Search

Copyright of Methaodos: Social Science Journal / Methaodos: Revista de Ciencias Sociales is the property of Departamento de Ciencias de la Comunicacion y Sociologia, Universidad Rey Juan Carlos and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The current transformations of the music industry continue a previous process, added to the changes brought about by digitalization, audiovisual convergence, and transmedia logic. A systemic approach is necessary to locate the new conditions of musical remediation and appropriation of music by the media industry and to inquire into the turn toward the visual of the music industry, which some authors have found in recent years. The period of lockdown due to the Coronavirus (COVID-19) deepened a series of dynamics that combine the production and distribution of popular music with other sectors of the music industry. On the one hand, the video clip has become a multifaceted instrument after YouTube, which has made it possible to monetize music listening. Its forms of expansion colonize platforms, and its format and aesthetic model expand in duration in the visual album or are cloned for application to various microformats. Thanks to platformization, it acts not only as a promotional format but also as a listening medium. On the other hand, live music is a relevant diffusion field in popular music. In its retransmitted version, livestreaming of concerts consolidates another formula of innovation tending toward personalization. The paper's objectives involve reflecting on the logic of global modification of the creation and consumption of musical content in the current transmedia context and analyzing the dynamics of interaction between agents, considering the digitalization and platformization of musical content. The conclusions trace the possibilities of monetization and personalization of the experience of popular music and reflect on how the production conditions of creative agents in the current music industry and musical reception change. [ABSTRACT FROM AUTHOR]

Copyright of Revista Internacional de la Imagen is the property of Common Ground Research Networks and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Lakon: Jurnal Kajian Sastra dan Budaya is the property of Universitas Airlangga and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The visual album represents a new communicative artifact originated with the logic of the transmedia context in its expansion of the music video clip format. Three case studies are analyzed, using multimodal analysis to know the meaning and contribution of visual materials, looking for elements of intertextuality and repetition of motifs and visual patterns for the realization of a storytelling. The conclusions point to three different paths in the construction of a self-expressive representation of the artists, thanks to a visualized performativity and materialized in a greater intertextuality and use of cultural appropriation. [ABSTRACT FROM AUTHOR]

This study examines how the British band Radiohead have decentralized their authority over their lyrics, music, song titles, artwork, music videos, Web sites, and business practices to allow listeners to participate in the meaning-making process. In pursuit of this goal, the band has supported and developed digital spaces for fan interpretations, playlists, and remixes. As a result, Radiohead have empowered their fans to act as cultural intermediaries, curating and sharing personal interpretations, histories, and collections of the band's work through digital media. [ABSTRACT FROM AUTHOR]

As social platforms become essential in promoting songs, many artists create an official channel on YouTube and encourage their fans' engagements. However, little is known about the effectiveness of official videos in generating fans' media engagements. We conduct two empirical studies to investigate the relationship between official video attributes, media engagements and channel subscribers. First, we propose a model to explain how music video attributes facilitate the relative social media engagements of a video. Second, we test whether three types of social engagements are associated with an increase in official channel subscribers. To do so, we collect social media engagement data for the 2896 music videos uploaded between May 2016 and April 2019 by 105 artists who own their YouTube official artist channels. The empirical evidence shows that the official videos incorporating visual, performance and storytelling components can generate more positive engagement from the viewers, while audio-only videos exhibit lower overall engagement intensity. Furthermore, we find that active media engagement, such as leaving 'comments', contributes to the increase in channel subscribers beyond the effect of the number of registered videos. Our results suggest that highly involved music fans may show the active types of social engagements, such as leaving a comment on live and follow-up videos. In practice, our findings imply that YouTube creators need to incorporate visual-focused platform characteristics to stimulate in-depth social engagement. [ABSTRACT FROM AUTHOR]

The growing literature on cultural depictions of the White working class in American popular music has touched on issues of copyright, compensation, and residual ownership of song rights. This study expands upon existing work by conducting case studies on three influential figures in American music history: Stephen Foster, Woody Guthrie, and Phil Walden. Though each of these figures produced popular music in different historical and cultural contexts, the music they produced depicted-and was marketed to-the White working class. Interestingly, each of these figures also struggled to effectively assert and manage the copyrights in their respective works, both within formal music industry structures and to their audiences. Cultural perceptions and bias played a role in the challenges they faced, as did their own incomplete understanding of intellectual property. By situating male, White working class musicians as simultaneously less privileged than industry elites and more privileged than other marginalized groups, this study can help to illuminate a greater understanding of the ways that race, gender, and class intersect in American popular culture. [ABSTRACT FROM AUTHOR]

The soundtrack music video is an audiovisual format used by the cultural industries of film and music as a commercial communication tool, since it is based on a song from the soundtrack of a film, so that both the artist that performs the song and the film itself obtain promotional benefits. This paper conceptualizes this poorly studied phenomenon of crosspromotion connecting the music and film industries and uses a content analysis of 119 music videos produced over a period of 33 years in order to study the importance of the artist and the movie in the video, the various strategies developed in order to accomplish its double promotional mission, and the specific formal and strategic features of this audiovisual format. Analysis reveals that the soundtrack music video has the distinctive feature of including promotional elements both for the musical artist and for the movie. Although the artist tends to be more prominent, the vast majority of music videos include images from the film or use various ways of integrating the artist's identity with the film's iconography or narrative. Anyway, it is a phenomenon characterized by diversity, with the common pattern of the dual promotional objective, but with different ways of implementing that pattern. [ABSTRACT FROM AUTHOR]

Although born in the seventies, music videos are considered one of the cultural and media symbols of the Eighties. This paper will focus on the aesthetics of music videos in the Eighties in a new perspective, that goes beyond the postmodern approach typical of its early studies. It will consider the music video as a narrative device to build the image inch the aesthetics of a music star particularly in relation to music genres and their symbolic and cultural meaning. Therefore, the rock music videos of the Eighties are particularly interesting because of their relations to three main issues: television spectacularization, the needs for promotion of the recording industries, and the need to keep (or build) the consistency and credibility of the performer / musician. The paper analyzes the production of a rock artist symbol of that decade: Bruce Springsteen, who experimented with different forms of music videos and aesthetics to promote his record on MTV visibility on MTV while preserving his image as a “authentic” rock performer.

The current article studies capitalization of body in the context of the sociological theory of Pierre Bourdieu and his followers. The results of the qualitative visual analysis of Russian music pop videos from the perspective of various patterns of using body as a physical, erotic and symbolic capital are demonstrated. Based on the data obtained, three main patterns of capitalization of corporeality are identified: body transformation that marks one's position in the social hierarchy, regulation of body images symbolic value, and legitimization of gender strategies used for erotic capital accumulation and conversion.

Many fans before the show included explanations that they preferred the "old Taylor" or "McGraw Taylor" (i.e. country music Taylor) but enjoyed the concert, nevertheless. And while Swift's oeuvre itself may not stand the test of time in quite the same way, a recent survey by the guitar maker Fender revealed that over half of new guitar sales are now made to women, a phenomenon which they dubbed "The Taylor Swift factor", meaning that her influence may have an even more lasting effect on how popular music sounds, going forward (Wang [31]; O'Connor [18]). We hope that this special issue will contribute to the process of reconsidering and repositioning not only Swift, but also other women artists and their fans, as young scholars who grew up listening to Taylor Swift find themselves called to the study of serious (i.e. Taylor Swift) music. As guitar sales have surged in the wake of Swift's success, as discussed above, Volpe investigates the experience of the individual fan performance of covers of Swift's songs as a radical way of knowing. [Extracted from the article]

Copyright of Austral Comunicacion is the property of Austral Comunicacion and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Introduction: The appearance of social networks has enabled users to massively share and broadcast content, multiplying its impact. Occasionally, large success quotas are reached in very short time frames, leading to "viral" productions, among which music videos are the most prominent and YouTube is users' preferred platform. Methodology: To know the essential bases that explain the viral capacity of a music video, research has been carried out using as a methodological technique the content analysis applied to a sample of 400 video clips, 200 in 2015, and 200 in 2018 following broadcast criteria. Results: video clips have evolved, in the 3 years that separate the two analyzes, in aspects such as the language of the songs, their style, or the theme. Discussion and conclusions: From the analysis, a change in the musical tastes of the audiences that access this type of content is perceived, and, as a consequence, the evolution towards a new video clip model that users are willing to share through their social networks. [ABSTRACT FROM AUTHOR]

This article explores the entanglement of nation branding and personal branding in the Kenyan music video industry. Although self-commodification and labouring on behalf of the nation are both indicative of neo-liberal governmentality, Kenyan music video directors build personal brands to wrestle creative control from their clients during the production process and they invoke their experiences representing Kenya abroad to elevate their professional status at home. Thus, branding in the Kenyan music video industry illustrates the complexities and contradictions of neo-liberal governmentality in global cultural production. [ABSTRACT FROM AUTHOR]

Elements of Orientalism can be found in many spheres of human activity, whether in literature, fine arts, music or fashion. Thanks to the increasing globalisation of our world, a distant and unattainable East – Orient is beginning to get closer. These cultures, customs, and rhythms penetrate more and more into our lives every day, mainly through media: Internet, television and radio. In recent years, Orientalism elements have also begun to appear in fashion and music industries and advertising, where they are primarily intended to impress us visually. In Western communities, however, they are mostly based only on stereotypes about Oriental countries, and in the performance of Western artists, they often have little to do with reality. In the music video with the Chinese warrior Chun Li, portrayed by rapper Nicki Minaj (1982), I decided to analyse Chinese Orientalism and compare the Western concept with her original image. [ABSTRACT FROM AUTHOR]

This paper investigates how digitalization has affected the role that Finland's Public Service Broadcasting Company (YLE) plays for the popular music culture of the Swedish-speaking minority of Finland. Drawing on theories from popular music and cultural industry studies, the study explores to what extent new technology has changed practices, structures and perspectives of minority artists. The paper, which forms a sub-study of a larger research project on the impact of digitalization on minority music, focuses on two case studies, the comic duo Pleppo and comedian/artist Alfred Backa. The analysis illustrates how important the public service broadcasting company still is for minority culture despite the structural changes caused by digitalization. However, the radio's quality norms have led to a paradoxical situation where the digital productions of the musicians need to compete with the technical standards of the international entertainment industry, whereas the channels' own productions can follow DIY norms. As the broadcasting company is increasingly moving its focus towards the web, it must in the future achieve a balance between the different dynamics of commercial interests, controversial creativity and traditional public broadcasting objectives. [ABSTRACT FROM AUTHOR]

This article identifies and summarises the main findings of the AHRC research project 'Fifty Years of British Music Video, 1966–2016'. It contextualises the history of music video as a film practice within an unspoken cultural hierarchy of screen arts widely shared in universities, policy circles and the British Film Institute. The article documents the main stages in the development of the music video industry and highlights the extent to which the pioneers served as early adopters of new technologies in videotape, telecine and digital film-making. The ACTT consistently lobbied against music video producers, as did the Musicians' Union, and consequently music video producers emerged from the 1980s with virtually no protection of their rights. The ACTT's issue was new video technology which it opposed. It also opposed offline editing on video tape because it would lead to redundancies of film editors and potentially required fewer post-production crew. The MU's issue was royalty payments to session musicians and lip synch. The music video industry has functioned as a crucial R&D sector and incubator for new talent and new technologies in the British film and television industries as a whole, without experiencing any of the financial rewards, cultural status or copyright protections of the more esteemed 'screen arts'. [ABSTRACT FROM AUTHOR]

This dossier features new research about the impact of British music videos arising from a four-year research project funded by the Arts and Humanities Research Council: I Fifty Years of British Music Video, 1966-2016: Assessing Innovation, Industry, Influence and Impact i (AH/M003515/1). But film and television studies have only rarely attempted to address video, with John Mundy's work on British musicals (1999) and Kevin Donnelly's essay on British experimental music videos (2007). Warp was an early champion of such cross-media techniques as augmented reality platforms, crowd-sourced mobile applications, interactive micro-sites, "official" fan-video promotion campaigns and the embracing of video remixes and alternative versions. All three authors discuss videos included in the Special Edition Boxset of 200 landmark music videos released by Thunderbird in 2018. [Extracted from the article]

This article features an interview with music video, film, and commercial director Jonas Åkerlund. Åkerlund has directed videos for many major pop and rock stars of the new millennium, including Beyoncé, Madonna, Christina Aguilera, Britney Spears, P!nk, David Guetta, Coldplay, and Lady Gaga. Over the course of his career, he has worked with a diverse range of artists in the music industry, such as heavy metal bands Candlemass and Metallica, punk and new wave artists Iggy Pop and Blondie, and industrial and alternative rock bands Rammstein and The Smashing Pumpkins. He is celebrated for his artistic vision, slick visual effects, and brilliant editing, and his work has received Grammys and MTV and MVPA awards. Åkerlund, having directed several films (from Spun [2002] to Polar [2019]) and many commercials (including for Lexus, Mercedes Benz, H&M, and Dior), is a true transmedia director. This interview pays special attention to two of his music videos (Lady Gaga's 'Paparazzi' and Gaga's and Beyoncé's 'Telephone'), as well as Åkerlund's aesthetic techniques and strategies for working in media industries. [ABSTRACT FROM AUTHOR]

This paper is set to examine the representation of women by male artists in bongo flava. It aims at disclosing the discursive practices taking place between men and women in the music industry. The study used Teo van Leeuwen's social semiotics to analyze the data through exclusion, role, specific and general, and categorization. The linguistic analysis showed that a woman is subservient to man; she is permissive with her body, allowing the camera to focus on her boobs and buttocks. The dancing styles and flaunting are to attract the viewing audience. In the lyrics she is a harlot, slut, lunatic, killer, involved in commercial sex, unsettling in relationships and all she sees is money. Interviews with male artists show her as a means to the male artists' end, she is ready to do anything for money because she is a prostitute. Focused group participants, being unsophisticated viewers, do not take this woman to be a special kind of woman; she represents other women rather than the ones she is categorized with. She is a product of the habitus whose socio-cultural and economic situation needs to be interrogated. [ABSTRACT FROM AUTHOR]

Since the early 2000s, video compact discs (VCDs) have come to occupy a prominent position in the Andean musical world and making music videos has become an ordinary and expected activity for many traditional and popular musicians. While the widespread uptake of VCD technology itself occurred with little comment or controversy, the material affordances of this new technology have fuelled contestation about aesthetics, culture and identity. Focusing on the production ofsantiagomusic videos in Huancayo, Peru, this article investigates the impact of this technological shift on genre conventions and genre politics. The article examines how cultural producers have harnessed, resisted and debated the possibilities of VCD music videos, as well as how genres have been discursively (re)constructed in the process. The article argues that the possibilities afforded by new visual technologies and emerging markets have been a driving force behind recent processes of genre-fication, whether in the service of perpetuating tradition or being part of the next big thing. [ABSTRACT FROM AUTHOR]

At the start of the 2000s, there were dire predictions about the future of music videos. Faced with falling industry profits, ballooning production costs, and music television stations that cared more about ratings, music videos no longer enjoyed the industry support they once had. But as music videos were being sidelined by the music and television industries, they were rapidly becoming integral to online video aggregates and social media sites. The “days of the $600,000 video” might be gone, but in recent years, a new music video culture and economy has emerged. Exploring how music videos are being used, how they are being made, and how money is being made from them, the article not only documents the impact that digital convergence has had on music videos but it also describes the lingering role that older music and media industry paradigms might play in shaping the future of online video. [ABSTRACT FROM PUBLISHER]