a range of examples in your answer to show how your skills developed over time.

1b. Analyse one of your coursework productions in relation to the concept of audience.

January 2012

1a. Describe how your analysis of the conventions of real media texts informed your own creative media practice. Refer to a range of examples in your answer to show how your skills developed over time.

1b. Analyse media representation in one of your coursework productions.

June 2012

1a. Descibe a range of creative decisions that you made in post-production and how these decisions made a difference to the final outcomes. Refer to a range of examples in your answer to show how your skills developed over time.

1b. Explain how meaning is constructed by the use of media language in one of your coursework productions.

January 2013

1a. Explain how your research and planning skills developed over time and contributed to your media production outcomes. Refer to a range of examples in your answer.

1b. Analyse one of your coursework productions in relation to the concept of narrative.

June 2013

1a. explain how your skills in the creative use of digital technology developed over time. Refer to a range of examples in your answer.

1b. Apply the concept of representation to one of your coursework productions.

Benaji, Burn and Buckingham (2006) - Questions

1. Is creativity an internal cognitive function, or is it an external social or cultural phenomenon? I believe that creativity sprouts from both cognitive function and social or cultural experiences. It is rare that people have entirely brand new ideas as most have already been used up. Almost everything has been inspired by something else, and for that reason, creativity appears to derive mainly from external sources, but no one can deny that creativity derives from individual's minds on certain occasions.

2. Is creativity a pervasive, ubiquitous feature of human activity, or a special faculty, either reserved for particular groups, individuals, or particular domains of activity, in particularly artistic activity?

3. Is creativity an inevitable social good, invariably progressive, harmonious and collaborative; or is it capable of disruption, political critique and dissent, and even anti-social outcomes?

4. What does the notion of creative teaching and learning imply?

Kendrick Lamar - Postmodernism Artist Research

Kendrick Lamar - Postmodern Artist from Michael Wilson on Vimeo.

Uncool Playlist

The first twenty songs that appear when I press shuffle:

1. Teen Suicide - Haunt Me (x3)
2. Sampha - Demons
3. Eagulls - Hollow Visions
4. Wavves - Convertible Balloon
5. Milky Chance - Running
6. Basement - Bad Apple
7. Joy Divison - I Remember Nothing
8. Kendrick Lamar - good kid
9.  Twin Peaks - Stranger World
10. Earl Sweatshirt - Whoa
11. The Wytches - DADFAC#
12. Modern Baseball - Pothole
13. Courtney Barnett - Dead Fox
14. Spooky Black - Pull
15. Samm Henshaw - Only Wanna Be With You
16. JME - Work
17. King Krule - Has This Hit?
18. Rufus Thomas - Push and Pull
19. Fat White Family - Bomb Disneyland
20. Joyce Manor - Christmas Card

How can Django Unchained Be Viewed as a Postmodern Film?

How can Django Unchained be viewed as a postmodern film?

Postmodernism is a style, whether it be used in film, music, architecture, art, or anything else, it is characterized by an intentional use of earlier styles and conventions. ‘Django Unchained’ is a 2012 ‘western’ styled film, written and directed by Quentin Tarintino. The film tells the story of a freed slave who befriends a German bounty hunter in southern America. The story follows their journey from the early winter of 1858 to the following spring of 1859, two years before the outbreak of the American Civil War. With the help of his newest companion, the freed slave, Django, sets out to rescue his wife from a brutal Mississippi plantation owner. This film could be described as postmodern due to the references and connections it has to previous and historical media pieces.

The first, and perhaps the most obvious way, in which ‘Django Unchained’ could be seen as postmodern is through the use of intertextual references. Throughout the film Tarintino makes many clear references to films from a previous era, the most blatant being used in the title. ‘Django’ was a spaghetti western released in 1966. A spaghetti western was a specific genre of western film. These films were made cheap in European countries, such as Italy. Tarintino used the name of the 1966 film to title his own western styled movie, and also to name his main character. This intertextual reference is important as it shows homage to the original film as well as the overall genre of ‘spaghetti westerns’.  His appreciation and admiration for this film was also made clear through the use of the soundtrack. Although not the entirety of the film’s music was suitable for the film, the opening track and main song was lifted straight from the original Django film. Django, performed by Rocky Roberts, was recorded in 1966, in order to feature in the film. Tarintino decided to use this song to pay further homage to the original Django. The Django film was also made reference to towards the end of the film. A cameo was made by Franco Nero, the Italian actor who played Django in the 1966 rendition.  In this scene Nero asks Jamie Foxx (who plays Django in Django Unchained), what his name is, and continues to tell Foxx that he knows that the ‘D’ is silent at the start of his name. For western fans it is obvious that he knows how to spell his name, as he played the character in a previous role.

Although Tarintino pays homage to the genre of western films and shows he greatly admires them, in this film, he also uses a parody aspect to imitate westerns in a humorous manner. Certain scenes in ‘Django Unchained’ appear to mimic films by making certain lines or snippets of the film funny for the audience.   For example, towards the start of the film, Django and Schultz assassinate the three ‘Brittle Brothers’. In this scene the shooting by Django follows popular conventions of older western film. The camera shots are very similar and this is used to put a humorous aspect on the death of these characters. As this follows conventions of the western genre, but also makes the film humorous, this shows that the film has a postmodern ‘parody’ feature.

Another feature of postmodernism that Tarintino incorporates into this film is ‘Briolage’. Bricolage, which literally translates as ‘do it yourself’ is when any writer, director or creator of any kind uses lots of separate inspirations to create their own personal collage of work. Almost all of Tarintino’s films can be referred to as postmodern as almost all of them use this feature. Different sections and categories of the deign aspect of the film can be separated and divided into chunks that can be traced back to their original reference point. The first piece of the film I want to analyse is the clothing used. Tarintino got his inspiration for the clothing in the film from many different locations. One of the most vibrant and infamous outfits in the film is Django’s first outfit as a free man. The bright blue suit, with the white cravat styled neck piece, is well documented as being inspired by a famous painting, ‘The Blue Boy’ by Thomas Gainsborough. In this painting a young boy is depicted wearing an almost identical outfit to that of Django’s.  Although in this instance the reasoning for choosing to imitate this outfit seems abstract, other outfit decisions in the film appear to have more relevance. Later on in the film, Django’s second outfit consists of a cowboy style hate a green jacket. This entire outfit mirrors that of famous western TV programme character, Bonanza’s Little Joe. This reference and piece of bricolage is much more relevant as fits into the same genre as Django Unchained.   Although this can be labelled as homage, as Tarintino is tipping is hat at the success of the TV programme, the reference isn’t obvious and works alongside the rest of the film to complete it, meaning it can be labelled as part of the bricolage.  

Another section of the film that can be categorised into the bricolage postmodernism aspect of the film is the setting. As the genre of the film fits into a western style, then the stereotypical placement for the filming and location would be in the west of America, yet the majority of this film is not. Due to the slavery and plantation aspects to this story then it is clear that this film is in fact set in southern America. Some of the settings of the film are clearly taken from older more traditional spaghetti western films. For example, scenes from ‘The Great Silence’ (1968) are reflective of the snowy expanses seen in Django Unchained.  The use of these similar settings also add towards the collage of the overall product, or the bricolage, of the film.

I do believe that Django Unchained could be labelled as a postmodernism media product. Tarintino uses lots of references, conventions and other aspects of older and pre –existing texts to create his own. He also uses lots of different stances to do this, whether that’s paying homage and respecting the originals, or if he is using their conventions to create humour.

Critics of postmodernism are frequent, many people, such as Frederic Jameson who said that the idea of postmodernism is vacuous and full of self-referential jokes. He believes over-exposure in mass media means we can only recycle the conventions of earlier texts and never be original. I personally believe that due to the nature of the media industry, postmodernism will carry on as different genres with always cross paths. As more and more original ideas are created this gives a larger scope for them to be used as references and inspiration. 

Mr Ford Media: Django Unchained (Random) Notes

Mr Ford Media: Django Unchained (Random) Notes: Django Unchained is postmodern because: COSTUME the blue suit (Gainsborough) Django's green jacket and hat (Little Joe Bonanza) ...

Soundtrack Timeline

Order of Appearance in Film: 

60s, 70s, 80s, 90s, 00s, 10s

1. Django Theme Song – Rock Roberts (1966)

2. Rito finale (from "The Family”) (1970)

3. The Braying Mule - Ennio Morricone (from "Two Mules for Sister Sara”) (1970)

4. Lo Chiamavano King - Luis Bacalov (from "Lo Chiamavano King” (1971)

5. Norme Con Ironie - Ennio Morricone  (1970)

6. Gavotte - Arranged by Grace Collins 

7. Town of Silence - Luis Bacalov (mixed for the film in 2012) (originally from Django 66)

8. Freedom - Anthony Hamilton & Elayna Boynton (2012)

9. La Corsa (2nd Version) -  Luis Bacalov (mixed for the film in 2012) (originally from Django 66)

10. I Got a Name - Jim Croce (1973)

11. Dies Irae (Requiem)- from "Battle Royale (2000)

12. I Giorni Dell'ira - Riz Ortolani (from "Day of Anger) (1967)

13. The Big Risk - Ennio Morricone (1970)

14. 100 Black Coffins - Rick Ross (2012)

15. Minacciosamente Lotano _ Ennio Morricone (from "Hellbenders”) (1967)

16. Trackers Chant - Ted Neeley (2012)

17. Nicaragua - Jerry Goldsmith (from Underfire) (1983)

18. Ancora Qui - Ennio Morricone and Elisa Toffoli (2012)

19. Sister Sara's Theme - Ennio Morricone (from "Two Mules for Sister Sara”) (1970)

20. Blue Dark Waltz - Luis Bacalov (1966) (originally from Django 66)

21. Für Elise - Ludwig van Beethoven (arranged for Harp for the film in 2012)

22. Unchained (The Payback/Untouchable) - James Brown and Tupac Shakur (mixed in 2012)

23. Who Did That to You - John Legend (2012)

24. Ain't No - Johnny Cash (released after death ) (2010)

25. Too Old to Die Young - Dege Legg (2010)

26. Un Monumento - Ennio Morricone (from "Hellbenders”) (1967) 

27. Trinity: Titoli - Annibale E I Cantori Moderni  (1970)

Although many of the music included is from the same year as the film, this is due to the fact is was mixed at this time. Songs such as ‘Untouchable’ and ‘La Corsa 2nd Version” were created by bringing together older pieces of music. By doing this Ennio Morricone and Quentin Tarintino were able to create an older feel to the film and convey genre conventions of older spaghetti westerns. At the same time, more modern songs were also included, that contrasted with the genre of the film greatly. Songs such as '100 Black Coffins' which features the rapper 'Rick Ross', are very peculiar alongside the genre and setting of the film.  This is a very stereotypical conventional style of Tarintino’s. 

Django Unchained Inspiration

Boss Nigger - 1974



Buck and the Preacher - 1972



Charley One Eye - 1973



The Soul of Nigger Charley - 1973

Research Questions

• What is a western? A film, television drama, or novel about cowboys in western North America, set especially in the late 19th and early 20th centuries.
• What is a spaghetti western? A western film made cheaply in Europe.
• What is a blaxploitation film? A black action film that were aimed at black audiences, featuring African-American actors in lead roles.
• Which THREE films does Django Unchained take its name from? Django (1966), Hercules Unchained (1959), Angel Unchained (1970)
• Why does Franco Nero appear in the film and what is the significance of his dialogue with Jamie Foxx? Franco Nero played the character of 'Django' in the 1966 spaghetti western. In the 2013 film, Nero asks Jamie foxx (who plays Django in this film) how he spells his name. This is meant to be ironic as he previously played the character and therefore knows how to spell it.    
• What song plays over the final credits and how does this film connect to the original film Django? Annibale EI Cantori Moderni - Titoli (Trinity). This song plays a part in the soundtrack for the 1970 spaghetti western 'They Call Me Trinity', this song film links with the original Django, as the Director of 'They Call Me Trinity' (Enzo Barboni) plays the role of the Director of Photography in Django.  
• Which other song from Django features in Django Unchained? The opening song for both films are the same. Quentin Tarantino uses the original song 'Django - Composed by Luis Bacalov' for his 2013 version.
• Who or what is Mr Ed? Mister Ed is a horse that plays and features in a 1958-1966 american sitcom. 
• What is the significance of the red mask worn by Zoe Bell as Django murders the killers of d’Artagnan? A well know stereotype and regular costume of any type of western was a red bandanna or scarf. In the original plans for the film Tarintino wanted to include a scene in which the mystery woman would remove her mask and reveal an absent jaw, but this was cut.
• The name of the saloon in which Schultz and Django drink is called Minnesota Clay, why?  The name of the saloon is a reference to the 1964 spaghetti western with the same name, 'Minnesota Clay'. 
• Who is Ennio Morricone? An Italian musician and composer who has made his name working on soundtracks for many films, including 3 Tarintino films, became famous for doing Westerns such as The Great Silence. 
• What connects him to both Django Unchained and director Sergio Corbucci? They worked alongside each other on the film 'The Great Silence' which was directed by Sergio and composed by Ennio. 
• What sequence has made the 1903 film "The Great Train Robbery" so iconic? The 11 minuteong film incoperated many aspects of everyday cinema for the first time, including the first panning camera and the first time someone was shot in the foot and made to dance, which has been cliched so many times since. 
• What is the significance of the name Von Shaft? Broomhilda Von Shaft is the great-great-great-great grandmother of 'John Shaft' who is a character in the 'Shaft' movies  and has been played by Richard Roundtree and Samuel Jackson.
• What TV western does Django's western style outfit pay homage to? Bonanza