Identity, race and music video : a case study of ritual representations of indigenous Australian identities in popular music videos

2004 ◽  
Author(s):  
Anna Woodall
Keyword(s):  
Popular Music ◽  
Music Videos ◽  
Music Video ◽  
Indigenous Australian

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.

Negotiating Gender, Popular Culture, and Social Justice in Music Education

2015 ◽  
pp. 581-597
Author(s):  
Joseph Abramo
Keyword(s):  
Social Justice ◽  
Popular Culture ◽  
Music Education ◽  
Popular Music ◽  
Music Videos ◽  
Female Empowerment ◽  
Music Video ◽  
The World ◽  
Relations Of Power

This chapter describes how educators may use Stuart Hall’s encoding/decoding model to create instruction and curricula that challenge students to critically examine popular music. Through this process, students generate dominant, oppositional, and negotiated readings of songs, music videos, and other popular culture texts, and situate these readings within relations of power and privilege. This pedagogical process is illustrated in an analysis of contested notions of “female empowerment” in Beyoncé Knowles’s music video Run the World (Girls). Finally, limitations of the encoding/decoding model are accounted in order to create new aims for social justice in music education, including the exploration of diversity and the exploration of societal power and privilege in the production and reception of popular music.

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 Storytelling through Popular Music: Social Memory, Reconciliation, and Intergenerational Healing in Oromia/Ethiopia

Humanities ◽  
2021 ◽  
Vol 10 (2) ◽  
pp. 70
Author(s):  
Tatek Abebe
Keyword(s):  
Popular Music ◽  
Visual Analysis ◽  
Social Memory ◽  
Online Discussions ◽  
Music Videos ◽  
Music Video ◽  
National History ◽  
Alternative Spaces ◽  
Speak Up ◽  
Intergenerational Connections

Drawing on a popular music video titled ‘Beelbaa’ by a young Oromo artist, Jambo Jote, this article discusses the moments and contexts that compel young people to speak up in subtle and poetic ways. By interpreting the content of the lyrics, doing a visual analysis of the music video, and connecting both to contemporary discourses, it explores how researching social memory through music can be used as a lens to understand Ethiopian society, politics, and history. The article draws attention to alternative spaces of resistance as well as sites of intergenerational connections such as lyrics, music videos, songs, and online discussions. I argue that storytelling through music not only bridges differences on problematic and sometimes highly polarized discourses engendered by selective remembering and forgetting of national history, but that it is also indispensable for reconciliation and peaceful coexistence. Tuning into young people’s music can touch us in ways that are real, immediate, and therapeutic, making it possible for our collective wounds to heal. I further demonstrate that as musical storytelling appeals to multiple generations, it can facilitate mediation, truce, and intergenerational understanding.

(Re)Reading Pop Personae: A Transmedial Approach to Studying the Multiple Construction of Artist Identities

2019 ◽  
Vol 16 (3) ◽  
pp. 501-529 ◽  
Author(s):  
KAI ARNE HANSEN
Keyword(s):  
Social Media ◽  
Popular Music ◽  
Media Studies ◽  
Music Videos ◽  
Sound Recordings ◽  
Initial Effort ◽  
Wide Range

AbstractThis article engages with a wide range of existing literature relevant to understanding the artist persona in popular music, and advocates a view of personae as multiply constructed through sound recordings, music videos, live performances, interviews, social media posts, and a variety of other means. In an initial effort to theorize pop personae as transmedial phenomena, I merge a critical musicological understanding of the performative potential of aesthetics with perspectives from celebrity studies and media studies to produce new insights into how personae are articulated across a variety of disparate but intersecting spaces. Through a case study of Sam Smith, I demonstrate how the signs and symbols scattered across numerous platforms are aggregated in the pop persona, and elucidate the interpretive possibilities afforded by different points of contact between artist and audience. I conclude that the task of reading pop personae amounts to an assessment of the conglomerate of texts and contexts that shape both the production and the reception of pop expressions.

scholarly journals YouTube, ageing and PJ Harvey: An ‘everyday’ story of the erasure of age

2018 ◽  
Vol 25 (5-6) ◽  
pp. 1155-1167 ◽  
Author(s):  
Abigail Sara Gardner
Keyword(s):  
Cultural Studies ◽  
Popular Music ◽  
Music Videos ◽  
Music Video ◽  
Digital Environment ◽  
The Past ◽  
Ageing Body ◽  
Screen Space ◽  
The Relationship

Ageing is starting to matter in popular cultural studies but the matter of ageing within YouTube is, at present, unwritten. This article is an attempt to start that process. YouTube hosts the music video for PJ Harvey’s single release The Community of Hope (2016) . Shot by Seamus Murphy, it shares screen space with official music videos from Harvey’s 23-year career. Raising questions about the relationship between her past and present, this article examines the link between YouTube and ageing through two concepts, repetitive circularity and the flat archive. These rely and inform each other in a process that prioritizes the presence of youthfulness through the absenting of age, whereby the ageing body is erased from a popular cultural forum. YouTube’s ‘wallpaper of the past’ has a nagging impact on how we might read the body’s progress through time, in particular, how it ages. Tackling the paucity of work on ageing as it surfaces within the changing topographies of popular music encounters, the article considers how ageing is presented within a digital environment such as YouTube and concludes that the story is one of age erasure.

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.

Protest music, populism, politics and authenticity

2016 ◽  
Vol 15 (4) ◽  
pp. 422-445 ◽  
Author(s):  
Lyndon C.S. Way
Keyword(s):  
Popular Music ◽  
Past Research ◽  
Music Videos ◽  
Protest Music ◽  
The Public ◽  
Political Discourses ◽  
The People ◽  
The Public Sphere ◽  
Musical Sounds

Abstract Political discourses are found not only in speeches and newspapers, but also in cultural artefacts such as architecture, art and music. Turkey’s June 2013 protests saw an explosion of music videos distributed on the internet. This paper uses these videos as a case study to examine the limits and potential of popular music’s articulation of popular and populist politics. Though both terms encompass what is “widely favoured”, populism includes discourses which construct “the people” pitted against “an elite”. Past research has shown how popular music can articulate subversive politics, though these do not detail what that subversion means and how it is articulated. This paper uses specific examples to demonstrate how musical sounds, lyrics and images articulate populist and popular politics. From a corpus of over 100 videos, a typical example is analysed employing social semiotics. It is found that popular music has the potential to contribute to the public sphere, though its limits are also exposed.

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