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Sampling Media$
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David Laderman and Laurel Westrup

Print publication date: 2014

Print ISBN-13: 9780199949311

Published to Oxford Scholarship Online: April 2014

DOI: 10.1093/acprof:oso/9780199949311.001.0001

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PRINTED FROM OXFORD SCHOLARSHIP ONLINE (oxford.universitypressscholarship.com). (c) Copyright Oxford University Press, 2022. All Rights Reserved. An individual user may print out a PDF of a single chapter of a monograph in OSO for personal use.date: 28 January 2022

Articulating a Hip-Hop Sampling Aesthetic through Film

Articulating a Hip-Hop Sampling Aesthetic through Film

Music and Memory in Three Hip-Hop Documentaries

(p.143) 10 Articulating a Hip-Hop Sampling Aesthetic through Film
Sampling Media

Jesse Stewart

Oxford University Press

Hip-hop aesthetics have shaped both the form and content of many films, including several hip-hop documentaries. An increasing number of filmmakers have adopted what can be thought of as a hip-hop sampling aesthetic as a means of structuring the audio, visual, and narrative elements of their films. This is particularly true of the documentaries Stolen Moments: Red Hot + Cool (1994), Keepintime: Talking Drums and Whispering Vinyl (2000), and Scratch (2001). This chapter examines the hip-hop sampling aesthetic in each of these films, focusing in particular on the ways in which these films sample sounds, images, and narratives associated with jazz music and culture specifically, thereby articulating a sense of cultural memory and implicitly advocating for increased cultural legitimacy for hip-hop music and culture.

Keywords:   hip-hop, jazz, turntablism, sampling aesthetic, hip-hop documentaries, cultural memory

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