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Indie pop sensation AURORA's creation

Once upon a time Aurora
MUSIC INDUSTRY: Once Aurora paints a picture of an industry that is willing to use the artist AURORA as a tool to promote her own ambitions instead of stimulating her own creative independence.

It took some time for the Metoo movement to take root in the music industry, despite the wave of high-profile allegations of sexual harassment in the film industry. Thanks to social media scandals related to artists such as R Kelly and Ryan Adams, the spotlight is now also directed at systematic abuse of power in the music industry, where it has proven to be very successful in an everyday life of fame, professional services and admiring fans.

Once upon a time Aurora, directed by Benjamin Langeland and Stian Servoss, follows the Norwegian indie pop sensation AURORA as she prepares for her second studio album, Infections Of A Different Kind – Step 1 (2018). It may seem like any music documentary, but in addition to gaining an insight into Aurora's creative creation process, we are witnessing how power distribution and abuse of power play out in the background. Still, the documentary is perceived as quite mild (originally aired on television) and is thus no obvious account of abuse.

One can, however, perceive a subtle female discrimination, and together with the constant demand for more money-generating hits from this young star who is barely out of puberty, we see how vulnerable young female musicians are to the manipulation of an industry characterized by capitalist exploitation .

No tragic sensational film

Aurora Aksnes (born 1996) is from a small town in Norway, and was only sixteen years old when she reached the spotlight after singing a song she wrote in high school that was supposed to go viral online. A management team, with Geir Luedy from Made Management in the lead, gathered around her with the ambition to transform her into a salable artist. She quit school, released her debut album All My Demons Greet Me as a Friend (2016) and spent the next years touring.

This relatively subdued film portrait presents no tragic sensations to put us in any kind of. . .



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Carmen Gray
Gray is a regular film critic in Ny Tid.

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