Singing and Dancing Without the Audience: Music Videos of the Interbellum and State Socialist Period

2020 ◽  
pp. 267-285
Author(s):  
Ewa Mazierska
Keyword(s):  
Music Videos ◽  
State Socialist

Viewing music videos: Emotion and viewer interpretation

2002 ◽  
Vol 14 (2) ◽  
pp. 69-79 ◽  
Author(s):  
Joan M. Preston ◽  
Michael Eden
Keyword(s):  
University Students ◽  
Emotional Content ◽  
Music Videos ◽  
Music Video ◽  
Mediating Factors ◽  
Comparative Media

Abstract. Music video (MV) content is frequently measured using researcher descriptions. This study examines subjective or viewers’ notions of sex and violence. 168 university students watched 9 mainstream MVs. Incidence counts of sex and violence involve more mediating factors than ratings. High incidents are associated with older viewers, higher scores for Expressivity, lower scores for Instrumentality, and with video orders beginning with high sex and violence. Ratings of sex and violence are associated with older viewers and lower scores for Instrumentality. For sex MVs, inexperienced viewers reported higher incidents and ratings. Because MVs tend to be sexier but less violent than TV and film, viewers may also use comparative media standards to evaluate emotional content MVs.

Sexually Degrading Music Videos and Lyrics

2012 ◽  
Vol 24 (1) ◽  
pp. 31-39 ◽  
Author(s):  
Eric L. Sprankle ◽  
Christian M. End ◽  
Miranda N. Bretz
Keyword(s):  
Undergraduate Students ◽  
Rape Myths ◽  
Music Videos ◽  
Sexual Content ◽  
Sexual Stereotypes ◽  
Male Undergraduate ◽  
The Media ◽  
The Many ◽  
Sexually Degrading ◽  
Music Lyrics

Utilizing a 2 (lyrics: present or absent) × 2 (images: present or absent) design, this study examined the unique effects of sexually degrading music videos and music lyrics on males’ aggressive behavior toward women, as well as males’ endorsement of rape myths and sexual stereotypes. Under the guise of a media memory study, 187 male undergraduate students were randomly assigned to one of four conditions. Despite the many psychological theories predicting an effect, the presentation of sexually degrading content in a visual or auditory medium (or combination thereof) did not significantly alter the participants’ aggression and self-reported endorsement of rape myths and sexual stereotypes. The null findings challenge the many corporate and governmental restrictions placed on sexual content in the media over concern for harmful effects.

Exposure To Rap Music Videos And Female Adolescents' Health

2002 ◽  
Author(s):  
Gina M. Wingood ◽  
Ralph J. DiClemente ◽  
Kathy Harrington ◽  
Susan L. Davies ◽  
Jane R. Schwebke ◽  
...  
Keyword(s):  
Rap Music ◽  
Music Videos ◽  
Female Adolescents

Conclusion

2018 ◽  
Author(s):  
Jim Sykes
Keyword(s):  
Middle Class ◽  
Music Videos ◽  
Sri Lankan ◽  
The Past ◽  
Post War

In the conclusion to The Musical Gift, Jim Sykes discusses Sri Lankan versions of viral music videos over the past decade, particularly Pharrell Williams’ video “Happy.” Sykes notes that several people filming themselves dancing to Williams’ song were stopped by the police, who could not comprehend why people were singing and dancing in public outside of the bounds of an official concert. The Sri Lankan “Happy” videos have also been criticized as depicting upper- and middle-class Sri Lankans and thus obscuring the fact that happiness has not been achieved for many Sri Lankans, including those who suffered greatly from the war. Returning to the concept of “the musical gift,” Sykes argues the promotion of public song and dance from and between various communities has a role to play in forging post-war reconciliation and building a “happiness” that emerges from Sri Lankan aesthetics.

Poland

2017 ◽  
Author(s):  
Detlef Pollack ◽  
Gergely Rosta
Keyword(s):  
Catholic Church ◽  
Agricultural Production ◽  
The State ◽  
Religious Culture ◽  
Key Factors ◽  
Pope John Paul Ii ◽  
National Values ◽  
The Impact ◽  
State Socialist ◽  
The Church

The chapter on Poland focuses on two questions. Why, in contrast to all other state-socialist countries, did the church’s capacity for integration actually increase rather than decrease despite persecution and discrimination during the communist period? And why has this capacity also remained more or less constant (albeit to a lesser extent) in the period since the end of communist rule? The authors have identified four key factors in the remarkable resistance of the Polish Catholic Church during the period of communist persecution: the fusion of religious and national values, the specific conflict dynamics of the church’s struggle with the state, the structural conservatism of agricultural production in Poland, and the actions of Pope John Paul II. Explanations for the surprising stability of religiosity in Poland after 1990 point to the behaviour of the Church itself, to the internal pluralization of Catholicism, and to the impact of a homogeneous religious culture.

THINKING THROUGH INTERTEXTUALITY IN KOREAN POP MUSIC VIDEOS

2020 ◽  
Vol 108 (1) ◽  
pp. 48-63
Author(s):  
CedarBough T. Saeji
Keyword(s):  
Music Videos ◽  
Pop Music

scholarly journals From roadman to royalties: Inter-representational value and the hypercapitalist impulses of grime

2021 ◽  
pp. 174165902110243
Author(s):  
Orlando Woods
Keyword(s):  
Digital Media ◽  
Music Industry ◽  
Music Videos ◽  
Digital Recording ◽  
Commercial Success ◽  
Production And Distribution ◽  
Ubiquitous Access ◽  
Rap Artists

This paper explores how digital media can cause the representational value of rap artists to be transformed. Ubiquitous access to digital recording, production and distribution technologies grants rappers an unprecedented degree of representational autonomy, meaning they are able to integrate the street aesthetic into their lyrics and music videos, and thus create content that offers a more authentic representation of their (past) lives. Sidestepping the mainstream music industry, the digital enables these integrations and bolsters the hypercapitalist impulses of content creators. I illustrate these ideas through a case study of grime artist, Bugzy Malone, who uses his music to narrate his evolution from a life of criminality (selling drugs on the street; a ‘roadman’), to one in which his representational value is recognised by commercial brands who want to partner with him because of his street credibility (collecting ‘royalties’). Bugzy Malone’s commercial success is not predicated on a departure from his criminal past, but the deliberate foregrounding of it as a marker of authenticity. The representational autonomy provided by digital media can therefore enable artists to maximise the affective cachet of the once-criminal self.

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