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The brand appearance has evolved as one of the most popular ways to collect budgets for movies, television shows, music videos, games, and animations. This way of brand appearing within these productions is also named product placement. Product placement is briefly defined as placing products and brands within mass media channels and content such as movies, television shows, games, books, songs, music videos, and animations. Animated films and series have become beneficial platforms for brand appearances due to the economic parameters in the global animation industry. Therefore, the field of film studies and the scope of advertising could be intersected in quantitative research. Intending to contribute to the field, the content analysis method was chosen as a research method to investigate the product placement strategies in animated movies. In this quantitative study, purposive sampling was selected as one of the non-probability sampling methods. To prove the widespread usage of product placement in animated movies, 10 United States-originated animated movies were selected with higher than 7.0 points and rated by at least 2.000 thousand people on IMDb. With the study's aim, 121 brand appearances were identified in 10 animated movies, and it was observed that Apple has the most appearances within these 10 movies. The findings demonstrate that brands were visually appeared mostly in the category of products and services about free time activities. Another study finding is that U.S.-originated brands appeared most in animation movies. Brand appearances and product placement practices were at their highest number in the Netflix Original adventure adult animated movies. The primary outcome of this study showcases that animation could be an effective and creative medium for brand appearance and product placement. [ABSTRACT FROM AUTHOR]

This study examined associations between Black youth's engagement with hip-hop culture and their sociopolitical development (SPD) (e.g., critical social analysis, critical agency, and anti-racist activism). Participants included 499 Black adolescents recruited from across the United States through an online survey panel. Findings from regression analysis revealed the differential effects of rap media (music and music videos) and hip-hop media (e.g., blogs, video shows, radio) on youth's SPD. Black youth who consumed more hip-hop media and who interacted with artists on social media had more agency to address racism and reported engaging in more racial-justice activism. The frequency of youth's rap media usage was not consistently related to youth's SPD. However, youth's perceptions of rap (e.g., rap is empowering or misogynistic) were found to be directly associated with indicators of SPD. These findings provide insight into the potential influence of hip-hop culture beyond music on youth's racial-justice beliefs and actions. [ABSTRACT FROM AUTHOR]

Examines the effectiveness of music videotapes which highlight players' peak performance on competitive offensive field goal percentage of intercollegiate basketball players. Single-subject multiple-baseline-across subjects design; Social validity.

Funny military music videos are popular videos featuring soldiers dancing to chart hits, usually parodying other Internet music video memes. This article is interested in the conditions of seeing these videos, of their being seen, in specific relation to their military-ness and their American-ness – US soldiers, on a US military base in occupied territory, dancing to US pop music, circulating on US social media sites, watched by a US public. This article claims that as insistent expressions of a popular, militarized, everyday culture, funny military music videos are exemplary assemblages of the visual conditions of the American military imaginary. [ABSTRACT FROM PUBLISHER]

This article explores the complex relationship of a particular community of remix artists, known as vidders, to copyright law. With streaming video capabilities and the widespread popularity of remix culture, the historically underground vidding community has been forced to adapt to new conditions. In response to much existing scholarship, which portrays remixers and fans as victims of an unjust system, this research draws on ethnographic research to reveal community-based strategies used by vidders to mitigate the risks as perceived infringers of copyright. It will discuss vidders’ understandings of copyright law in relation to their work, and also their efforts to legitimize fan practices and remix as legal uses of copyrighted material under US law. Rather than being seen as simply victims of an unjust system, this research demonstrates that online communities have worked proactively to understand and respond to perceived copyright threats. [ABSTRACT FROM AUTHOR]

The article presents an analysis of Korean pop songs music videos to determine the significance of the cultural references in these videos such as Broadway, Hollywood, and Harajuku fashion district. Topics include the expansion of K-pop music videos as a genre that associates itself with old and new, local and global, the contours of the 21st century digital music video production, and the Broadway-style musicals in K-pop music videos as nod to the live stage performance.

Mainstream hip hop videos have long been known for their images of scantily clad women, extreme materialism, and misogynist and homophobic lyrics. In this article I focus on how rapper 50 Cent's masculinity is constructed and expressed through music, lyrics and images in his video ‘Candy Shop’ from 2005. This is a classically modelled hip hop video, replete with markers of hypermasculinity: fancy cars, ‘bling’, and lots of beautiful, sexually available women. Several scholars have discussed how women are exploited in videos like this and reduced to props for the male star. However, few have explored how this macho masculinity is constructed. Through a close reading of this video, using socio-musicology and audiovisual analysis as my approach, I propose that the macho masculinity presented here is threatened when the male body is on display, but 50 Cent reassures himself (and his audience) through selective framing, involving both other performers and the music. [ABSTRACT FROM PUBLISHER]

In 2010, U.S.-based musical artists Eminem and Rihanna released the hit music video, 'Love the Way You Lie.' Enjoying international acclaim, the video was met with praise for addressing the problem of domestic abuse and criticism for seeming exploitative of female victims. Performing what Grossberg (2006) calls a conjunctural critique, we observe that this video operates within a U.S. context of publicity surrounding Eminem, Rihanna, and Chris Brown. Arguing that U.S. public culture is invested in cycles of abuse at the cultural level, we read 'Love the Way You Lie' as replicating and reiterating this cyclical structure, indicating attitudes of cultural complicity regarding domestic violence that work to re-secure hegemonic masculinity at the expense of female victims of violence. [ABSTRACT FROM AUTHOR]

The article discusses the American musician Madonna, focusing on her status as an icon of music and popular culture. Particular attention is given to the themes of sex and religion within her music as well as within the nonverbal images, such as photographs, music videos, and music performances, in which she appears. Other topics analyzed include her identity as a descendant of Italian-Americans, political criticism within her music performances and lyrics, and the impact of postmodernism and globalization on her status as an icon.

This content analysis used two studies to examine sexual behaviors and sex role portrayals in music videos televised in the United States. The first study included 120 videos recorded from MTV, MTV2, VH-1, BET, and CMT and revealed African American videos were significantly more likely to portray sexual content and female characters in provocative clothing than White videos. The second study analyzed 20 videos from BET's late-night program, Un:Cut. Results revealed Un:Cut videos depicted seven times as many sexual acts and featured significantly more discouraged sexual behaviors than videos from the five major music video channels. Findings from these studies clarify that race is an important factor when gender roles and sexual content are examined in music videos. [ABSTRACT FROM AUTHOR]

Media messages are increasingly packaged in ways that blur distinctions between genres. The U.S. Army National Guard's recent campaign incorporating rock stars and popular music to appeal to potential recruits exemplifies this trend, as commercials and music videos become one and the same. Given this increasing trend, critical media literacy education is imperative. This article posits that by introducing the meta-language for discussing media and providing a protocol for exploring the mode, audience, purpose, and situation of media messages, teachers are preparing students to autonomously read media through a critical lens. [ABSTRACT FROM AUTHOR]

The article looks at Korean music videos released in the U.S. popular music market, focusing on how aspects of race and sexuality are addressed. Musicians discussed include female singer BoA, the Wonder Girls, and male singer Rain. The depictions of stereotypes in their music videos are reviewed. The author also comments on the transnational reputation of Rain, noting his position in second place in "Time" magazine's list of the 100 most influential people in 2008.

In this article the author examines an aspect of hip-hop culture, viewing it through the prism of contemporary art history and art criticism. According to the author contemporary manifestations of hip-hop, in music videos, in print or in cover art, generate distinct manifestations in representation and visibility, particularly among black youth. Among other issues, the article examines the hip-hop aspects of contemporary art as represented in the paintings and other artwork of Kehinde Wiley and Luis Gispert.

In May 2006, United States residents were witness to the largest pro-immigrant cross-country protests in the nation's history. During the apex of the pro-immigrant demonstrations, the single “Nuestro Himno,” a Spanish-language paraphrasing of “The Star-Spangled Banner,” was released. Both the “Nuestro Himno” recording and the demonstrations constituted important symbolic gestures toward the (re)claiming of U.S. public space and the contested meanings of citizenship, nation, and belonging. This essay commences with an overview of recent debates on cultural citizenship, followed by a discussion of the “musical imagiNation” as it pertains to Latino popular music in general. I juxtapose this commentary against a critical discourse analysis of mainstream (English-language) Internet and print media discourse regarding the “Nuestro Himno” recording and an audiovisual analysis of the hit video “Reggaeton Latino (Chosen Few Remix)” (2005). Employing “Nuestro Himno” as a analytical lens, I propose a (re)evaluation of the differential notions of (cultural) citizenship and family foregrounded in official and popular discourses: How does the discourse of family and nation that emerges from the media coverage of “Nuestro Himno” reflect prevailing beliefs about citizenship, belonging, and language? And if the marches of the spring of 2006 embody the political and social possibilities of cultural citizenship, then how are we to understand the contradictory underlying discourse of one of reggaeton's most popular music videos, despite its seemingly inclusive promotion of the pan-Latino familia? [ABSTRACT FROM AUTHOR]

The article focuses on the concept of hip-hop music and the explicit manner that hip-hop music promotes. Hip-hop emerged as a distinct cultural form and as part of two interrelated developments, and its four elements includes graffiti, break dancing, Dj-ing and emceeing. It mentions on how hip-hop enthusiasts measure the genre against homesickness, longing and loss that coheres in the angst of the generation. It highlights issues of desire and fantasy where hip-hop really narrates a range of sexual practices particularly in music videos and how it exploits women particularly African Americans. Furthermore, it also offers information on the distinction between hip-hop and rap music.

Rap in Singapore has been received as a Western genre valued for its associations with 'coolness'. This was the case in a 2007 controversy involving a music video produced by the Media Development Authority (MDA), the state governing body for print, film, music, television and web publications. Starring somewhat awkward-looking civil servants, the video used rap to articulate media policy. The result was produced for small circulation but eventually made its way to YouTube as a 'viral' phenomenon. Conflicting reactions to its expensive but amateur production values—from embarrassment to patriotic endorsement and politically inverted celebration—reflect a consciousness among Singaporeans who have learnt to laugh at themselves as well as at the state in recent years. This paper analyses the MDA video and its fall-out, studying popular culture, power and representation in one of its quirkier forms. Interactions between music, moving image, new media and propaganda are explored in relation to context, re-signification, parody and kitsch. Ironic to the MDA's mandate, I suggest that a misunderstanding of its self-promoted platforms has opened up situations of disjunctured performance play. The dramatically different values that performance codes signify in different contexts have led to multiple and subverted responses. These are seen in linear-time reactions as well as a constant maintenance of dynamic cultural feedback engineered by the convergence of micro and macro media worlds on the internet. [ABSTRACT FROM AUTHOR]

Approximately 360 undergraduate students in the U.S. and Egypt were surveyed regarding their consumption of music videos, affinity for them, and perception of them as reality. Respondent's parasocial interaction with their favorite music video performers was also assessed. Results showed that Egyptian young adults consume significantly greater amounts of music videos than their American counterparts. A similar effect was noted with Muslims versus Christians. Furthermore, Egyptian students scored significantly higher on all other measures than their U.S. counterparts. Affinity was positively correlated with perceptions of reality, and consumption. PSI showed positive correlations with consumption on overall PSI, and subsets of identification with the favorite persona and interest in favorite persona. Limited correlations were also evident between PSI and affinity on overall PSI, and subsets of problem solving abilities, group identification and interaction, and identification with favorite persona. Implications and suggestions for future research are discussed. [ABSTRACT FROM AUTHOR]

The article discusses the impact of music videos on the filmmaking process in the U.S. American film critics had argued that Hollywood films were influenced by the music video form and by Music Television (MTV) in particular. It is stated that the foundational critique of several American films is based on the frequency of using popular songs for a film's soundtrack and the cinematic characteristics of the movie. The author also highlights the substantial flaws of the MTV aesthetics trope which include historical inaccuracy and other misconceptions.

The article discusses the sexism in hip-hop music videos. According to the author, the messages in these videos perpetuate gender stereotypes and discrimination. These videos try to normalize unequal social behavior under the label of art. Hip-hop culture provides youngsters aesthetic sites that encourage them to seek excitement, aesthetic fulfillment and a sense of identity and belonging. The value of hip-hop lies in its capacity to empower youth and its integration of daily activities into an aesthetic form that is meaningful and relevant to youth culture. The image of women as objects of sexual gratification penetrates most hip-hop music videos. Hip-hop has transformed itself into the U.S. cultural/artistic mainstream due to its high exposure and popularity.

This article discusses criticism over popular culture, seen as wild and evil. The article refers to heavy metal music, musical videos, focusing particularly on J.K. Rowling's Harry Potter that has unified America. Emile Durkheim states that crime is needed for a healthy society. Three basic things that are classified as popular culture are art, folklore and music. They are not only the base for set patterns in capitalist communities, but also add to the growth. Fashion trends advertised by artists and musicians are excellent examples of popular culture. The technological revolutions in DVD's have changed the ways how movies are produced. Social boundaries are expanded by informal gathering of friends to share the excitement and trust.

This article examines the portrayal of women hip-hop artists in the U.S. Contention of the author that music videos serve as a space for these artists' meaning, creativity, self-realization, and self-representation; Growth and emergence of hip-hop music's popularity; Restrictions still exists regarding the work of female hip-hop artists; Examination of Missy 'Misdemeanor' Elliot's music.

Examines violence on music video programming in the U.S. Context of aggression in music genres; Access of teens to music videos; Concept of violence in videos.

Looks at anti-competitive practices by Music Television (MTV) network and major record companies in the music video industry in the United States. Examination of cooperation between major record labels and MTV; Implications of plans by the labels to create their own programming; Possible reduction of the potential for diversity and freedom of artistic expression in music videos.

African-American and White high-school students were exposed to a series of music videos featuring (a) popular rock, Co) nonpolitical rap, or (c) radical political rap. They recorded their enjoyment after exposure. In a purportedly unrelated subsequent study, the students, after assessment of their self-esteem, took part in a mock student-government election. African-American and White candidates presented ethnically (a) liberal, (b) neutral, or (c) radical platforms. It was found that African-American students enjoyed rap more than rock, whereas White students enjoyed rock more than rap. More important, musical genres were without consequence for the self-esteem of African-American students. Self-esteem of White students was marginally affected: Compared to exposure to rock, it was higher after exposure to rap, hut only with regard to scholastic abilities. Musical genres were also without consequence for African-American students' support of candidates. In contrast, White students' candidate support was significantly affected' After exposure to radical political rap, White students gave more support to an African-American, ethnically liberal candidate and less support to a White, ethnically radical candidate than after exposure to nonpolitical rap or popular rock. Radical political rap thus appeared to motivate White adolescents to support efforts toward racial harmony and to oppose White-supremacy agendas. At the same time, a positive effect of radical political rap on ethnic consciousness and on feelings of ethnic solidarity could not be demonstrated for African-American adolescents. [ABSTRACT FROM AUTHOR]

Popular culture provides use with particularly compelling examples of the tension between dominance and resistance and one of the most engaging sites of such tensions is the feminist rap music video. Feminist rap music videos require the viewer to participate in their construction and analysis. This music explores tensions between black and white, male and female, in a direct and explicit fashion. For the feminist rapper, rap offers unique possibilities. Rap like all other forms of popular music, is not inherently feminist or political, and indeed some of the best known rap songs like Tone Loc's Wild Thing are obnoxiously sexist. Significantly rap involves post modernist qualities, an aspect of rap that has been ignored, perhaps because it is usually associated with white high masculine culture. To appreciate feminist rap videos, the viewer must first redefine the idea of a text, expanding it to include a multitude of nonverbal signs and freeing it from monologic and auteurist assumptions. Rap like other popular culture forms, can be usurped by feminists. In fact certain qualities of rap make it particularly suitable for feminist purposes. Because rapper endemically focus on themselves, once the performer is female, she can use this self-promotion without altering the musical form.

Examines the influence of musical genre on content and style of music videos. Analysis of videos from Black Entertainment Television (BET), The Nashville Network (TNN), Music Television (MTV) and Video-Hits One (VH-1); Assignment of editing techniques and digital effects; Variation of visual elements across genres; Paucity of violent content.

Examines the relation of Music Television (MTV) viewing to exposure to other media violence in the U.S. Concern on the effect of violence in music videos on children and adolescents; Violence and antisocial behavior found in rock music videos; Motivations of adolescents for viewing MTV.

Examines the social context in which sex roles are presented and the function of performer sex in the portrayal of women in the Music Television cable channel in the U.S. Routine presentation of women in music videos; Assessment whether women are presented as passive individuals who serve as objects to attract male attention; Analysis of viewer motivations and rock video content.

Looks into the issue of violence, victimization, gender portrayal and subservience portrayed in music videos of Music Television cable TV channel in the U.S. Criticism of people regarding the videos; Documentation of the level of violence in music videos through content analysis; Hypotheses related to the level of violence.

The use of art forms to add value to the marketing curriculum is receiving increasing attention. Overlooked, however, has been one of the most popular and ubiquitous of contemporary art forms—the music video. This article examines the pedagogical value of the country music video in communicating and reinforcing core American cultural values presented in a consumer behavior course. Results indicate that music videos are effective in influencing student's attitudes toward the course and in producing a greater understanding of the construct of culture. [ABSTRACT FROM AUTHOR]

The article presents an interpretation of the music video created for the song "Thriller," by Michael Jackson. The interpretation was based on the popularity of Jackson, which is marked by racial and sexual indeterminacy. Since its establishment, U.S. cable network MTV has maintained an unspoken policy that excludes African American artists. However, the music videos of Jackson for the songs included in his "Thriller" album were the first to overcome such policy. The article also presents an analysis of the lyrics of the song "Thriller" ad the structure of its video.

The article presents a discussion on the development of music video as a cultural form and as part of the economics of the audio-visual industries in the early 1980s. It states that the dearth of statistics on the size of the field during the time reflects the newness of music video. Nevertheless, the establishment of cable channels in the U.S. exclusively devoted to music videos, sale or rentals of music videotapes in Great Britain show the trend according to the author. The role of the compact disc for sound recording as a cultural form is offered.

The article presents a field study which examines the utilization of popular music and television among adolescents in the U.S. The study involved a random sample of 1209 respondents from Standard Metropolitan Statistical Areas (SMSAs) for the conduct of interviews on their media use patterns despite racial and gender differences. Results show that music videos are more popular and important to American adolescents' pattern of media use, peer interaction and socialization compared to radio listening and television viewing.