Comments on the Analysis of the Relationship between Musical Space and Visual Space in Music Video - focused on the Analysis of the Music Videos “I don't care”(2009), “Blank space”(2014), and “Take on me”(1985) -

2016 ◽  
Vol 10 (1) ◽  
pp. 35
Author(s):  
Sang Yun Lee
Keyword(s):  
Visual Space ◽  
Music Videos ◽  
Music Video ◽  
Blank Space ◽  
Musical Space ◽  
The Relationship

Social media engagements of music videos on YouTube’s official artist channels

2021 ◽  
pp. 135485652110549
Author(s):  
Yun Kyung Oh ◽  
Joon Yeon Choeh
Keyword(s):  
Social Media ◽  
Social Engagement ◽  
Empirical Studies ◽  
Music Videos ◽  
Music Video ◽  
Social Engagements ◽  
Positive Engagement ◽  
The Relationship ◽  
Do So

As social platforms become essential in promoting songs, many artists create an official channel on YouTube and encourage their fans’ engagements. However, little is known about the effectiveness of official videos in generating fans’ media engagements. We conduct two empirical studies to investigate the relationship between official video attributes, media engagements and channel subscribers. First, we propose a model to explain how music video attributes facilitate the relative social media engagements of a video. Second, we test whether three types of social engagements are associated with an increase in official channel subscribers. To do so, we collect social media engagement data for the 2896 music videos uploaded between May 2016 and April 2019 by 105 artists who own their YouTube official artist channels. The empirical evidence shows that the official videos incorporating visual, performance and storytelling components can generate more positive engagement from the viewers, while audio-only videos exhibit lower overall engagement intensity. Furthermore, we find that active media engagement, such as leaving ‘comments’, contributes to the increase in channel subscribers beyond the effect of the number of registered videos. Our results suggest that highly involved music fans may show the active types of social engagements, such as leaving a comment on live and follow-up videos. In practice, our findings imply that YouTube creators need to incorporate visual-focused platform characteristics to stimulate in-depth social engagement.

Global frictions and the production of locality in Kenya’s music video industry

2017 ◽  
Vol 40 (2) ◽  
pp. 211-227 ◽  
Author(s):  
Brian Ekdale
Keyword(s):  
Cultural Production ◽  
Music Videos ◽  
Music Video ◽  
Common Cause ◽  
Production Distribution ◽  
Global Imaginary ◽  
The Relationship

This article explores the relationship between global imaginaries, frictions, and the production of locality through an examination of the Kenyan music video industry. Localities are constructed, in part, through the constitutive work of the imagination. Friction occurs when divergent constructions of the global imaginary become entangled with each other. Through an examination of the production, distribution, and reception of Kenyan music videos, this study identifies three types of friction that occur in cultural production: collaborative frictions, in which collectivities work across differences toward a common cause; combative frictions, in which collectivities are positioned in direct opposition to each other; and competitive frictions, in which the interests of different collectivities conflict at times and align at others. This study contributes to scholarship on cultural production in non-Western contexts by articulating hybridity as both an antecedent to and outcome of transcultural exchange.

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 Absence and Presence: Top of the Pops and the Demand for Music Videos in the 1960s

2019 ◽  
Vol 16 (4) ◽  
pp. 492-544
Author(s):  
Justin Smith
Keyword(s):  
Popular Music ◽  
Music Videos ◽  
Music Video ◽  
Popular Song ◽  
British Music ◽  
American Artists ◽  
The 1960S ◽  
The Uk ◽  
International Success ◽  
The Relationship

While there is a surprising critical consensus underpinning the myth that British music video began in the mid-1970s with Queen's video for ‘Bohemian Rhapsody’, few scholars have pursued John Mundy's (1999) lead in locating its origins a decade earlier. Although the relationship between film and the popular song has a much longer history, this article seeks to establish that the international success of British beat groups in the first half of the 1960s encouraged television broadcasters to target the youth audience with new shows that presented their idols performing their latest hits (which normally meant miming to recorded playback). In the UK, from 1964, the BBC's Top of the Pops created an enduring format specifically harnessed to popular music chart rankings. This format created a demand for the top British artists' regular studio presence which their busy touring schedules could seldom accommodate; American artists achieving British pop chart success rarely appeared on the show in person. These frequent absences, then, coupled with the desire by broadcasters elsewhere in Europe and America to present popular British acts, created a demand for pre-recorded or filmed inserts to be produced and shown in lieu of the artists themselves appearing. Drawing on records held at the BBC's Written Archives and elsewhere, and interviews with a number of 1960s music video directors, this article evidences TV's demand-driver and illustrates how the ‘pop promo’, in the hands of some, became a creative enterprise which exceeded television's requirement to cover for an artist's studio absence.

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.

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.

scholarly journals The practice of parodying: YouTube as a hybrid field of cultural production

2018 ◽  
Vol 41 (1) ◽  
pp. 3-20 ◽  
Author(s):  
Lillian Boxman-Shabtai
Keyword(s):  
Cultural Production ◽  
Participatory Culture ◽  
Music Video ◽  
Central Component ◽  
Valuable Insight ◽  
Sociology Of Culture ◽  
Critical Commentary ◽  
Field Of Cultural Production ◽  
The Relationship

Parody is so pervasive in participatory culture that it is described as a central component of Internet vernacular. Valuable insight has accumulated about parodies as artifacts, however, little is known about their creators. Drawing on the sociology of culture, this article explores YouTube music video parodies as a field of cultural production. Through interviews with 22 YouTubers recruited from a sample of top-ranked parodies, it examines the relationship between practitioner characteristics and their evaluation of parody. Contrary to other studies of participatory culture, the field was predominantly male in its participation and norms. It presented a divide between ‘strategic’ and ‘passionate’ practitioners who used parody to different ends. Nevertheless, interviewees valued similar attributes of parody, often diverging from scholarly definitions of the genre as critical commentary. This dynamic and the genre’s popularity are explained by the hybrid qualities of the field, which encourage diverse uses of parody.

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.

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