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We Don't Care About Music Anyway

Name: We Don't Care About Music Anyway
Director: Cédric Dupire, Gaspard Kuentz
Released: 2011
Duration: 80 min

Representation Score

6.1/10

Good

2011

Director

Cédric Dupire, Gaspard Kuentz

Runtime

80 minutes

Average Rating

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New Showbiz Analysis

The documentary succeeds as a cultural disruptor by centering the Tokyo avant-garde music scene. It effectively challenges Western musical hegemony by providing high ability to act to Japanese artists like Otomo Yoshihide and Sakamoto Hiromichi. However, the film lacks explicit detail regarding gender and LGBTQ+ identities. While the subcultures depicted often host diverse populations, the narrative focus remains strictly on the technical and sonic aspects of the music. Ultimately, the work is a postmodern exploration of sound and image. It prioritizes experimental identity and the subversion of musical norms over traditional, character-driven representation.

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Category Breakdown

Does We Don't Care About Music Anyway have LGBTQ+ representation?

Fair

The film explores the avant-garde music scene, which historically offers space for non-normative identities. However, there is no explicit evidence of character-driven LGBTQ narratives within the documentary.

How does We Don't Care About Music Anyway portray gender?

Fair

The documentary focuses on technical musical innovation like turntablism and laptop music. While the gender breakdown of musicians is not specified, the focus remains on skill and disruption of norms.

How racially and ethnically diverse is We Don't Care About Music Anyway?

Good

By centering on Tokyo's underground, the film provides a significant platform for Japanese artists. This shifts the focus away from Western-centric musical hierarchies and gives prominence to non-Western creators.

How does We Don't Care About Music Anyway represent religion and culture?

Excellent

The film embraces 'noise' and deconstructs musical traditions to critique established aesthetic standards. It favors subjective, experimental experiences over traditional Western hierarchies of art and order.

Does We Don't Care About Music Anyway include disability representation?

Minimal

The provided material contains no specific information regarding the portrayal of physical or neurodivergent disabilities.

Present on Screen

Strong cultural positioning by centering the Japanese avant-garde scene.
Challenges Western-centric musical hierarchies through non-Western perspectives.
Embraces radical, non-traditional aesthetic values and musical structures.

Limited or Absent

Lacks explicit representation or detail regarding LGBTQ+ identities.
Provides no specific information regarding gender diversity among the musicians.
Offers no evidence of disability representation within the narrative.

Official Synopsis

From radical turntablism (Otomo Yoshihide) to laptop music innovation (Numb), via classical instrument hijacking (Sakamoto Hiromichi), Tokyo's avant-garde music scene is internationally known for its boldness. While introducing some of the greatest musicians of this scene, "We Don't Care About Music Anyway..." offers a kaleidoscopic view of Tokyo, confronting music and noise, sound and image, reality and representation, documentary and fiction.

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