scholarly journals Multimodal Metaphor as the Source of Parodic Integration in Hip Hop Music Videos

2020 ◽  
Vol 57 (2) ◽  
pp. 65-78
Author(s):  
Gordana Čupković ◽  
Silvana Dunat
Keyword(s):  
Case Studies ◽  
Hip Hop ◽  
Music Videos ◽  
Multimodal Integration ◽  
Hip Hop Music

This paper deals with multimodal metaphors as the basis of parodic integration in selected videos and album covers by rap artist Krešo Bengalka and his band Kiša metaka. The case studies of parodic integration are marked by a spectacle that significantly contributes to the blend. The study focuses on multimodal integration and disintegration and on the reversal of the conventional way of representing both the relation between the interior and exterior and the relation between the static and the dynamic.

Remixing Mixedness

2020 ◽  
pp. 179-214
Author(s):  
Jasmine Mitchell
Keyword(s):  
Black Male ◽  
Hip Hop ◽  
Mixed Race ◽  
Music Videos ◽  
Hollywood Film ◽  
Racial Democracy ◽  
London 2012 ◽  
Hip Hop Music ◽  
A Site ◽  
Bidding Process

Chapter 5 explores the transnational dimensions of racial imaginings through the vision of Brazil as a mixed-race tropical paradise in both U.S. and Brazilian productions. U.S. hip-hop music videos such as Snoop Dogg and Pharrell’s “Beautiful” (2003), will.i.am’s “I Got It from My Mama” (2007), and the Hollywood film Fast Five (2011) exploit Brazil’s image as a racial paradise and a site of black male independence, based on its reputation as a racial democracy with a large mixed-race population and the imagery of the Brazilian mulata. The chapter ends with how the Brazilian state presented the Rio 2016 Olympics bidding process and the London 2012 handover ceremony on a global stage through images of multiculturalism.

Hip Hop Music and (Reading) the Narrative Soundtracks of New Black Realist Cinema

2019 ◽  
Author(s):  
James Millea
Keyword(s):  
African American ◽  
Case Studies ◽  
Hip Hop ◽  
Spike Lee ◽  
Independent Cinema ◽  
Mainstream Media ◽  
Hip Hop Music

Hip hop is noise. It is a composite binding of contemporary, postmodern technologies and orally based ideologies that disrupts the normative and traditional characteristics of mainstream media and culture in order to create a space for subcultural revolt and resistance. Nowhere is this more fascinating than in the soundtracks of New Black Realism, African American independent cinema of the 1990s. Drawing on case studies from some of the earliest work of Spike Lee, as the foremost proponent of the genre, this chapter reads the sound and music of these narrative films through fundamental characteristics in hip hop as a postliterate orality, arguing that such an approach allows us to explore the rebellious possibilities of the music as, not just on, the cinematic soundtrack.

scholarly journals Combustible and Electronic Tobacco and Marijuana Products in Hip-Hop Music Videos, 2013-2017

2018 ◽  
Vol 178 (12) ◽  
pp. 1608 ◽  
Author(s):  
Kristin E. Knutzen ◽  
Meghan Bridgid Moran ◽  
Samir Soneji
Keyword(s):  
Hip Hop ◽  
Music Videos ◽  
Hip Hop Music

I Want My TKD

2020 ◽  
pp. 145-176
Author(s):  
Paul Bowman
Keyword(s):  
Popular Culture ◽  
Martial Arts ◽  
Hip Hop ◽  
Music Videos ◽  
Media Culture ◽  
Asian Countries ◽  
Hip Hop Music ◽  
Contemporary Media

Chapter 7 picks up the idea of the fragmentariness of contemporary media culture in examining martial arts in music videos. Called ‘I want my TKD: Martial Arts in Music Videos’, this chapter is a wide-ranging survey of pop, hip-hop, and rock videos. The chapter begins with a discussion of the historical emergence of music videos as a powerful player in international popular culture with the appearance of MTV, before moving into an analysis of the earliest music videos to feature martial arts—several of which were, interestingly, parodic, comic, novelty, or eccentric rap songs, performed by white artists. Later texts demonstrate chaotic relationships with and (mis)understandings of Asian countries and cultures. The chapter argues that martial arts themes are particularly significant in progressive rap and hip-hop music videos, while in pop and rock videos martial arts are often treated as comic.

Humor

Brithop ◽  
2020 ◽  
pp. 119-146
Author(s):  
Justin A. Williams
Keyword(s):  
National Identity ◽  
Case Studies ◽  
Hip Hop ◽  
Music Videos ◽  
Eastern European ◽  
Hip Hop Culture ◽  
Eastern European Immigrant

While different forms of humor have been deployed to different ends and purposes in hip-hop culture, this chapter focuses on humor in hip-hop parody songs by two acts in particular, the Welsh hip-hop parody group Goldie Lookin Chain and the “Eastern European immigrant” character of Bricka Bricka (played by David Vujanic). By comparing these two case studies of “Othering,” the chapter sheds light on themes from opposite sides of the insider/outsider coin, raising issues of hyper-localism, race, and regional and national identity. Their music videos perform a notion of “backwardness” (socially, ideologically, and temporally) that highlights and critiques those who suffer from postcolonial melancholia in post-Empire Britain. Through Welsh provincial and Eastern European stereotypes, and through widely mediatized associations of hip-hop with “blackness,” the groups spotlight the absurdity of such stereotypes.

Media Hype, Greener Pastures Syndrome, and Migration in Nigeria

2020 ◽  
pp. 272-292
Author(s):  
Adeola Obafemi Mobolaji ◽  
Babatunde Raphael Ojebuyi
Keyword(s):  
Hip Hop ◽  
Policy Formulation ◽  
Human Migration ◽  
Music Videos ◽  
Effective Control ◽  
Illegal Migration ◽  
Foreign Countries ◽  
Hip Hop Music ◽  
Media Hype ◽  
And Migration

The phenomenon of human migration has been described as a threat to resources and job distribution in Africa. It has been assumed that, apart from economic instability in Nigeria, portrayal of Europe and America, through films and Hip-Hop musical lyrics and videos, has also influenced most Nigerians to perceive migration as the only solution to their predicaments. However, extant studies are yet to empirically prove this hypothesis. Therefore, this chapter, through a content analysis, examines contents of Nigerian films and Hip-Hop music videos, as subsets of mass media discourse, with a view to establishing the nature of these contents in terms of how they could influence Nigerians' attitude towards migration to foreign countries. Findings show that contents of Nigerian films and Hip-Hop music videos contain rhetorical discourse with persuasive effect capable of luring Nigerian youths to foreign countries. This chapter also provides justification for the enactment of framework for policy formulation for effective control of media system and illegal migration by Nigerians.

scholarly journals Class, Race, Credibility, and Authenticity within the Hip-Hop Music Genre

2013 ◽  
Vol 4 (2) ◽  
pp. 402 ◽  
Author(s):  
Matthew R. Hodgman
Keyword(s):  
Hip Hop ◽  
Rap Music ◽  
Urban Poverty ◽  
Music Videos ◽  
Black Artists ◽  
Urban Image ◽  
Art Form ◽  
Hip Hop Music ◽  
Music Genre ◽  
Rap Lyrics

<p>After its advent in the 1970s, the rap music genre was represented almost exclusively by male black artists who honestly and realistically embodied a poor urban image. Images of black urban poverty in music videos and rap lyrics were consistently used by black artists to emphasize and authenticate who they were and where they came from. With the upsurge of white rap acts starting in the early 90s and continuing through the early 21<sup>st</sup> century, the means by which rap authenticity is measured have been permanently renegotiated. Before the emergence of white rappers, race was the primary signifier of rapper authenticity. After the success of white rappers such as Eminem new parameters of what constitute credibility and authenticity in the rap genre have been forged. This article discusses the significance of the continued presence of white rappers in hip-hop in terms of class and race in relation to artistic credibility within the rap genre. On a larger scale, this article considers questions related to cultural interloping upon a racially concentrated art form. It is concluded that class has generally emerged as the premier indicator or variable of authenticity throughout rap.    </p>

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