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Despite the long history of the violin in Black American music and the many Black American violinists who shaped the instrument, the violin has overwhelmingly been constructed as an instrument associated with Whiteness. Enter Black Violin, a classical/hip hop duo comprising two classically trained musicians, violinist Kevin Sylvester (Kev Marcus) and viola player Wilner Baptiste (Wil B.), who self-describe as "two Black dudes playing violin." In this article, I draw on television, radio, and social media commentary, interviews with Black Violin members, music videos and recordings of live performances, and my own practice as a violinist to demonstrate how Black Violin resignifies an instrument associated with Whiteness via the racial and gendered framework of hip-hop. I explore how the violin acts on Black Violin members through the meanings that stick to it. I aim to contribute to the study of critical organology by considering the violin within the specific context of American discourses on race, as well as to augment scholarship on the racialization of sound that has focused almost exclusively on the voice. In the process, I make audible a long genealogy of genre-bending Black violinists and call attention to the central place of the violin in the development of Black musical traditions. Perhaps most centrally, however, I show how a musical instrument can be both a potent vehicle of White supremacist racial epistemology and—in the hands of Black musicians—its reimagining. [ABSTRACT FROM AUTHOR]

The article discusses a podcast series called Yine Yeni Yeniden 90'lar (Again, Anew, Once Again the 90s—YYY90) in Turkey that analyzes 90s popular culture from feminist and queer perspectives. The hosts, İlker Hepkaner and Sezgin İnceel, focus on gendered lyrics, representations of femininities and masculinities, and forms of resistance in 90s pop music. They aim to develop a historiography intervention by examining popular culture through recent theoretical debates and personal reflections. The podcast provides a critical analysis of nostalgic feelings about the 90s and highlights marginalized themes in popular culture, such as drag history, feminist songwriting, and the role of migration in Turkey's music scene. [Extracted from the article]

The Spice Girls were a unique pop phenomenon, promoting feminist ideology while being dismissed as proponents of postfeminism and positioned as collaborators with the patriarchy. Drawing on music videos the band released during 1997, this article suggests that the band's queer choices, regarding the spice personas the band adopted, were overlooked. This article explores the spice personas presentation of femme embodiments using drag: subverting notions of femininity as natural and monolithic, and resisting femininity as ubiquitously disempowering. By highlighting the heterosexual bias and anti-sex undertones in postfeminism, this analysis generates a multifaceted reading of popular femme performances as female-to-femme drag. [ABSTRACT FROM AUTHOR]

Despite the long history of the violin in Black American music and the many Black American violinists who shaped the instrument, the violin has overwhelmingly been constructed as an instrument associated with Whiteness. Enter Black Violin, a classical/hip hop duo comprising two classically trained musicians, violinist Kevin Sylvester (Kev Marcus) and viola player Wilner Baptiste (Wil B.), who self-describe as "two Black dudes playing violin." In this article, I draw on television, radio, and social media commentary, interviews with Black Violin members, music videos and recordings of live performances, and my own practice as a violinist to demonstrate how Black Violin resignifies an instrument associated with Whiteness via the racial and gendered framework of hip-hop. I explore how the violin acts on Black Violin members through the meanings that stick to it. I aim to contribute to the study of critical organology by considering the violin within the specific context of American discourses on race, as well as to augment scholarship on the racialization of sound that has focused almost exclusively on the voice. In the process, I make audible a long genealogy of genre-bending Black violinists and call attention to the central place of the violin in the development of Black musical traditions. Perhaps most centrally, however, I show how a musical instrument can be both a potent vehicle of White supremacist racial epistemology and—in the hands of Black musicians—its reimagining. [ABSTRACT FROM AUTHOR]

The article explores the use of music videos as a platform for expressing sociopolitical narratives, focusing on their esthetics, semiotics, and underlying ideologies in Pakistan's pop music scene. Topics include the historical development of pop music in Pakistan, the role of music videos in reflecting sociopolitical themes, and the use of satire in critiquing public figures and political issues.

In 2022, US President Donald Trump and UK Prime Minister Rishi Sunak faced public scrutiny over the background music used in official videos promoting their political agenda. Press articles and social media users claimed that the library (or 'stock') music heard in the videos consisted of so-called 'soundalikes', and questioned whether this choice was a public endorsement of problematic individuals or groups connected with the tracks in question: namely, conspiracy-theory movement QAnon, and convicted rock singer Gary Glitter. This article explores how library music is used strategically in these videos, highlighting the urgency of inquiring into its fundamental role in the construction and dissemination of political messages in media today, with moral and ethical implications that remain underresearched. Departing from these cases, the article also examines how library music, a once unseen musical practice, is now reaching the foreground of public attention, gaining unprecedented visibility due partly to its use in politically motivated videos. This allows us to rethink longstanding notions of library music as something that lacks a public existence, and to focus instead on what happens when it gains media coverage – prompting misunderstandings that reveal how unfamiliar the wider public is with the workings of this industry. [ABSTRACT FROM AUTHOR]

This mixed methods study investigates conceptions of gender both in and outside of the media among a sample of 11- and 12-year-olds. Data from a quantitative survey and qualitative writing responses were collected and analyzed from 54 sixth graders at a U.S public elementary school. Results show that the majority held inclusive views of gender, indicating a recognition of gender inequities in media and society and a desire to challenge traditional gender norms. However, perhaps due to gender-typed content, stronger perceptions of the similarity of the people appearing in YouTube videos, commercials, video games, music videos, and movies to the self were associated with more stereotypical views about gender roles and norms in a weak but statistically significant correlation. This may suggest that accepting media representations as accurately reflecting oneself can still be linked to endorsing more traditional roles and norms, even within a sample with generally quite open conceptions of gender. Impact summary: Prior State of Knowledge: Gender stereotypes are present in media used by adolescents, and most existing research finds a small association between media use and stereotypical beliefs about gender. Perceived realism and perceived similarity of characters to the self may help explain that association. Novel Contributions: In a sample of U.S. adolescents, there is mixed methods evidence of inclusive views of gender. Yet, perceptions of media characters in select media as similar to the self were weakly but significantly correlated with more stereotypical views of gender. Practical Implications: Self-reflection about identification processes can be encouraged by caregivers as well as media literacy educators. To work toward gender justice, content creators should avoid stereotypes in commercials, music videos, movies, video games, and YouTube content popular with early adolescents. [ABSTRACT FROM AUTHOR]

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.)

This article introduces the special issue of Mapping the Music and Video Streaming Landscape and its Disruptions in Southeast Asia by identifying three ways in which the special issue engages with the broader scholarship on streaming. In it, we discuss how our special issue converses with scholarly debates about the disruptive nature of streaming, how the unique qualities of streaming infrastructure in Southeast Asia resonates with scholarship on other global South contexts, and how both the commonalities and variations within Southeast Asia that our special issue makes apparent can be likened to what other scholars have observed of the disjunctive and overlapping nature of the European market. [ABSTRACT FROM AUTHOR]

The text features interviews with women practitioners in the film and television industry, who share their experiences, challenges, and achievements in various roles. They discuss issues like gendered job segregation, representation, and work-life balance, while highlighting initiatives like Illuminatrix to promote diversity. The text also explores the experiences of a television crew in Ireland, emphasizing the importance of language skills, particularly in Irish, for those interested in Irish language broadcasting. Additionally, it provides historical information on media-related topics and introduces Dr. Helen Warner, an Associate Professor in Media and Digital Cultures at UEA. [Extracted from the article]

As cinema moved from exhibition theatres to cable television in the late-1980s pre-liberal License Raj1 economy, the competitive music label market in India pushed its executives to look beyond the established modes of music making and selling. This development also collided with the growing cultural demand for new and 'fresh' female voices, and innovative audio-visual modes inspired by the MTV consumerism model of the West. Additionally, music videos of international popstars such as Madonna, Michael Jackson, etc. started making waves in India through direct and indirect channels. As a result, the influence of western music video culture led the music industry officials to rope in 'westernized in style, desi at heart' female performers to represent the new wave of alternative non-film popular music – collectively popularised by music labels and the media as Hindi Pop or Indipop. Moreover, the cultural impact of American popstar Madonna's stardom, performativity, and politics also played a critical role in the way the emerging Indipop 'divas' projected themselves, both in and outside the diegesis of their music videos, during the 90s MTV boom in India. Engaging with the textual and extratextual world of indipop music videos that belong to the 'new women' of the neoliberal-90s – Jasmine Bharucha, Alisha Chinai, Shweta Shetty, etc.—this paper attempts to track and locate the emergence of these 'non-film'2 female voices in the traditional 'song and dance' aesthetic substructure of Bombay cinema. [ABSTRACT FROM AUTHOR]

Pavitra Sundar's book, "Listening with a Feminist Ear: Soundwork in Bombay Cinema," delves into the aural and oral hierarchies of Bombay cinema through the concept of "soundwork." Sundar explores the intersections of music, speech, and noise in cinema, incorporating industrial and technological developments to expand the study of film sound. By emphasizing the importance of listening and challenging visual hegemony, Sundar's work contributes to various fields, including sound studies, gender studies, and cultural studies, offering a new perspective on the significance of sound in cinema. [Extracted from the article]

The article explores the use of AI in animation, focusing on works like Sujin Kim's "Dissolution" and the music video "Bad Man" by Disturbed. It discusses how AI-generated imperfections and distortions are embraced as features rather than flaws, shaping the aesthetic and thematic elements of the animations. The analysis delves into the implications of AI-generated content in addressing contemporary anxieties and the evolving role of artists in the creative process. The article raises questions about the relationship between glitch art, AI-generated animation, and the future of animation labor, craft, and authorship. [Extracted from the article]

The singer Caroline Polachek has co-written a song with DJ Flume. The accompanying promotional video asks us to consider what transcendence may mean in a post-pandemic world. We theologically reflect on the song and video to consider what this may show about Western society's understandings of transcendence, suffering and resurrection, where the dominate narrative has been the 'turn to the self'. We also consider how the Church may respond to this poetically driven grass-root need for theological reflection where the most usual form of response is didactic and doctrinal in nature resulting in a disconnect in how the message is received. [ABSTRACT FROM AUTHOR]

Copyright of CIRCULO de Linguistica Aplicada a la Comunicacion is the property of Universidad Complutense de Madrid 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.)

Through their multi-dimensional artistic performances—manifesting in music, lyrics and videos—the South African rap-rave hip-hop duo Die Antwoord expresses the ethos of “Zef,” a white working-class Afrikaner post-apartheid culture. Zef is associated with a specific style of vulgar aesthetics, language and humour which portrays its subjects in a derogatory manner, by presenting their appearance and behaviour as crudely ill-bred and vainly tasteless. This paper discusses discursive and visual strategies employed in selected Die Antwoord music videos, demonstrating how their use of kitsch aesthetics and carnivalesque elements allows them to render the liminality of contemporary white Afrikaans experience. It also examines the way in which the appropriation of cultural signifiers in the band’s work undermines myths of authenticity, represents the fragmentariness of subjectivity, and emphasizes the rhizomatic qualities of post-apartheid identity. The primary example will concern the band’s adaptation of Roger Ballen’s photographic work. Absorbing Ballen’s aesthetics is shown to be part of a broader artistic strategy of appropriation adopted by Die Antwoord with the view of attacking established social categories and destabilizing normativity. As the paper postulates, the band’s music videos employ liminal and carnivalesque artistic modes, combined with intertextual appropriations, in order to interrogate post-apartheid South African identity.

With the rapid development of social networks, short videos have become a popular form of content, especially dance videos. In this context, research on automatically generating music for dance videos shows significant practical value. However, existing studies face challenges such as limited richness in music timbre and lack of synchronization with dance movements. In this paper, we propose Dance2Music-Diffusion, a novel framework for music generation from dance videos using latent diffusion models. Our approach includes a motion encoder module for extracting motion features and a music diffusion generation module for generating latent music representations. By integrating dance type monitoring and latent diffusion techniques, our framework outperforms existing methods in generating complex and rich dance music. We conducted objective and subjective evaluations of the results produced by various existing models on the AIST++ dataset. Our framework shows outstanding performance in terms of beat recall rate, consistency with GT beats, and coordination with dance movements. This work represents the state of the art in automatic music generation from dance videos, is easy to train, and has implications for enhancing entertainment experiences and inspiring innovative dance productions. Sample videos of our generated music and dance can be viewed at https://youtu.be/eCvLdLdkX-Y. The code is available at https://github.com/hellto/dance2music-diffusion. [ABSTRACT FROM AUTHOR]

Although product placements in music videos are ubiquitous and a common form of advertising cooperation between companies and artists, few studies have addressed the topic, especially the artists' perceptions. This experimental online study examines the effects of fit between artist and product in music videos. Results show that good artist-product-fit reduces persuasion knowledge and increases perceived credibility of the artist as well as viewers' willingness to share the video through electronic word of mouth (eWOM). These results highlight the need to understand viewers' perceptions of artists in promotional contexts to avoid dysfunctional promotional collaborations. [ABSTRACT FROM AUTHOR]

The article explores the evolution of pregnancy aesthetics in American popular culture, focusing on the impact of Demi Moore's 1991 Vanity Fair cover shoot on normative perceptions of pregnant bodies. It discusses how subsequent maternity photoshoots by Annie Leibovitz have shaped contemporary expectations of pregnancy, particularly in the realm of pop music. The text analyzes the performances of pregnant pop stars like Beyoncé, Cardi B, and Rihanna, highlighting the diverse ways in which they have engaged with and subverted traditional pregnancy aesthetics. The article also delves into the cultural significance of these artists' choices in relation to race, respectability, and gender norms, offering insights into the complexities of representing pregnancy in the public sphere. [Extracted from the article]

This article aims to characterize the contributions of the image in the formative processes of Social Work undergraduate. Traditionally, written texts occupy a central place in the formation of Social Work, since they make possible the acquisition of disciplinary knowledge and the development of professional skills, through the processes of reading, analysis, understanding, interpretation and practical application of its contents. However, in recent decades, the image supported by digital media has been recognized as a valuable complementary educational resource, facilitated by its rapid accessibility and high replicability in various media, platforms and social networks. Methodologically, an exploratory-descriptive qualitative approach educational research design was proposed that allowed access to the student understanding and interpretation of the image as a didactic resource. The results indicate advances in the inclusion of the image in vocational training, expressed from a mapping of classroom formative situations that include the use of conceptual schemes, use of the image in the review of contents, use of videos associated with the contents, use of music videos, use of videos that allow the illustration of skills and skills of professional performance of Social Work and videos made by students. From the extra classroom perspective, student autonomy is identified in the search for images that contribute to the understanding of content. It is concluded that the diversity of training modalities in which images have been incorporated to enrich the teaching of Social Work has been driven as a response to the educational needs of digital native generations, those that demand new teaching resources associated with images available on the internet or from those generated by their own digital skills, recognizing them as a valuable complement to traditional written text. [ABSTRACT FROM AUTHOR]

The United States has been a space for global musical transnational encounters among African-descended peoples, with various artists collaborating. These collaborations have blossomed with the advent of Afrobeats—a loose term describing the contemporary transatlantic sound of popular African music. Although there are male and female Afrobeats performers on the African continent, this cultural exchange occurs more often between male artists and U.S. musicians. Because male artists are mostly invited for live performances, their visibility puts them in a position to perform with and collaborate with U.S. artists. As a result, male artists get nominations for global awards such as the Grammys and accumulate more wealth. For female artists, the result is less visibility and wealth. Using Tiwa Savage and Burna Boy—two Afrobeats giants—as case studies, this essay examines the factors that limit Tiwa, a female performer, from achieving the same wealth as her male counterpart, Burna Boy. Specifically, this study analyzes the sonic and semiotic representations in their popular music videos, Tiwa's "Koroba" and Burna Boy's "On the Low," to understand why Burna Boy might have the edge over Tiwa. Their music and career trajectories shed light on how capitalism and sociopolitical issues, including colorism, might contribute to the gender wealth disparities between male and female Afrobeats performers. [ABSTRACT FROM AUTHOR]

Most existing intelligent editing tools for music and video rely on the cross-modal matching technology of the affective consistency or the similarity of feature representations. However, these methods are not fully applicable to complex audiovisual matching scenarios, resulting in low matching accuracy and suboptimal audience perceptual effects due to ambiguous matching rules and associated factors. To address these limitations, this paper focuses on both the similarity and integration of affective distribution for the artistic audiovisual works of movie and television video and music. Based on the rich emotional perception elements, we propose a hybrid matching model based on feature canonical correlation analysis (CCA) and fine-grained affective similarity. The model refines KCCA fusion features by analyzing both matched and unmatched music–video pairs. Subsequently, the model employs XGBoost to predict relevance and to compute similarity by considering fine-grained affective semantic distance as well as affective factor distance. Ultimately, the matching prediction values are obtained through weight allocation. Experimental results on a self-built dataset demonstrate that the proposed affective matching model balances feature parameters and affective semantic cognitions, yielding relatively high prediction accuracy and better subjective experience of audiovisual association. This paper is crucial for exploring the affective association mechanisms of audiovisual objects from a sensory perspective and improving related intelligent tools, thereby offering a novel technical approach to retrieval and matching in music–video editing. [ABSTRACT FROM AUTHOR]

"Girl crush" is a relatively new genre in South Korean pop music (hereafter "K-pop"). Unlike the stereotypes of female idols being cute and submissive, idols of the "girl crush" genre usually show provocative "girl power," challenging the patriarchy by incorporating feminist messages in their works. In March 2022, a girl group (G)I-DLE released a song entitled Tomboy, which went viral for its outrageous music video delivering a bold statement about women being independent, fearless, and abandoning toxic heterosexual relationships. This study conducts a social semiotic analysis of Tomboy with a postfeminist lens and comes up with three findings: first, the music video of Tomboy has shown a postfeminist sensibility by exhibiting an entanglement of feminism and antifeminism; second, Tomboy has tackled a queered theme by focusing on women's collective empowerment and sisterhood against patriarchy; third, "girl crush" has revealed the limitations of celebrity feminism, making the relationship between "girl crush's" success and feminism questionable. [ABSTRACT FROM AUTHOR]

In this article, we examine songs that reuse decades-old Japanese media, in which the Japaneseness is both important and attenuated. While there is clear desire for and pleasure in the Japaneseness of source materials in vaporwave (electronic music featuring manipulated sounds and images from the 1980s and 1990s) and future funk (which commonly samples 1980s Japanese music and speeds it up), actual sources matter primarily as a signifier of Japaneseness. Conversely, game sounds (songs that sample or mimic 1990s and 2000s video game music) and chiptunes (songs made with 1980s and 1990s video game hardware) have a direct relationship with either specific video games or material hardware that highlights a direct tie to transnationally distributed culture. Overall, these ways of engaging with Japanese media have significant implications for theorizing cross-cultural exchange. [ABSTRACT FROM AUTHOR]

This essay explores the relationship between race and language in South Africa, specifically within Cape Town's Hip-Hop community. The author reflects on the significance of Kaaps, a dialect spoken in the Cape Flats, and its recognition as one of South Africa's official languages. They also discuss the complex dynamics between English, Afrikaans, and indigenous languages within the Hip-Hop scene. The essay emphasizes the importance of language in self-expression and identity, while acknowledging the diverse cultural expressions and multilingual nature of South Africa. [Extracted from the article]

Constantly shifting like a floating signifier, the interpretive life of "realness" has meant different things to global Hip-Hop adherents: staying true to oneself; reppin' one's hood; production styles such as boom bap; cadence, delivery, and flow; vivid storytelling; and underground resistance to forces of capitalist cooptation, among others. Yet to many others, realness means language – the artful capacity to rap, talk, and style oneself in ways that index one's cultural roots and identities. In this article, I consider the latter understanding of realness through the theoretical lens of decolonial meta-rap. In decolonial meta-rap, Nigerian emcees turn the reflexive apparatus of Hip-Hop back to itself, in the process raising questions about anglonormativity and colonial continuities in Nigeria. Focusing on the discourses of these emcees as well as their self-presentations in oral interviews and music videos, I argue that Nigerian emcees both popularize and continue the long decolonial struggle against cultural sites of colonial power in Africa. Di tin wey dem dey call realness for Hip-Hop dey mean different different tin to different different pipo wey dey follow Hip-Hop for everywhere. E fit mean say person no dey deceive imsef. Or e fit mean as rapper dey tell tori and how dem dey flow for dem music. E fit also mean di kain beat wey we dey hear for Hip-Hop music and how dem dey take make am. For oda pipo, realness dey mean say person dey proud to rap for im language and associate wit im culture. Dis my article dey observe dis last one. For dis article, I dey observe di way Naija rappers take dey use dem language and culture challenge colo-mentality for Nigeria. I tok say as dem dey rap, dem dey fight di kain brainwashing wey dey make person tink say oyinbo beta pass any language for Naija or Africa. [ABSTRACT FROM AUTHOR]

Following calls for transnational and decolonial perspectives in [feminist]CDA, this paper considers what it means to do a critical analysis of gendered discourses from a Global Southern perspective. It highlights how discourses from an African locale, with its complex local-global intra-action, provide another instance of the complexity of discursive and identitarian power in late modernity, arguing that this requires an intrasectional (not intersectional) feminist critical discourse analysis. Gendered discourses in a music video from hip-life, a localized hip-hop genre in Ghana, are examined to illustrate this argument. The analysis shows how the specific context examined recalibrates not just the social categories that often underlie feminist intersectional analysis but also gives us a complex view of power that interrogates CDA's emphasis on top-down approaches to power, a binary conceptualization that does not account for the manifestations of the power-powerlessness dialectic within the same subject. The result is significant for both analysis and activism because a comprehensive global program for social transformation that includes non-Western contexts and their re-visioning of our analytical lenses must attend to their rhizomic discursive-material entanglements if they are to be effective. [ABSTRACT FROM AUTHOR]

This article addresses an underexplored intersection between subtitling and translanguaging with reference to the representation of diverse Chinese fangyan in hip-hop music videos. Drawing on recent progress in the intersection between translanguaging and Translation Studies, the article sketches the multilingualism of the Han ethnic majority and its precarious existence under the governmental policy and language planning of China. Second, it contextualises the rising audibility and visibility of local speeches and non-standard writing in cinematic, metrolingual, and digital cultures. This highlights the social and technological conditions that enable culture creators and language users to practice novel representations of linguistic diversity and variations in the subtitling medium. Furthermore, the case-study analyses illustrate how Chinese hip-hop musicians assemble linguistic, multimodal, and multisemiotic resources to effect translanguaging performance across different communicational repertoires. The conclusion outlines the practical and theoretical implications of translanguaging subtitles for alternative media representations of linguacultural diversities in China and beyond. [ABSTRACT FROM AUTHOR]

AbstractWomen in Rap often occupy spaces in which they are marginalized or pitted against one another. Yet, recently, more popular women artists are working together, instead of attempting to commodify their rap beefs. With this historic shift in mind, it is critical to take a moment to investigate the collaborations that have occurred in the past, as they are rare. These collaborations allowed a space for women to work alongside other women, when it was not popular or often profitable to do so, and men, who dominated the hip hop music genre and often did not find value in collaborations. Therefore, this study intentionally seeks the elevation of women’s narratives and representations in hip hop culture and academic scholarship by focusing on collaborations and women’s voices within them. It works to add to women’s studies by investigating representations of women rappers in both their lyrics and music videos. The latter of which are ripe with visual message often ignored in scholarship that heavily focuses on lyrics. [ABSTRACT FROM AUTHOR]

This paper explores how a contemporary music video can pass down memories and trauma in post-dictatorial Chile. Focusing on a video by the Chilean band Illapu, it uses theories of collective trauma and (post)memory to show how the video represents past traumas and challenges dominant narratives and current negationist discourses. The study finds that the video uses audio-visual and (inter)textual elements to make viewers reflect on the past, underlining its ability to counter attempts to deny or distort history. This contributes to understanding how music videos can serve as sites of “voiced postmemories” and act as powerful tools in the collective processing of traumatic events, promoting truth, justice, and reconciliation in post-dictatorial Chile. [ABSTRACT FROM AUTHOR]

This article discusses the representation of the Hui ethnic minority, also known as Chinese Muslims, in Chinese mainstream cinema. It highlights the challenges faced by Hui filmmakers in terms of the subjugation of minority ethnicities and the erasure of their religious identity. The article also explores the emergence of a new genre called Hui microfilm, which aims to challenge these representations and assert Hui subjectivity. It discusses specific scenes from microfilms that depict the daily lives and struggles of Hui Muslims, emphasizing the importance of Islam in Hui identity. The decline of Hui microfilm production is attributed to factors such as the difficulty for independent filmmakers to make a profit and tightened regulation of online content. Despite these challenges, Hui filmmakers continue to work on projects that explore Hui culture and collaborate with filmmakers from other ethnic minorities. [Extracted from the article]

Like many other areas of life, dance utilizes the opportunities today's technology provides. Performances integrated with new technologies have initiated the digital age in dance. Interdisciplinary collaborations are established to use these technologies, and shows that transform the dancer's body, the space where the dance takes place, and the dance performance are designed during the staging processes. In this study, to evaluate the narrative possibilities created by the interaction of the dancer's live performance and the projected video image, the narrative of the "Hit the Road Jack" dance performance, which was determined by purposeful sampling method from the YouTube video sharing site was analyzed semiologically, and the findings were interpreted in terms of body, space, performance, and expression. It has been determined that a narrative is created by interacting with the digital image used simultaneously with the dance performance, creating the illusion that the human body is physically increased, and creating an atmosphere beyond the reality of time and space. As a result, it has been seen that interdisciplinary design processes, in which computer and reflection technologies are used in conjunction with each other, transform the function of creating meaning and conveying messages in dance performances. [ABSTRACT FROM AUTHOR]

This study investigates how different formats of brand placement disclosures influence brand recall and brand attitude in music videos. Four formats of disclosures presenting different visual characteristics (textual and pictorial vs textual only) and auditory features (brand melody vs silent) are tested. The research adopts a multimethod approach combining eye-tracking, electrodermal activity, and self-reports. Results show that disclosures including higher visual information content positively influence the awareness of embedded advertising in music videos and the attention paid to the disclosure. Brand melodies prove to be effective to increase attention to the disclosure only when paired with textual and pictorial disclosures. Further empirical evidence demonstrates the positive indirect effect of disclosures on brand recall and brand attitude. Brand placement disclosures are shown to function as primes that can enhance brand attitudes and recall. Implications for marketing communication managers and policymakers in terms of advertising fees, contractual requirements, disclosures' design, and policy recommendations are discussed. [ABSTRACT FROM AUTHOR]

With the development of Internet technology, music videos on the network are becoming increasingly rich. How to extract concert video clips for specific scenes or shots from massive video libraries or ultra-long video files is a relatively difficult issue. Traditional music video retrieval methods are mostly based on key text retrieval. However, they cannot meet the needs of users. At the same time, in response to the demand for specific videos in piano performance teaching, it is also difficult for these methods to filter out key music clips from numerous videos. Therefore, a music video retrieval technology is constructed based on video feature similarity calculation. Aiming at the shortcomings of video similarity calculation methods, a dynamic programming algorithm is used to improve it. The improved music video retrieval technology is applied to the classroom learning practice of piano performance teaching, verifying the actual effect of this technology. The experimental results show that the accuracy of the music video retrieval technology reaches 91.02%. After being applied to piano classroom teaching, the overall performance of students has been improved. This shows that the proposed music video retrieval technology can effectively achieve the retrieval of required videos and improve the effectiveness of piano classroom teaching. [ABSTRACT FROM AUTHOR]