scholarly journals Culture jamming against othering in pop music: Video remixes with cultural efficacy

2019 ◽  
pp. 129-142
Author(s):  
Micaela Segal de la Garza
Keyword(s):  
Music Video ◽  
Pop Music ◽  
Culture Jamming ◽  
Cultural Efficacy

scholarly journals Interview

2020 ◽  
pp. 211-218
Author(s):  
Sophie Muller
Keyword(s):  
Music Videos ◽  
Music Video ◽  
Pop Music ◽  
The World ◽  
Extensive Body

Since her early videos for Annie Lennox and the Eurythmics, Sophie Muller has grown to be one of the most prominent pop music video directors in the world. She has shot over three hundred music videos through her prolific and celebrated career. Her work has won numerous awards, including a Grammy, multiple MTV and CMT awards, a Brit Award, a Music Week Award, and the MVPA Director of the Year Award. Muller’s extensive body of work includes music videos for Rihanna, Radiohead, Gwen Stefani, Beyoncé, Bjork, Coldplay, Bebe Rexha, P!nk, The Cure, Kings of Leon, Nelly Furtado, Maroon 5, Alicia Keys, The Killers, Morrisey, Blur and Beck. She has also shot stills campaigns and album covers for artist including Sade, Sophie Ellis Bextor and Gwen Stefani, and art-directed live tours, concert films and commercials.

The Colors and Flavors of My Puerto Rico

2019 ◽  
Vol 31 (1) ◽  
pp. 87-108
Author(s):  
Petra Rivera-Rideau ◽  
Jericko Torres-Leschnik
Keyword(s):  
Media Coverage ◽  
Music History ◽  
The United States ◽  
Music Video ◽  
Pop Music ◽  
Racial Dynamics ◽  
Music Market ◽  
Latin Music ◽  
Racialized Other ◽  
The U.S

Luis Fonsi and Daddy Yankee’s song “Despacito” shattered numerous records to become one of the most successful Spanish-language songs in U.S. pop music history. Declared 2017’s “Song of the Summer,” the “Despacito” remix featuring Justin Bieber prompted discussions about the racial dynamics of crossover for Latin music and Latina/o artists. However, little attention was paid to the ways that “Despacito”’s success in the Latin music market demonstrated similar racial dynamics within Latin music, especially in the song’s engagement with reggaeton, a genre originally associated with Black and working-class communities. This paper examines the racial politics that surround “Despacito”’s success in both the Latin mainstream and the U.S. mainstream. We argue that “Despacito” reinforces stereotypes of blackness in the Latin mainstream in ways that facilitate reggaeton’s crossover. In turn, Fonsi himself becomes attributed with similar stereotypes, especially around hypersexuality, that represent him as a tropical Latina/o racialized other in the United States. Through close readings of media coverage of “Despacito” alongside the song’s music video, we argue that it is critical to look at “Despacito”’s success in both the Latin mainstream and the U.S. mainstream in order to examine the complex and contradictory process of crossing over.

scholarly journals Understanding the Funny Military Music Video

2016 ◽  
Vol 50 (4) ◽  
pp. 899-921 ◽  
Author(s):  
ZARA DINNEN
Keyword(s):  
Social Media ◽  
Music Videos ◽  
Music Video ◽  
Pop Music ◽  
American Military ◽  
Specific Relation ◽  
Military Base ◽  
Us Military ◽  
Occupied Territory ◽  
Visual Conditions

Funny military music videos are popular videos featuring soldiers dancing to chart hits, usually parodying other Internet music video memes. This article is interested in the conditions of seeing these videos, of their being seen, in specific relation to their military-ness and their American-ness – US soldiers, on a US military base in occupied territory, dancing to US pop music, circulating on US social media sites, watched by a US public. This article claims that as insistent expressions of a popular, militarized, everyday culture, funny military music videos are exemplary assemblages of the visual conditions of the American military imaginary.

Video in the machine: the incorporation of music video into the recording industry

Popular Music ◽  
1997 ◽  
Vol 16 (3) ◽  
pp. 293-309 ◽  
Author(s):  
Jack Banks
Keyword(s):  
Music Videos ◽  
Visual Images ◽  
Music Video ◽  
Pop Music ◽  
Recording Industry ◽  
Record Industry ◽  
The Past ◽  
Television Shows ◽  
The Uk ◽  
Important Form

Music video has become an increasingly integral component of the music recording business over the past three decades. Major US record companies with international divisions have made music clips since the 1970s to promote their acts in the UK and continental Europe where television shows were a more important form of promotion for recording artists. However, record labels did not make a full commitment to music clips until after the premiere of MTV in August 1981 as a 24-hour US cable programme service presenting an endless stream of music videos. As MTV's popularity blossomed in the early 1980s, music video revitalised a troubled record industry suffering a prolonged recession by prompting renewed consumer interest in pop music and successfully developing several new recording acts like Madonna, Cyndi Lauper and Boy George with provocative visual images.

scholarly journals Música e imagen en el aula

Comunicar ◽  
2002 ◽  
Vol 9 (18) ◽  
pp. 163-168
Author(s):  
Ana Sedeño
Keyword(s):  
Music Video ◽  
Pop Music

Music video, one of the most creative audiovisual messages, was originated by discographic industry to advertise and to promote rock and pop music in the eighties decade. This kind of text would be able to be changed into an useful assistant in the classroom, with many training chances, thanks to the daily use and emotional sense for the students. El vídeo musical o videoclip está considerado como uno de los formatos audiovisuales con más posibilidades creativas. Cercano a la publicidad televisiva, pues fue introducido por la industria discográfica para promocionar la música pop y rock, este tipo de texto audiovisual puede convertirse en un valioso aliado en el aula, con variadas aplicaciones formativas, debido a su uso cotidiano y al significado emocional que supone para los alumnos todo lo relacionado con este tipo de música.

scholarly journals Choreography, controversy and child sex abuse: Theoretical reflections on a cultural criminological analysis of dance in a pop music video

2017 ◽  
Vol 22 (2) ◽  
pp. 189-205
Author(s):  
Melissa Dearey
Keyword(s):  
Public Perceptions ◽  
Music Videos ◽  
Music Video ◽  
Pop Music ◽  
Sex Abuse ◽  
Criminological Research ◽  
Child Sex Abuse ◽  
Cultural Texts ◽  
Social Scientific ◽  
Criminological Analysis

This article was inspired by the controversy over claims of ‘pedophilia!!!!’ undertones and the ‘triggering’ of memories of childhood sexual abuse in some viewers by the dance performance featured in the music video for Sia’s ‘Elastic Heart’ (2015). The case is presented for acknowledging the hidden and/or overlooked presence of dance in social scientific theory and cultural studies and how these can enhance and advance cultural criminological research. Examples of how these insights have been used within other disciplinary frameworks to analyse and address child sex crime and sexual trauma are provided, and the argument is made that popular cultural texts such as dance in pop music videos should be regarded as significant in analysing and tracing public perceptions and epistemologies of crimes such as child sex abuse.

Popping the question: the function and effect of popular music in cinema

Popular Music ◽  
1999 ◽  
Vol 18 (3) ◽  
pp. 367-379 ◽  
Author(s):  
Hilary Lapedis
Keyword(s):  
Popular Music ◽  
Narrative Structure ◽  
Music Video ◽  
Pop Music ◽  
Conventional Practice ◽  
The Relationship ◽  
The Way

Claudia Gorbman, in her afterword to Unheard Melodies, looks forward to the ‘new’ phenomenon of the increased use of recorded popular music in the movies. She questions whether the contemporary use of popular music is essentially different from its use in the traditional Hollywood musical, wherein conventional practice permits a musical number to disrupt the narrative flow, and answers that ‘a hybrid is emerging, unlike diegetic music which is normally not listened to, and also not as focused as musical numbers issuing from the magic world of the musical’ (Gorbman 1987, p.162). Certainly, the music video, as Gorbman admits, in its ‘kaleidoscope of forms’ (ibid.) is changing the relationship between visuals and music, so that there is no longer a habitual hierarchy of sound supporting image, or vice versa. It is this shifting relationship and the way in which pop music specifically operates upon the narrative structure of cinema that I wish to explore here.

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