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.

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 Morphosyntactic Analysis of Political News on Online Tempo

2020 ◽  
Vol 5 (2) ◽  
pp. 249
Author(s):  
Pertiwi Rini Nurdiani ◽  
Umar Fauzan
Keyword(s):  
Content Analysis ◽  
Secondary Data ◽  
Clause Structure ◽  
Common Pattern ◽  
Political News ◽  
Dominant Pattern ◽  
The Common ◽  
Analysis Design ◽  
Derivational Morphemes ◽  
Morphosyntactic Analysis

<p><em>Morphology and Syntax are very important studies in learning English. Morphology learns about how the words are structured and how they are put together from smaller part. It can be considered as the grammar of words. Meanwhile, Syntax discusses how the sentence is structured. The objectives of the research are to find out inflectional morphemes, derivational morphemes, and the patterns of clause structure which are found in political news on online Tempo in January 2019. This research used qualitative design and content analysis design where the source of data was article political news on Online Tempo in January, 2019. The major instrument of this research is the researchers themselves because they actively obtained and clustered the data and the secondary data was data sheet. The findings revealed three types of morphosyntactic, firstly, the researchers found 5 patterns of inflectional morpheme with 26 words. The most dominant pattern of inflectional morpheme was singular changing to the plural. Secondly, for derivational morpheme, it identified two types  of classes including class-changing and class-mantaining. There were 3 patterns with 10 words in class-changing and 1 pattern with 1 word in class-mantaining. The study also showed that the common pattern of derivational morpheme was class-changing pattern (verb to noun). Thirdly, there were 7 patterns with 15 clauses that were used in political news. The result of this study proved that the dominant pattern of clause structure was S-V- to Infinitive pattern with 4 clauses.</em></p>

scholarly journals ‘Brand Placement’ en los videoclips del Billboard Hot 100: ¿integración o imposición de marcas?

Tripodos ◽  
2021 ◽  
pp. 63-81
Author(s):  
Cande Sánchez Olmos ◽  
Jesús Segarra Saavedra ◽  
Tatiana Hidalgo Marí
Keyword(s):  
Content Analysis ◽  
Special Interest ◽  
Music Industry ◽  
Music Videos ◽  
Music Video ◽  
Brand Placement ◽  
Record Industry ◽  
Qualitative And Quantitative ◽  
Semiotic Perspective ◽  
Brand Integration

Este artículo analiza el brand place­ment del top 30 de la lista de éxitos Billboard Hot 100 de 2016. Para ello se proponen los siguientes objetivos espe­cíficos: conocer qué artistas, marcas y productos aparecen en los hits interna­cionales; observar el tiempo que ocupan las marcas en los videoclips y analizar si las marcas se integran o se imponen forzando la narrativa del videoclip. La metodología —que combina técnicas cualitativas y técnicas cuantitativas— se inicia con un análisis de contenido que pretende medir la frecuencia y el modo en que las marcas son integradas en los videoclips. En segundo lugar, se aplica un análisis cualitativo con pers­pectiva semiótica para observar la in­tegración de las marcas en el discurso audiovisual. La muestra se centra en la lista de éxitos Billboard, la más im­portante de la industria de la música a escala internacional en 2016, un año que destaca por la recuperación del sector discográfico. Los resultados apuntan que el videoclip se convierte en un so­porte promocional de especial interés para las marcas y permiten confirmar que la presencia de las marcas varía desde un emplazamiento impuesto a una integración sutil, pero perfecta­mente reconocibles por la audiencia.   Brand Placement in Billboard Hot 100 Music Videos: Brand Integration or Imposition? This paper analyses brand placement in the top 30 music videos on the Bill­board Hot 100 chart in 2016. To that end, three specific objectives are propo­sed. First, the paper will identify the ar­tists, brands and products that appear in these international hits. Second, the paper will focus on the duration of time occupied by the brands in the music videos. Finally, the article will examine whether the brands have been integra­ted into or, on the contrary, imposed on and forced into the narrative of the mu­sic video. The methodology, which com­bines qualitative and quantitative tech­niques, begins with a content analysis intended to measure the frequency and way in which the brands are integrated into the music videos. Then a qualita­tive analysis will be carried out from a semiotic perspective in order to discern the degree of integration or imposition of brands in the audiovisual discourse of the music video. The sample is drawn from the Billboard Hot 100 chart, which was the most important list in the inter­national music industry in 2016, a year that stands out because of the recovery of the record industry. The results indi­cate that music videos have become an advertising format of special interest to brands and confirm that the presence of brands ranges from imposed placement to subtle integration, but that they are perfectly recognisable to the audience in either case.

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 Pragmatic Aspects of Definition in Technical Terms Dictionary

2018 ◽  
Vol 1 (3) ◽  
pp. 278-289
Author(s):  
Fitri Amilia ◽  
Kisyani Laksono ◽  
Budinuryanta Yohanes
Keyword(s):  
Content Analysis ◽  
Distinctive Feature ◽  
Technical Term ◽  
Significant Development ◽  
Contextual Features ◽  
The Common ◽  
Pragmatic Aspects ◽  
Technical Terms

The Dictionary of Technical Terms has not shown any significant development on its existence. This dictionary has never been revised since its first publication in 1985 by the National Institute of Language. The dictionary which was presented in KBBI Daring has not also shown any significant changes. The means of defining terms are found to be similar to those of the common dictionary. It is evidenced that there has been no formula yet to define in the dictionary of technical term. This study aims to describe the pragmatic aspects of definition which is the distinctive feature in defining lemma in the dictionary of technical term. Nine different technical term dictionaries published in 1985 by Pusat Pembinaan dan Pengembangan Bahasa were taken as the sources of data to find out about definian and definiandum. Data were gathered through documenting and synthesizing the pragmatic aspects of definian. Pragmasematic approach is the basis of the pragmatic aspects found in the dictionary of technical term. The data were then analyzed using content analysis of similarities and distributions of the definian. The results showed that the pragmatic aspects can be seen from the citation of pragmatic features related to the user’s need while the use of semantic aspects still do exist. The blend of these two is called as pragmasemantic. The findings of this pragmasemantic are indicated by the existence of context setting features, participants, ends, norms, genre, and evidence contexts. This type of pragmasemantic conception consists of a single definian. The findings of this conception is expected to help developing the dictionary of technical terms into learners’ dictionary in which it emphasizes the contextual features of a lemma to assist the learners in grasping the lemma more precisely.

scholarly journals Poetyka wideoklipu muzycznego

2021 ◽  
Vol 27 ◽  
pp. 481-493
Author(s):  
Michał Pick
Keyword(s):  
Visual Communication ◽  
Musical Theater ◽  
Music Videos ◽  
Music Programs ◽  
Music Video ◽  
Communication Tool ◽  
Theater Arts ◽  
Hybrid Form ◽  
Plastic Arts

Music video as a specific genre of audiovisual arts, deriving directly from tradition of film, television and music programs, became massive promotion and visual communication tool for artists at the turn of 70’s/80’s. Mentioned many times in articles about music videos, its dependence on other art fields, such as film, musical, theater arts, plastic arts etc., only strengthens us in belief that music video is an enormous hybrid form, being heir to aforementioned forms. At this intertextual base, music video has developed its own language. Cognizance and description of its components, understanding of connection rules and the essence of its individual elements is the main aim of this article. By pointing to coexistence and correlations of components such as rhythm, tempo, tone, editing etc., the text also emphasizes similarity of the music video language to the language of literature and other arts which use the same tools.

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 The ‘3CE2CE’ Framework—Change Management Towards a Circular Economy: Opportunities for Agribusiness

2021 ◽  
Author(s):  
Nan-Hua Nadja Yang ◽  
Ana Carolina Bertassini ◽  
Jéssica Alves Justo Mendes ◽  
Mateus Cecílio Gerolamo
Keyword(s):  
Content Analysis ◽  
Literature Review ◽  
Change Management ◽  
Circular Economy ◽  
Agricultural Sector ◽  
Implementation Process ◽  
Managerial Practices ◽  
Depth Analysis ◽  
The Common ◽  
Transformation Processes

AbstractFor the transition towards a circular economy (CE), organisations have to be prepared to adapt to major changes. Thus, the concept and implementation of change management (CM) will be essential to an organisation’s success during this transformative period. Studies have shown that organisational CE barriers were more significant than individual CE barriers. To overcome such obstacles, the most appropriate set of managerial practices should be carefully considered. These barriers also have the potential to influence the agricultural sector, which seeks to adopt more sustainable ways of production. The goal of this paper is to propose a solution framework based on CM strategies to overcome organisational challenges posed by a CE, especially for agribusinesses. To accomplish this objectively, a systematic literature review and a content analysis were conducted. The common errors in CM within the implementation process and the main CE barriers were identified and classified. An in-depth analysis of the issue’s roots led to a solid understanding of how to tackle such CM problems. This paper presents an overview of organisational CE barriers verified in the agricultural context, the common errors in CM, and the correlation between these findings. The two areas were then combined in a matrix that shows the connection between common errors in CM errors and CE barriers. Based on this result, a solution framework called 3CE2CE was developed that provides a step-by-step guide on how organisations can successfully undergo transformation processes towards a CE with the principles of CM.

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.

Interspecific differences in the distribution of adult and juvenile ponyfish (Leiognathidae) in the Gulf of Carpentaria, Australia

1999 ◽  
Vol 50 (7) ◽  
pp. 643 ◽  
Author(s):  
J. Staunton-Smith ◽  
S. J. M. Blaber ◽  
J. G. Greenwood
Keyword(s):  
Linear Increase ◽  
Small Fish ◽  
Common Pattern ◽  
Widespread Species ◽  
Nursery Areas ◽  
Interspecific Differences ◽  
Coastal Species ◽  
The Common ◽  
The Mean ◽  
Coexisting Species

The distribution of leiognathids was investigated at 261 sites spread throughout the Gulf of Carpentaria. Eight species, Gazza minuta, Leiognathus decorus, L. equulus, L. fasciatus, L. leuciscus, L. smithursti, L. splendens and Secutor ruconius, were usually restricted to coastal areas, whereas four species, L. bindus, L. moretoniensis, Leiognathus sp. and S. insidiator, were not. Two other species, L. aureus and L. elongatus, were caught at only one site each. The relationships between size of fish and depth in Albatross Bay were investigated by examining the mean weight and minimum and maximum lengths of different species in 356 trawls. Six of the coastal species showed the common pattern of linear increase in size with depth. This pattern is consistent with the existence of estuarine and/or inshore nursery areas, and supports previous observations of these species. In contrast, three of the widespread species exhibited approximately quadratic relationships between size and depth. This unusual pattern resulted from small fish living in both the shallow inshore areas and deeper offshore areas, and it may reduce competition among the juveniles of the large number of very abundant, coexisting species of leiognathid.

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