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Singer Retouched by Post Production is Barely Recognizable

January 28, 2014 2 min read

Once upon a time we were shocked by what photoshop could do and how far ads went to conform the women in front of them into symbols of the beauty ideal.  At the heart of it though do we really understand that everything that is printed or on a screen has been altered?  Do we fully grasp the extent to which its done? Enter, Hungarian singer, Csemer Boglarka (Boggie) and her new song Noveau Parfum.  The music video to Noveau Parfum is unlike any other.  It's just a screen of Csemer singing but takes her through post-production alteration in real time.  She's makeup free with tired eyes and un-styled hair.  By the end she's ready for the catwalk or center stage. At the end of the video you probably wouldn't recognize her for the same person.  The color and shape of her eyes have been changed and the size proportion altered.  The style of her hair along with its color have been changed not to mention her skin tone, whiteness of her teeth, and clothing are all changed.  Artificial lighting creates the perfect, flawless, radiant skin tone that women spend their lives and salaries trying to achieve...when its just a fantasy. article-2543818-1ADEA6AE00000578-534_636x363 Csemer's song criticizes the modern culture of consumerism and conformity.  Her chorus translates to; ‘Of beauty, preciousness; they cannot change me. Peerless, unparalleled. The new fragrance is myself’ while the third verse states ‘mascara, blush, lipstick, lipsticks, lip liners, eye shadow, foundation, nail, pressed powder and I do not want it.’  And the refrain of 'I am not a product.' article-2543818-1ADEA6E500000578-200_638x358 Csemer is the first artist to highlight the work that goes into changing artists in a music video although its not alone in its criticism of photoshop and digitally altering images.  We as consumers are so misguided as to what reality is.  We are chasing a fantasy and allowing the fantasy to be perpetuated because we want to think its real.

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