Self-Objectificationas Representation of Postfeminist Women Empowerment in Fifth Harmony’s Music Videos.

<p> This research attempts to describe the portrayal of postfeminism empowerment that is represented by Fifth Harmony’s self-objectification image in their four music videos; <em>Work from Home, Boss, Worth It </em>and <em>That’s My Girl. </em>This research is descriptive qualitative. The method is employed by watching, classifying and analyzing the data that are collected by selecting the scenes, lyrics and other elements of music video representing the image of self-objectification and postfeminism. The supporting data consist of reviews, interviews and information taken from books, journals, articles, online sources and researches. Since the research is in the scope of American Studies which is an interdisciplinary study, it involves some disciplines that are applied in the form of theory including objectification theory, postfeminism theory, semiotic theory and theory of music video. From the analysis, Fifth Harmony in their music videos use their self-objectification image to portray the values of women empowerment in post-feminism era. The music videos are portraying the issues of domesticity (femininity and sexuality) as women’s choice and source of power, confident and successful independent women as a symbol of Girl Power and sisterhood as source ofwomen’s power in the era of post-feminism.</p><p><strong> </strong></p>

Poetyka wideoklipu muzycznego

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.

AUDIOVISUAL AND SONG TRANSLATION OF INDONESIAN SUBTITLE IN SHELTER MUSIC VIDEO

The current study aimed to find out the translation techniques applied by the translator in creating the Indonesian subtitles for the original lyrics of Shelter – a collaboration project of music video by Porter Robinson and Madeon, A1-Pictures and Crunchyroll uploaded on YouTube in 2016. The data were analyzed based on the audiovisual translation theory, especially the linguistics of subtitling, the translation technical procedures in the compared stylistics, and the choice in song translation. The study also applied qualitative approach which enabled the researchers to emerge data in descriptive way (in the form of words or pictures instead of numbers). Furthermore, the data were also in the forms of an audiovisual content. The study indicated that most of the lyrics were translated based on literal translation that was reflected by the equivalence of the source language and the target language. The audiovisual theory, particularly reduction theory was also applied in creating the subtitles. In addition, the subtitles were created without taking the music into consideration, meaning that the subtitles were devoted as a supplement or no more than another piece of the source text.

Good Boy Gone Bad

This chapter details Zayn’s construction of “post boy band masculinity.” His departure from One Direction instigated an extensive reconfiguration of his public identity, and the bulk of the chapter concerns the creation of discursive distance between his solo persona and his boy band past. The chapter opens with a thorough assessment of the prevailing prejudices that characterize boy bands as innocent, immature, and inauthentic. It is in response to such prejudices, it is argued, that Zayn’s transformation was undertaken in a bid to authenticate his solo persona in both musical and masculine terms. This is achieved in the music video, Pillowtalk (2016), wherein a sonic alignment with rock idioms and the audiovisual construction of a seductive dreamscape largely maintains gender norms and affirm his heterosexual virility. At the same time, Zayn’s openness about mental health issues and his devotion to fashion have spurred descriptions of him as ushering in new ways of being masculine. These contradictory facets of his persona indicate that even seemingly heteronormative expressions of identity may contain potentially subversive aspects, and vice versa.

From Boy Band to Man Band

The chapter begins by considering descriptions of aging boy bands as “man bands.” Taking an interest in the discouraging rhetoric that describes aging masculinities as in a state of decline, the author focuses on the post-reunion career of Take That. Two distinct events in the band’s history serve as the chapter’s focal points: 1) the 2010 release of Progress, the only album to see the whole group reunited since Robbie Williams’ first departure from the band in 1995; and 2) the 2017 release of Wonderland, which was the second album offered by the group as a trio following the departure of Jason Orange and Williams (for the second time). In promoting Progress, the group pursued contemporary trends in pop production and musical style while simultaneously aligning themselves to “rockist” ideas of authenticity and musicianship (even if certain boy band conventions were upheld). Following the release of Wonderland, and in the music video New Day (2017), Take That demonstrated how boy band clichés can be mobilized to signal dissent from gender norms. During this period, the group appeared to embrace banality and self-irony as a means for resisting stagnation and assimilation. By comparing these two moments in the band’s history, the chapter accounts for Take That’s contrasting approaches to navigating the multiplicity of meanings attached to the concepts of age and aging, thus providing new insights into the relationship between masculinity and maturation in pop music.

Analisis Video Comments to Followers Ratio Tiktok Pada 5 Artis Indonesia dengan Tarif Endorse Termahal

The TikTok app is a Chinese social network and music video platform that was launched in September 2016. The app allows users to create short music videos. In Indonesia, there are 30.7 million active users, making Indonesia the country with the largest TikTok users in the world. The large number of active TikTok users in Indonesia can certainly provide opportunities for artists in Indonesia to get endorsements and this has caused these 5 artists to be named the artists who have the most expensive endorsements including: Raditya Dika, Raffi Ahmad, Luna Maya, Ayu Ting Ting, and Princess Syahrini. The purpose of this study is to calculate the credibility of the Tiktok account performance on 5 Indonesian Artists with the Most Expensive Endorse Rates. The method used for this research is quantitative exploratory method. The results of this study indicate that the artist Princess Syahrini gets the first rank and has good account performance credibility.

Światła małego miasta. O doświadczaniu i opisywaniu małomiasteczkowości Zbliżał

The album „Małomiasteczkowy” was released in 2018. Immediately, it became a summer hit. The author of the song is Dawid Podsiadło, the young artist who builds his career consciously. Despite the fact that he creates popular music, he may be referred to as an “author” as he writes his lyrics. Moreover, his concerts are like happenings, Podsiadło touches upon contemporary geopolitical problems. In her article, Maria Szoska proves that the remarkable popularity of the song contributed to a change in the understanding of the word “małomiasteczkowy” (provincial). The article describes the workshop for high school students. The workshop was a part of the project Zdolni z Pomorza. The concept of the classes was inspired by Sylwia Chutnik’s interpretation of Podsiadło’s song published in one of the popular tabloids. In her research, Maria Szoska put the emphasis on the provincial figure seen by the high school students. Geocritical categories were applied both to the lyrics and the music video, then the students’ interpretative abilities were probed. The results of the experiment show that the definition available in the dictionaries is no longer adequate as the difference between the centre and the outskirts is not obvious anymore. Therefore, we are able to witness the semantic shifts. Podsiadło’s album proves the active performance of the word, as well as the space affecting human live.

Analisis Video Comments To Video Views Ratio Tiktok Pada 5 Brand Hp Terlaris Di Indonesia Versi Canalys

Social media is a new place for business people to market their products or do marketing. The TikTok application is a social network and Chinese music video platform launched in September 2016. Tiktok is also a social media application that displays short videos and can be arranged in such a way, where Tiktok is currently being popularly used by various groups of people. Because the TikTok marketing market is considered promising, not a few well-known brands or vendors are trying to do marketing through TikTok, including the following smartphone brand vendors: Vivo, Oppo, Samsung, Realme and Xiaomi. The purpose of this study is to determine the credibility of the performance of the Canalys version of the 5 Best Selling HP Brand TikTok accounts in Indonesia using Video Comments to Video Views Ratio. The method used in this study is a quantitative exploratory method. The results of this study show that the Xiaomi Indonesia brand gets the highest rating and has the best account performance credibility compared to other brands or vendors.

If Walls Could Speak: Designing a satellite creative campus through a combination of adaptive reuse strategies and artistic manoeuvres generated from music video to enhance a repurposed building’s identity

<p>In many examples of adaptive reuse, the original identity of a work of architecture becomes lost or obscured when the new interior program is no longer represented by the meaning inherent in the exterior facades. This design research investigation explores how active incorporation of memory into an architectural design concept can enable a repurposed building to tell a meaningful story over time. Most contemporary architectural design relating to adaptive reuse does not take advantage of this important opportunity. This thesis looks at a site that is currently home to NIWA, the National Institute of Water and Atmospheric Research facility, at Greta Point, on Evans Bay outside of Wellington. This research site and the surrounding area have many layers of history and inherent narrative associated with it, making this a strong site for this adaptive reuse design research experiment. This thesis argues that new architecture and old architecture in adaptive reuse projects can maintain strong meaningful identities while co-existing in harmony with one another and their new programmes. one principal goal of this investigation is to avoid facadism where an original facade becomes a meaningless mask for what is happening inside a repurposed building. This thesis investigates how this can be achieved by: analysing contemporary narrative, memory-based music videos to explore how the application of similar techniques might enable adaptive reuse projects to enhance a building’s identity; investigating how these design techniques can help provide meaningful identity to the architectural components while establishing relationships between old and new, inside and outside; enhancing the greater history and narrative of the site; and by adding meaning to the conflicting grids that may have arisen over time in relation to the wider history of the site.</p>