Cities in music videos: Audiovisual variations on London’s neoliberal skyline

Urban Studies ◽  
2017 ◽  
Vol 55 (6) ◽  
pp. 1257-1273
Author(s):  
Tania Rossetto ◽  
Annalisa Andrigo
Keyword(s):  
Urban Geography ◽  
Urban Morphology ◽  
Music Videos ◽  
Music Video ◽  
Specific Subject ◽  
Video Clips ◽  
Music Geography ◽  
Recent Developments ◽  
Full Consideration

Despite the resurgence of music video clips in the YouTube era, they have not received attention as a specific subject of inquiry in either cultural or urban geography. This article is aimed at providing a full consideration of music videos with a focus on the urban realm. In particular, the paper concentrates on how neoliberal iconic buildings and city skylines emerge in music videos by using London as a case study. Drawing from recent developments within architectural geography and urban morphology, as well as in the geocultural subfields of music geography, media geography and film geography, the paper shows how a partial return to critical traditional interests and text-based research styles could be still useful to appreciate the mutable, fluid, and affective ways in which skylines are mediated. The empirical part of the paper provides an analysis of three music videos set in London and with lyrics and music that refer to a mood or feeling ascribed to London’s iconic architecture.1

scholarly journals O novo ativismo urbano através da arte e do humor: analisando discursivamente videoclipes do movimento #OcupeEstelita (The new urban activism through art and humor: discursively analyzing music videos of the #OCUPEESTELITA movement)

2016 ◽  
Vol 14 (2) ◽  
pp. 37
Author(s):  
Leonardo Mozdzenski
Keyword(s):  
Discourse Analysis ◽  
Social Movement ◽  
Meaning Making ◽  
Video Clip ◽  
Music Videos ◽  
Music Video ◽  
Video Clips ◽  
Urban Activism ◽  
And Performance ◽  
Significant Structure

A partir da ancoragem teórica na Análise do Discurso de linha francesa, recorremos às noções de ‘tecedura’/‘tessitura’ propostas por Neckel (2010), com o objetivo de examinar discursivamente dois videoclipes com a temática do Movimento #OcupeEstelita, quais sejam: o clipe Arquitetura de vertigem (2014) e o clipe Novo Apocalipse Recife (2015). Assim, propomos investigar como as mais diversas linguagens inscritas no discurso videoclíptico – palavra, som/música, imagem e performance – operam, de diferentes maneiras, a sua estrutura significante para a produção de sentidos e de que forma são acionados repertórios, memórias e interdiscursividades ao longo dos movimentos discursivos dos vídeos musicais aqui discutidos.PALAVRAS-CHAVE: Análise do Discurso. Videoclipe. Interdiscursividade. Memória. Movimento social. ABSTRACTBy means of the French Discourse Analysis theoretical framework, we use the notions of ‘weaving’/‘texture’ proposed by Neckel (2010), with the objective of discursively examining two music video clips with the theme of the #OcupeEstelita Movement, which are: the music video Arquitetura de vertigem (2014) and the music video Novo Apocalipse Recife (2015). Thus, we propose to investigate how the most diverse languages inscribed into the music video discourse – word, sound/music, image and performance – operate, in different ways, their significant structure in the meaning-making process and how repertories, memories and interdiscursivities are activated throughout the discursive movements of the music videos here discussed.KEYWORDS: Discourse Analysis. Music video clip. Interdiscursivity. Memory. Social movement.

scholarly journals Constructing identities through music videos: a case study analysis of Tegan and Sara's music videos

2021 ◽  
Author(s):  
Jovana Jankovic
Keyword(s):  
Narrative Structure ◽  
Gender And Sexuality ◽  
Music Videos ◽  
Music Video ◽  
Study Analysis ◽  
Public Identity ◽  
Case Study Analysis ◽  
Performed Identity ◽  
Over Time

"I believe that our music does not have sexuality," proclaimed Sara of Tegan and Sara, in an interview for The Advocate (200S). This paper argues that Tegan and Sara's music videos do in fact contain elements that reflect their sexuality, and examines the extent to which these videos demonstrate their public identity. In order to understand the composition of music videos and the nonverbal signs related to gender and sexuality within them, I draw upon theories of performed identity, music video genres, settings, and lyrical analysis. In examining three of Tegan and Sara's music videos, "The First" (2000), "Back In Your Head" (2007), and "Closer" (2012). I present a narrative structure of their musical career, and outline how their approach and portrayal of their sexual orientation has evolved over the thirteen years they have been together as a band. The results show that Tegan and Sara have increasingly embraced their gender and sexuality over time.

scholarly journals Brand Placement in Music Videos: Effectiveness in UK, Spain and Italy

2021 ◽  
Vol 11 (2) ◽  
pp. 135-163
Author(s):  
Sara Piazzolla ◽  
◽  
Irene García Medina ◽  
Marián Navarro-Beltrán ◽  
◽  
...  
Keyword(s):  
Research Question ◽  
Music Videos ◽  
Music Video ◽  
Brand Placement ◽  
Brand Recall ◽  
Advertising Strategy ◽  
Brand Familiarity ◽  
The Uk ◽  
Degree Of Association

Brand placement is used as an alternative advertising strategy. This case study aimed at investigating its efficacy in music videos in the UK, Spain and Italy through surveys. The first research question aimed at determining the degree of association between nationality and brand familiarity. Results have reported a directional association for half the brands advertised. The second research question aimed at determining the correlation between brand familiarity and brand recall. This study demonstrated that the greater the familiarity of the brand, the more likely it is to be recalled after watching a music video. The third research question aimed at determining whether participants were more aware of brands that they had not previously heard of after watching the music videos. Results showed similar responses of participants either agreeing or disagreeing with the statement and similar results were obtained for the Italian and British samples. It could be concluded that brand placement in music videos is especially effective in certain cultures and situations.

scholarly journals Made to Connive: Revisioning Cinderella in a Music Video. From Disney to Arthur Pirozkhov: A Case Study

Text Matters ◽  
2020 ◽  
pp. 67-78
Author(s):  
Dorota Filipczak
Keyword(s):  
Fairy Tales ◽  
Fairy Tale ◽  
Music Videos ◽  
Intellectual Freedom ◽  
Music Video ◽  
Explosive Power ◽  
Kenneth Branagh ◽  
The Impact ◽  
Literature And Film

The article focuses on the way in which music videos can subvert and refigure the message of literature and film. The author sets out to demonstrate how a music video entitled “Зацепила” by Arthur Pirozkhov (Aleksandr Revva) enters a dialogue with the recent Disney version of Cinderella by Kenneth Branagh (2015), which, in turn, is an attempt to do justice to Perrault’s famous fairy tale. Starting out with Michèle Le Dœuff’s comment on the limitations imposed upon women’s intellectual freedom throughout the centuries, Filipczak applies the French philosopher’s concept of “regulatory myth” to illustrate the impact of fairy tales and their Disney versions on the contemporary construction of femininity. In her analysis of Branagh’s film Filipczak contends that its female protagonist is haunted by the spectre of the Victorian angel in the house which has come back with a vengeance in contemporary times despite Virginia Woolf’s and her followers’ attempts to annihilate it. Paradoxically, the music video, which is still marginalized in academia on account of its popular status, often offers a liberating deconstruction of regulatory myths. In the case in question, it allows the viewers to realize how their intellectual horizon is limited by the very stereotypes that inform the structure of Perrault’s Cinderella. This makes viewers see popular culture in a different light and appreciate the explosive power of music videos which can combine an artistic message with a perceptive commentary on stereotypes masked by seductive glamour.

scholarly journals Constructing identities through music videos: a case study analysis of Tegan and Sara's music videos

2021 ◽  
Author(s):  
Jovana Jankovic
Keyword(s):  
Narrative Structure ◽  
Gender And Sexuality ◽  
Music Videos ◽  
Music Video ◽  
Study Analysis ◽  
Public Identity ◽  
Case Study Analysis ◽  
Performed Identity ◽  
Over Time

"I believe that our music does not have sexuality," proclaimed Sara of Tegan and Sara, in an interview for The Advocate (200S). This paper argues that Tegan and Sara's music videos do in fact contain elements that reflect their sexuality, and examines the extent to which these videos demonstrate their public identity. In order to understand the composition of music videos and the nonverbal signs related to gender and sexuality within them, I draw upon theories of performed identity, music video genres, settings, and lyrical analysis. In examining three of Tegan and Sara's music videos, "The First" (2000), "Back In Your Head" (2007), and "Closer" (2012). I present a narrative structure of their musical career, and outline how their approach and portrayal of their sexual orientation has evolved over the thirteen years they have been together as a band. The results show that Tegan and Sara have increasingly embraced their gender and sexuality over time.

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 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.

From Community to Public Familiarity: Neighborhood, Sociability, and Belonging in the Neoliberal City

2021 ◽  
pp. 107808742110215
Author(s):  
Felipe Link ◽  
Andrés Señoret ◽  
Felipe Valenzuela
Keyword(s):  
Social Relations ◽  
Sense Of Belonging ◽  
Regression Models ◽  
Secondary Data ◽  
Critical Factor ◽  
Urban Morphology ◽  
Demographic Characteristics ◽  
Logistic Regression Models ◽  
Pedestrian Space

Current urban neoliberalism processes have shaped and changed contemporary cities, including the local scale’s built environment and social relations. This article aims to study how such transformations affect local sociability by analyzing the effects of neighborhoods’ morphology and socio-demographic characteristics on different forms of interactions and how they affect the sense of belonging. Taking the Metropolitan Area of Santiago, Chile, as a case study, we gathered secondary data on urban morphology and surveyed ten neighborhoods to measure sociability patterns. The results obtained from multilevel logistic regression models show that time living in the neighborhood and public pedestrian space is the most critical factor affecting neighborhood sociability. Moreover, instead of local ties, public familiarity is the form of sociability with the most substantial effects on a sense of belonging. We conclude that recent neighborhoods, formed by neoliberal urbanization, tend to discourage neighborhood sociability and a sense of belonging.

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