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How situations are defined is a social process. This paper examines how users on YouTube make sense of the alleged sexual assault perpetrated by shock rocker Marilyn Manson in the 2007 “Heart Shaped‐Glasses (When the Heart Guides the Hand)” music video. Actor Evan Rachel Wood revealed in a 2022 documentary that she had been “essentially raped” by Manson in the video. Using qualitative media analysis, we collected and analyzed a total of 5466 user‐generated comments on YouTube posted in response to the “Heart‐Shaped Glasses” video after the publication of Wood's allegations. The research question that we explore is: How do users on YouTube understand the “Heart‐Shaped Glasses” video in light of Wood's allegations? Does the video depict a consensual simulated sex scene or is it documentation of a criminal sexual assault? Our analysis and findings reveal that users' interpretations of social cues provided in the video are subject to external forces of narration. Specifically, users draw explicitly and implicitly on both rape myths and on counter‐narratives stemming from the #MeToo movement to justify their support for Manson or for Wood, respectively. Media narratives about the “Heart‐Shaped Glasses” video and the user's orientation to the problem of sexual violence appear to be more salient social cues than the video footage itself in determining how commenters defined the video. These findings offer some insights specifically into how definitional processes, with respect to sexual violence, draw on socially established narratives, like rape myths or pro‐survivor activism. More generally, the findings provide a lens to consider how definitional processes operate in other kinds of situations in which the definition of actions recorded on video is contested. Video Abstract: https://www.youtube.com/watch?v=Uo7qxmTwA‐U. [ABSTRACT FROM AUTHOR]

As a precedent to Namewee’s current transnational entanglements with authoritarian states, we analyze the lyrical and audio-visual content of Namewee’s Malaysian-themed music videos “Nah!” “Oh My God,” and “Happy Family” that drew the negative attention of individuals, organizations, and state authorities in his home country. Our analysis details the controversial contexts alongside the multicultural and heteroglossic content of his music videos, imagined through an interplay of multimodal narratives about the state’s politicization of race, religion, and education. Through these approaches, the artist finds creative strategies to elude direct action from state authorities to curtail his creative expression and (dis)content. [ABSTRACT FROM AUTHOR]

This article analyzes acts of escapism within confinement. Written over the duration of a global pandemic, we dive deep into music videos by performing artists Beyoncé and Harry Styles. “Denial” and “Falling” present their respective subject in a state of submerged confinement. We read these performances of liquid entrapment as symbolizing rebirth and liberation through liminality, measuring these representations of escapism-without-escape against our own desires to (mentally) flee literal lockdowns. Several years later, we question shifting relationships with celebrity texts—when messages of escape , post-emergence, are so antithetical to our current (seemingly inescapable), lived experiences. [ABSTRACT FROM AUTHOR]

COVID-19 data reveals that the disease has disproportionately affected the Black community, yet the lowest vaccination rates can be found among this demographic. A myriad of factors can explain this health disparity, but structural barriers such as availability and vaccine apprehension amongst the Black community emerge as two primary reasons. Despite targeted outreach, traditional health campaigns directed at the Black community did not yield results; many argue this was due to the community's history of medical exploitation and rightful distrust of the medical sector. Instead, the Black community turned to popular culture as a primary means of health information. In turn, Juvenile's classic song "Back That Thang Up" was repurposed into a vaccine anthem—"Vax That Thang Up." The PSA, which infuses hip-hop, health promotion, and the power of music videos, sparked controversy and has over 3 million views on YouTube. These considerations serve as the basis of this study, which will interrogate the intersection of health communication and pop culture, in relation to the music video—"Vax That Thang Up." The researchers will employ the culture-centered approach to unpack how the music video disrupted traditional aspects of health communication campaigns. [ABSTRACT FROM AUTHOR]

Music videos are a popular method of consuming music; however, the characteristics of these experiences and their effects on music perception are poorly understood. An online survey (N = 155) was designed using theoretical insight from Dasovich-Wilson et al.'s (2022) Intention Attention Reaction and Retention (IARR) framework. The survey consisted of two parts: the first explored the key characteristics of music video experiences, and the second explored their effects on subsequent listening outcomes. Separate principal component analyses (PCAs) were performed on each part to differentiate between the experience itself (Experience components) and the effects on subsequent listens (Retention outcomes). Relationships between Experience components and Retention outcomes were explored using correlation and regression analyses. The results suggest that music video experiences characterized by performance gestures and narratives have the strongest influence on music perception. These findings shed light on how extramusical information from music videos influences mechanisms related to visual imagery and personal associations. [ABSTRACT FROM AUTHOR]

The text features interviews with women professionals in the creative industries, such as cinematography, post-production, costume design, and filmmaking. The practitioners share their career paths, obstacles encountered, and stress the significance of representation and diversity in their field. The interviews underscore the dedication, resilience, and unique perspectives these women bring to their roles, emphasizing the need for equal opportunities in the creative sector. Mairéad Ni Nuadháin's interview delves into her broadcasting career, from presenter to producer, highlighting the challenges of managing personnel and schedules while advocating for vision and execution in the industry. She discusses the balance between work and personal life, particularly when traveling and caring for young children, and offers guidance for aspiring women in Irish language broadcasting, stressing the importance of language proficiency, writing skills, and meaningful engagement beyond social media. [Extracted from the article]

Shigeko Kubota presented her seminal multimedia video work Riverrun—Video Water Poem for the feminist performances of Red, White, Yellow, and Black at The Kitchen in New York in December 1972. This article outlines Kubota's exploration of the mediated production of identity as a networked, social process through live video synthesis. Drawing from discourses surrounding James Joyce's Finnegans Wake in experimental music and video, Kubota's distinctive use of live video synthesis and incorporation of sensorial elements in her installation attuned her audience to the multisensory nature of communication as well as the co-constitution of meaning mediated through feedback between artist, audience, and technology. In considering Riverrun as an open work, it is clearer how Kubota resisted singular interpretations, especially readings where the work is reducible to the artist's identity. [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 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]

On short video sharing platforms, users often choose background music for their videos. In this paper, we study the problem of background music recommendation for short videos on short video sharing platforms. In our recommendation setting, the item (music) is not recommended directly to the user, but to the video created by the user. When making music recommendations for videos, we consider three important players: users, videos, and music. We define a unique background music recommendation problem and design a novel background music recommendation model to address the problem. We propose a model based on the deep learning framework to effectively address the distinctive three-way relationships among users, videos, and music. Our model considers not only of the conventional user–music alignment, but also the alignment between videos and music. To evaluate our model, we conduct comprehensive experiments on real-world data collected from one of the most popular short video sharing platforms. Our proposed model significantly outperforms other existing models in recommendation performance. The superiority of our proposed model remains consistent across various scenarios, including cold-start recommendations, data sets with varying density levels, and data sets spanning diverse video categories. On short video sharing platforms, users often choose background music for their videos. In this paper, we study the problem of background music recommendation for short videos on short video sharing platforms. In our recommendation setting, the item (music) is not recommended directly to the user, but to the video created by the user. When making music recommendations for videos, we consider three important players: users, videos, and music. We define a unique background music recommendation problem and design a novel background music recommendation model to address the problem. We propose a model based on the deep learning framework to effectively address the distinctive three-way relationships among users, videos, and music. Our model considers not only the conventional user–music alignment, but also the alignment between videos and music. To evaluate our model, we conduct comprehensive experiments on real-world data collected from one of the most popular short video sharing platforms. Our proposed model significantly outperforms other existing models in recommendation performance. The superiority of our proposed model remains consistent across various scenarios, including cold-start recommendations, data sets with varying density levels, and data sets spanning diverse video categories. History: Gautam Pant, Senior Editor; Jingjing Zhang, Associate Editor. Funding: This work was partly supported by Major Program of the National Social Science Fund of China [Grant 20&ZD161]. Supplemental Material: The online appendix is available at https://doi.org/10.1287/isre.2022.0093. [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]

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 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]

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.

In 1979, the British pop band The Buggles released 'Video Killed the Radio Star', generating a provocation used to explain change (where x killed y). Two years later, the song's video was used to launch MTV, marking a change in how audiences consumed music. It is not the title that is of interest here, but a line in the track that suggests in the age of video, that we no longer need to use our ears. Although the open standard of podcasting has meant that video and audio could coexist, podcasting has been primarily an auditory medium. However, in 2024, several leading podcasts on Spotify now play as easily as video as audio. This article discusses this evolution, arguing that this shift not only reflects the actors that shape podcasting but also poses questions for how we might define podcasting in its third decade. Is podcasting still an aural medium? [ABSTRACT FROM AUTHOR]

This paper analyses the music video Nxde by (G)I-DLE , exploring its portrayal of femininity in the Korean music industry. It addresses the perpetuation of the beauty myth and objectification, symbolised by Marilyn Monroe as the ideal of beauty and innocence. Despite little change in media practices, the video challenges narrow perceptions of women beyond pure or vulgar binaries. It partially compares Nxde to the empowering video Tomboy emphasising the critique of the music industry's perpetuation of beauty myths and sexualisation of artists. The video also highlights the impact on employment and education of discrimination based on appearance, contributing to societal inequality. Nxde confronts media audiences, exposing their objectifying tendencies and the commodification of desires. It acknowledges the need for systemic change and questions the authenticity of feminist voices within a commercialised industry that reproduces criticised symbols. While navigating the complexities of the Korean music industry, the video aims to shed light on social and gender issues within its constraints. [ABSTRACT FROM AUTHOR]

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.)

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]