Scholarwhale

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Lana Del Rey - Further Reading - for Binksternet

Dear Binksternet, thank you for your answer, you are completely right - not only about the rather subjective conclusion. However, as I still find the article quite useful, I would like to suggest two different ways how it could be used: 1) to paraphrase a more general claim about the music video´s unique visual aesthetics combining different contexts; 2) to make a new section "Further reading" (or something similar) with only mentioning the title of the article within (along with other sources, e.g. a recent special issue of Inquiry focused on Lana Del Rey) - for those who want to know more about it (as I still believe that such analyses based on the informed and comparative close reading are more insightful than mere and often shallow journalist evaluations).

If you prefer the first option, I would then suggest paraphrasing at least the following claim (but, of course, feel free to modify it) from the article (p. 5): The music video wittily combines two emblematic spaces of cultural history (Mannerist Chapel of the Trinity of the Palace of Fontainebleau in France; American white Pontiac) and the exalted affectivity of the tragic love, imbuing the scene with Christian iconography, Baroque contrast, Mannerist gestures, and the contemporary popular culture. The initial scene, framed by the embrace of a half-naked tattooed couple against the backdrop of the fluttering flag of the United States, can be seen as an allusion to Madonna whose music video for the song “American Pie,” (dir. Philipp Stölzl) features Americans of all generations, colors, and sizes posing in front of the American flag hanging in the background, with heterosexuals, as well as gays and lesbians, kissing in front of it.

Would you agree with one of those options, @Binksternet:? --Scholarwhale (talk) 18:24, 16 September 2017 (UTC)