scholarly journals Form and intertextuality in movie music videos

2021 ◽  
Author(s):  
Brent Ferguson
Keyword(s):  
2002 ◽  
Vol 14 (2) ◽  
pp. 69-79 ◽  
Author(s):  
Joan M. Preston ◽  
Michael Eden

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.


Author(s):  
Eric L. Sprankle ◽  
Christian M. End ◽  
Miranda N. Bretz

Utilizing a 2 (lyrics: present or absent) × 2 (images: present or absent) design, this study examined the unique effects of sexually degrading music videos and music lyrics on males’ aggressive behavior toward women, as well as males’ endorsement of rape myths and sexual stereotypes. Under the guise of a media memory study, 187 male undergraduate students were randomly assigned to one of four conditions. Despite the many psychological theories predicting an effect, the presentation of sexually degrading content in a visual or auditory medium (or combination thereof) did not significantly alter the participants’ aggression and self-reported endorsement of rape myths and sexual stereotypes. The null findings challenge the many corporate and governmental restrictions placed on sexual content in the media over concern for harmful effects.


2002 ◽  
Author(s):  
Gina M. Wingood ◽  
Ralph J. DiClemente ◽  
Kathy Harrington ◽  
Susan L. Davies ◽  
Jane R. Schwebke ◽  
...  

Author(s):  
Jim Sykes

In the conclusion to The Musical Gift, Jim Sykes discusses Sri Lankan versions of viral music videos over the past decade, particularly Pharrell Williams’ video “Happy.” Sykes notes that several people filming themselves dancing to Williams’ song were stopped by the police, who could not comprehend why people were singing and dancing in public outside of the bounds of an official concert. The Sri Lankan “Happy” videos have also been criticized as depicting upper- and middle-class Sri Lankans and thus obscuring the fact that happiness has not been achieved for many Sri Lankans, including those who suffered greatly from the war. Returning to the concept of “the musical gift,” Sykes argues the promotion of public song and dance from and between various communities has a role to play in forging post-war reconciliation and building a “happiness” that emerges from Sri Lankan aesthetics.


2020 ◽  
Vol 108 (1) ◽  
pp. 48-63
Author(s):  
CedarBough T. Saeji
Keyword(s):  

2021 ◽  
pp. 174165902110243
Author(s):  
Orlando Woods

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.


2017 ◽  
Vol 3 (2) ◽  
pp. 735-738
Author(s):  
Wolfgang Doneit ◽  
Jana Lohse ◽  
Kristina Glesing ◽  
Clarissa Simon ◽  
Monika Fischer ◽  
...  

AbstractIn the project I-CARE a technical system for tablet devices is developed that captures the personal needs and skills of people with dementia. The system provides activation content such as music videos, biographical photographs and quizzes on various topics of interest to people with dementia, their families and professional caregivers. To adapt the system, the activation content is adjusted to the daily condition of individual users. For this purpose, emotions are automatically detected through facial expressions, motion, and voice. The daily interactions of the users with the tablet devices are documented in log files which can be merged into an event list. In this paper, we propose an advanced format for event lists and a data analysis strategy. A transformation scheme is developed in order to obtain datasets with features and time series for popular methods of data mining. The proposed methods are applied to analysing the interactions of people with dementia with the I-CARE tablet device. We show how the new format of event lists and the innovative transformation scheme can be used to compress the stored data, to identify groups of users, and to model changes of user behaviour. As the I-CARE user studies are still ongoing, simulated benchmark log files are applied to illustrate the data mining strategy. We discuss possible solutions to challenges that appear in the context of I-CARE and that are relevant to a broad range of applications.


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