Projections of Image on Sound

2021 ◽  
pp. 618-638
Author(s):  
Mathias Bonde Korsgaard
Keyword(s):  
Music Videos ◽  
Music Video ◽  
David Lynch ◽  
Career Trajectories ◽  
The Common ◽  
Own Name ◽  
Cross Fertilization

It has often been claimed that music video has exerted an aesthetic influence on cinema. This chapter establishes some of the common arguments surrounding this claim while simultaneously maintaining certain reservations as to the very legitimacy of tracing such influences. Focusing on three particular points of cross-fertilization between music video and cinema—narrative, musicalization, and “reduced images”—the chapter approaches the relation between music video and cinema from both sides: from music video into cinema and vice versa. More specifically, it analyses the work of two transmedia directors who have had opposite career trajectories: Michel Gondry (who started as a musician, then became a music video director, and finally a film director) and David Lynch (a film director who turned to making music videos, and then to creating music under his own name).

scholarly journals Creation of musical content based on the plotline of music videos

2020 ◽  
pp. 175-183
Author(s):  
Elena Aleksandrovna Golovanova
Keyword(s):  
Blue Light ◽  
Visual Imagery ◽  
Main Idea ◽  
Music Videos ◽  
Music Video ◽  
Modern Music ◽  
Development Stages ◽  
Verbal Content ◽  
The Common

This article examines the visual means of modern music videos and their impact on perception of the audience. The author is first to study the peculiarities of creation of visual imagery along with artistic means of music videos and their impact on the viewership. The conception, development stages, and specifics of the visual imagery of music videos on TV – from the “Little Blue Light” and musical films to modern music videos – are considered. Each of the is based on the balance between musical content of the composition, based on the compositional differences of the plot, and viewership perception, arousing the feeling of immersion into the image, connectedness to the events on TV, and affection with  the heroes. The scientific novelty consists in the attempt to correlate verbal content of the music video with its visual imagery. The conclusion is made that the audience perception in a certain way depends on the peculiarities of visual imagery of music videos, which feature contrapuntal aesthetics combined with the main idea of music video and differences within the framework of performer’s representation of the composition. The common aspect for creation of all music videos is the depiction of motion, which again underlines its inextricable connection of music video and cinematography, which is based on creation of a certain image by the actor.

scholarly journals Soundtrack Music Videos: The Use of Music Videos as a Tool for Promoting Films

2021 ◽  
Vol 34 (3) ◽  
pp. 47-60
Author(s):  
David Selva-Ruiz ◽  
Desirée Fénix-Pina
Keyword(s):  
Content Analysis ◽  
Distinctive Feature ◽  
Music Videos ◽  
Music Video ◽  
Cultural Industries ◽  
Communication Tool ◽  
Common Pattern ◽  
Commercial Communication ◽  
The Common

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

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.

scholarly journals Impact of Visual Design Elements and Principles in Human Electroencephalogram Brain Activity Assessed with Spectral Methods and Convolutional Neural Networks

Sensors ◽  
2021 ◽  
Vol 21 (14) ◽  
pp. 4695
Author(s):  
Francisco E. Cabrera ◽  
Pablo Sánchez-Núñez ◽  
Gustavo Vaccaro ◽  
José Ignacio Peláez ◽  
Javier Escudero
Keyword(s):  
Brain Activity ◽  
Music Videos ◽  
Visual Design ◽  
Music Video ◽  
Eeg Signal ◽  
Design Elements ◽  
The Public ◽  
Learning Classifier ◽  
The Mean ◽  
Human Electroencephalogram

The visual design elements and principles (VDEPs) can trigger behavioural changes and emotions in the viewer, but their effects on brain activity are not clearly understood. In this paper, we explore the relationships between brain activity and colour (cold/warm), light (dark/bright), movement (fast/slow), and balance (symmetrical/asymmetrical) VDEPs. We used the public DEAP dataset with the electroencephalogram signals of 32 participants recorded while watching music videos. The characteristic VDEPs for each second of the videos were manually tagged for by a team of two visual communication experts. Results show that variations in the light/value, rhythm/movement, and balance in the music video sequences produce a statistically significant effect over the mean absolute power of the Delta, Theta, Alpha, Beta, and Gamma EEG bands (p < 0.05). Furthermore, we trained a Convolutional Neural Network that successfully predicts the VDEP of a video fragment solely by the EEG signal of the viewer with an accuracy ranging from 0.7447 for Colour VDEP to 0.9685 for Movement VDEP. Our work shows evidence that VDEPs affect brain activity in a variety of distinguishable ways and that a deep learning classifier can infer visual VDEP properties of the videos from EEG activity.

scholarly journals The contemporary cartographic presentation of geographical names of objects lying on the border between Poland and the Czech Republic

2015 ◽  
Vol 47 (3) ◽  
pp. 159-174
Author(s):  
Maciej Zych
Keyword(s):  
Czech Republic ◽  
Topographic Maps ◽  
National Register ◽  
The Czech Republic ◽  
Common Boundary ◽  
Mountain Ranges ◽  
Single Region ◽  
The Common ◽  
Mountain Basins ◽  
Own Name

Abstract The aim of this paper is the analysis of the names used on cartographic publications in Poland and the Czech Republic for transboundary geographical objects lying on the common boundary. After the analysis of the Czech and Polish topographic maps that are available on the national geoportals, maps of the divisions into natural regions, and toponymic databases (Polish the National Register of Geographical Names, and Czech Geonames – the Database of geographic names of the Czech Republic) it was established that 360 named geographic objects lie on this boundary. This number includes: 123 hydronyms (names of rivers and other streams), 224 oronyms (139 names of summits, 22 names of mountain passes, 35 names of mountain ranges and ridges, 15 names of highlands, plateaus and uplands, 7 names of mountain basins, valleys and depressions, 3 names of lowlands, and 3 names of rocks), 9 names of forests, 1 name of mountain meadow (alp), and 3 names of tracks. 212 of these objects (59%) have names in both languages – Polish and Czech, however, in 99 cases (47% of objects that have name in both Polish and Czech languages) the Polish and Czech toponyms entirely do not correspond to each other. From the remaining objects 67 (18%) have only the Czech name, and 81 (23%) only the Polish name. In some natural regions, the limits of their ranges set by the Czech and Polish geographers vary widely, for example a single region on one side of the boundary corresponds to two or more regions on other side of the boundary. In other cases illustrations of incorrectness are more sophisticated, like the river that has different course according to the Czech or Polish maps (stream regarded as a main watercourse in one country, which has its own name, in another country is considered as a tributary one with a different name). In the summary, it should be stated that in the large part of the Polish and Czech names of the geographical objects lying on the common boundary were drawn regardless of the names used in the neighboring country.

scholarly journals Language signs of the Chornobyl age in L. Dayenʼsnovel «Chornobyl is a Bitter Grass»

2019 ◽  
pp. 65-77
Author(s):  
Iryna Hotsynets
Keyword(s):  
Nuclear Power Station ◽  
Nuclear Power ◽  
Power Station ◽  
Linguistic Description ◽  
The Social ◽  
The Common ◽  
Own Name ◽  
Ukrainian Society

In the article on the material of L. Daien’s documentary story “Chornobyl is a bitter grass” the actualization and dynamics of language signs of the Chornobyl era in the context of the development of a specific “Chornobyl” dictionary is traced. This is in line with the needs of the verbalization of the topic of the technogenic accident at the Chornobyl nuclear power station, relevant to Ukrainian society. The mechanisms of the expressive development of Chornobyl’s own name are highlighted. The types of substantive-evaluative transformation of traditional images that fall into the semantic action of the Chornobyl nomination are noted. The objects of analysis were temporally and thematically marked vocabulary and phraseology, as well as stylistic methods of creating the image of the Chornobyl disaster. In particular, it emphasizes the peculiarities of contextual development of terminological units – zone, atom, radiation, radiation, etc. The types of their semantic-evaluative transformation as they enter the documentary text are clarified. The journalistic rhetoric of the linguistic description of the Chornobyl events, especially the linguistic portrayal of the liquidators of the consequences of the Chоrnobyl accident, was emphasized. Thus, the language of L. Daien’s documentary story “Chornobyl is a bitter grass” illustrates the social and psychological situation at the Chornobyl nuclear power station on the night of a man-made disaster. The verbalization of this topic is subordinated to the specific Chоrnobyl vocabulary, which reflects the entry into the common practice of narrowly specialized terms (atom, atomic, radiation, radioactive), and also attests to the expansion of the semantic volume of units, “involved”. Understood in the context of contemporary reading of documentary prose, they are perceived as linguistic signs of the Chоrnobyl era.

Experimental animation and the neosurrealist remediation of popular music video

2020 ◽  
Vol 8 (1) ◽  
pp. 85-106
Author(s):  
Lisa Perrott
Keyword(s):  
Popular Music ◽  
Performing Arts ◽  
Music Videos ◽  
Music Video ◽  
Popular Entertainment ◽  
Close Analysis ◽  
Art And Culture ◽  
Animation Technique ◽  
Experimental Animation ◽  
Functionally Diverse

Once appearing to function primarily as a commercial tool for popular entertainment, the popular form of music video has recently been exposed by scholars as formally and functionally diverse, with a rich history stretching back decades before the advent of MTV. Animated music videos owe much to centuries old traditions spanning the visual, musical and performing arts, providing performative and material models that inspire contemporary video directors. Experimental animation, surrealism and music video form a matrix of historical and contemporary significance; however, few scholars have undertaken close examinations of the relations between them. John Richardson and Mathias Korsgaard show how music video directors have employed surrealist compositional strategies together with experimental animation methods, thus giving rise to challenging new forms that traverse disparate approaches to art and culture. Building upon their contributions, this article explores the continuity between experimental animation, surrealism and music video, with a view to discovering the subversive potential of this matrix. In order to probe this potential, the author examines how music video directors experiment with animation technique as a means of subversion and enrichment of popular music video. Through close analysis of music videos directed by Adam Jones, Stephen Johnson, Floria Sigismondi and Chris Hopewell, this article charts the continuity of surrealist strategy across culturally specific moments in history, thus provoking questions around the perceived functions of animated media and popular music video.

Proximate Forms and Sites of Encounter : Music Video and Experimental Tradition

Fanvids ◽  
2020 ◽  
Author(s):  
E. Charlotte Stevens
Keyword(s):  
Video Art ◽  
Reference Points ◽  
Music Videos ◽  
Fan Studies ◽  
Television Studies ◽  
Music Video ◽  
Found Footage ◽  
Moving Images ◽  
Definition Of

Vids resemble music videos and found footage films. They have the form and appearance of a music video, and they re-use existing moving images in a way that appears to meet the definition of found footage work or remix video art. This chapter establishes some parameters within which the vid can be viewed in relation to proximate forms. This chapter works through specific academic framings of similar forms such as found footage films in the experimental tradition and music video before discussing canons of vids that are formed through recent gallery contexts. These additional lenses—beyond fan studies and television studies—offer further reference points through which to understand vids.

The rewards of non-commercial production: Distinctions and status in the anime music video scene

First Monday ◽  
2010 ◽  
Vol 15 (5) ◽  
Author(s):  
Mizuko Ito
Keyword(s):  
Social Inclusion ◽  
Cultural Landscape ◽  
Music Videos ◽  
Historical Background ◽  
Music Video ◽  
Quality Work ◽  
Key Characteristics ◽  
Video Scene ◽  
Japanese Animation

Anime music videos (AMVs) are remix videos made by overseas fans of Japanese animation. This paper describes the organization of the AMV scene in order to illuminate some of the key characteristics of a robust networked subculture centered on the production of transformative works. Fan production that appropriates commercial culture occupies a unique niche within our creative cultural landscape. Unlike professional production and many other forms of amateur media production, transformative fan production is non-commercial, and centered on appropriating, commenting on, and celebrating commercial popular culture. Participants in robust fan production scenes are motivated to create high-quality work that can rival the quality of professional media, but do this within an entirely non-commercial context. Rewards are not financial, but rather center on recognition and social participation. I describe how AMV creators, supporters, and viewers engage in processes of social inclusion as well as processes for marking status and reputation that delineate different modes of participating, contributing, and being recognized. This paper starts by outlining the conceptual framework and methodology behind this study. Then the paper provides historical background on the AMV scene before turning to descriptions of three complementary dimensions of the AMV scene drawn from ethnographic fieldwork: the properties of open access and sharing that support an amateur ethos, processes of connoisseurship and distinction making, and how status and reputation are established and negotiated among the elite editors that comprise the core of the scene. Together, these characteristics of the AMV scene provide incentives for both new and aspiring creators to participate, as well as for more experienced creators to improve their craft.

Polyphonie und Audiovision

2020 ◽  
Author(s):  
Fernand Hörner
Keyword(s):  
Cultural Studies ◽  
Music Videos ◽  
Music Video ◽  
Audiovisual Material ◽  
Abstract Concepts ◽  
Theoretical Concepts ◽  
The Third ◽  
Methodological Approaches ◽  
And Linguistics ◽  
The Voice

This interdisciplinary analysis uses concepts of voice and polyphony both as visible, audible and understandable means of expression and as abstract analytical categories for the interpretation of music videos. The study combines abstract concepts of voice from music, media, literary and cultural studies, and linguistics with an analysis of the orchestration of the voice in the audiovisual form of music videos. The book has three parts: The first part highlights theories of voices and polyphony. The second part consists of the audiovisual transcription of a music video (‘Verliebt’ by the German rap group Antilopen Gang) by means of the online transcription tool trAVis. The third part offers an interpretation of the music video, joining the transcription with the theoretical concepts and the methodological approaches based on polyphony. This music video serves as an exhaustive test of ‘polyphony’ as a theoretical and methodological background against which one can interpret audiovisual material.

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