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.

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.

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 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.

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.

Desktop Publishing in Education

2011 ◽  
pp. 209-214
Author(s):  
Shuyan Wang
Keyword(s):  
Visual Communication ◽  
Field Trip ◽  
Instructional Materials ◽  
Classroom Teachers ◽  
Communication Tool ◽  
Desktop Publishing ◽  
K 12

As an effective visual communication tool, desktop publishing is used in every area such as general publications and graphics, multichapter documents, and publications with tabular materials such as technical and statistical publications (Chagnan, n.d.). General publications and advertising graphics like newsletters, magazines, brochures, small booklets, posters, and flyers are created and distributed every day. Classroom teachers in K-12 usually send flyers, newsletters, and/or posters to students and parents to announce classroom news, activities, field trip instructions, and the like. College and universities use brochures and flyers to recruit students and to advertise new courses. Additionally, more and more instructional materials are created with desktop publishing programs in classrooms.

Proximate Forms and Sites of Encounter : Music Video and Experimental Tradition

Fanvids ◽  
2020 ◽  
Author(s):  
E. Charlotte Stevens
Keyword(s):  
Video Art ◽  
Reference Points ◽  
Music Videos ◽  
Fan Studies ◽  
Television Studies ◽  
Music Video ◽  
Found Footage ◽  
Moving Images ◽  
Definition Of

Vids resemble music videos and found footage films. They have the form and appearance of a music video, and they re-use existing moving images in a way that appears to meet the definition of found footage work or remix video art. This chapter establishes some parameters within which the vid can be viewed in relation to proximate forms. This chapter works through specific academic framings of similar forms such as found footage films in the experimental tradition and music video before discussing canons of vids that are formed through recent gallery contexts. These additional lenses—beyond fan studies and television studies—offer further reference points through which to understand vids.

Focused Current Reality Tree (DRAFT)

2018 ◽  
Author(s):  
Boaz Ronen ◽  
Joseph S Pliskin ◽  
Shimeon Pass
Keyword(s):  
Visual Communication ◽  
Core Competence ◽  
Interdisciplinary Teams ◽  
Communication Tool ◽  
The Core ◽  
Core Competences ◽  
Simple Tool ◽  
Current Reality

The focused current reality tree (fCRT) is a simple tool for identifying the core or root problems of an organization or a system. This tool provides the organization with a small number of core problems that, when solved, will increase its value significantly. It also serves as a visual communication tool within the organization. Since the fCRT is a subjective tool, we recommend creating it by interdisciplinary teams. This chapter provides an easy recipe for constructing fCRTs. In a similar manner, the core competences tree (CCT) is a simple yet potent tool for identifying and focusing on the organization’s strengths. A detailed recipe for constructing core competence trees is provided.

The rewards of non-commercial production: Distinctions and status in the anime music video scene

First Monday ◽  
2010 ◽  
Vol 15 (5) ◽  
Author(s):  
Mizuko Ito
Keyword(s):  
Social Inclusion ◽  
Cultural Landscape ◽  
Music Videos ◽  
Historical Background ◽  
Music Video ◽  
Quality Work ◽  
Key Characteristics ◽  
Video Scene ◽  
Japanese Animation

Anime music videos (AMVs) are remix videos made by overseas fans of Japanese animation. This paper describes the organization of the AMV scene in order to illuminate some of the key characteristics of a robust networked subculture centered on the production of transformative works. Fan production that appropriates commercial culture occupies a unique niche within our creative cultural landscape. Unlike professional production and many other forms of amateur media production, transformative fan production is non-commercial, and centered on appropriating, commenting on, and celebrating commercial popular culture. Participants in robust fan production scenes are motivated to create high-quality work that can rival the quality of professional media, but do this within an entirely non-commercial context. Rewards are not financial, but rather center on recognition and social participation. I describe how AMV creators, supporters, and viewers engage in processes of social inclusion as well as processes for marking status and reputation that delineate different modes of participating, contributing, and being recognized. This paper starts by outlining the conceptual framework and methodology behind this study. Then the paper provides historical background on the AMV scene before turning to descriptions of three complementary dimensions of the AMV scene drawn from ethnographic fieldwork: the properties of open access and sharing that support an amateur ethos, processes of connoisseurship and distinction making, and how status and reputation are established and negotiated among the elite editors that comprise the core of the scene. Together, these characteristics of the AMV scene provide incentives for both new and aspiring creators to participate, as well as for more experienced creators to improve their craft.

Polyphonie und Audiovision

2020 ◽  
Author(s):  
Fernand Hörner
Keyword(s):  
Cultural Studies ◽  
Music Videos ◽  
Music Video ◽  
Audiovisual Material ◽  
Abstract Concepts ◽  
Theoretical Concepts ◽  
The Third ◽  
Methodological Approaches ◽  
And Linguistics ◽  
The Voice

This interdisciplinary analysis uses concepts of voice and polyphony both as visible, audible and understandable means of expression and as abstract analytical categories for the interpretation of music videos. The study combines abstract concepts of voice from music, media, literary and cultural studies, and linguistics with an analysis of the orchestration of the voice in the audiovisual form of music videos. The book has three parts: The first part highlights theories of voices and polyphony. The second part consists of the audiovisual transcription of a music video (‘Verliebt’ by the German rap group Antilopen Gang) by means of the online transcription tool trAVis. The third part offers an interpretation of the music video, joining the transcription with the theoretical concepts and the methodological approaches based on polyphony. This music video serves as an exhaustive test of ‘polyphony’ as a theoretical and methodological background against which one can interpret audiovisual material.

Structural and semantic characteristics of music videos, containing a choreographic component

Neophilology ◽  
2020 ◽  
pp. 336-345
Author(s):  
Yuriy E. Plotnitskiy
Keyword(s):  
Music Videos ◽  
Music Video ◽  
Contemporary Dance ◽  
General Description ◽  
Conceptual Information ◽  
Visual Component ◽  
Dance Movements ◽  
Verbal Component ◽  
Song Lyrics ◽  
Conceptual Meaning

The paper studies specific characteristics of the music videos containing a choreographic component. Different viewpoints on the notion of corporality have been analysed and its significance for understanding conceptual and axiological aspects of the song text, as well as specific features of contemporary dance from the angle of its influence on the audience. Further we give a general description of the study material, which includes 20 music videos in different styles. Then the researcher gives detailed analysis of the videos in which the choreographic visual component carries out the function of illustration, symbolically conveys the conceptual meaning of the song lyrics or is in the contrast relations with it. The research has also revealed the cases of visual choreographic component performing the complementary function by way of adding extra semantic aspects to the meaning of the song, as well as the function that can be called “providing a storyline”, where the visual component is characterised by absolute novelty in relation to the verbal component or the song lyrics. Such parameters as correlation between the verbal and the visual components of a music video, functions of the choreographic visual component and the specifics of conveying conceptual information by means of dance movements in a music video have been investigated.

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