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Dissertations / Theses on the topic 'Music videos'

Author: Grafiati

Published: 4 June 2021

Last updated: 29 July 2024

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1

Stewart, Richard Christopher. "Effective audio for music videos : the production of an instructional video outlining audio production techniques for amateur music videos." Instructions for remote access. Click here to access this electronic resource. Access available to Kutztown University faculty, staff, and students only, 1996. http://www.kutztown.edu/library/services/remote_access.asp.

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2

Karlsson, Simon Gustav. "Subgenres in Swedish music videos - A neo-formalistic analysis of fifteen music videos." Thesis, Linköpings universitet, Institutionen för teknik och naturvetenskap, 2007. http://urn.kb.se/resolve?urn=urn:nbn:se:liu:diva-96274.

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Detta examensarbete är en analys av femton svenska musikvideor. Syftet är att undersöka likheter och skillnader i berättande, stilar och tekniker som används. Uppsatsen jämför även de videor som undersöks för att se om det finns gemensamma kontaktpunkter i deras sammansättning samt om videons uppbyggnad styrs av musikgenren den representerar. Många tidigare analyser inom området utgår från musikvideons roll i samhället; politiskt, ekonomiskt eller historiskt. De koncentrerar sig på innebörden av musikvideons budskap. Till skillnad från dessa utgångspunkter, undersöker denna uppsats filmens uppbyggnad ur ett neoformalistiskt perspektiv. Det vill säga att den utgår från teoribyggen hämtade från kognitions- och perceptionspsykologin och som sedan applicerats på film. Dessa teorier bryter ner filmen i sina beståndsdelar för att se hur den är uppbyggd och hur den berättar. Filmens beståndsdelar sträcker sig från form, via stil och teknik till musik. Resultatet är en analys gjord på femton videor utifrån dessa teorier och mynnar ut i en sammanfattning där skillnader och likheter kan ses. Där kan man bland annat se att de flesta videorna har en narrativ struktur, har artisten som huvudmotiv, och arbetar med olika tekniker och teman för att rama in motivet. Det finns många likheter och paralleller i de olika videorna – men även en hel del olikheter. Den tydligaste faktorn som binder ihop olika videorna är, vid sidan om berättarstrukturen, videons stil. Använder man ordet musikstil istället för musikgenre, blir sambandet lättare att förstå. Undersökningen visar att videons stil och musikstilen, främst inom hip hop-genren i mångt och mycket går hand i hand. Detta samband är tydligt och påvisar att hip hop inte bara är en musikgenre, utan kan i förlägningen även ses som en subgenre till svenska musikvideogenren. Uppsatsen visar även en tendens av avsaknat användande av musiken i musikvideorna. Det är främst stilen, berättarstrukturen och funktionerna av olika tekniker som leder videon vidare snarare än musiken. Detta skulle kunna förklaras av att regissörerna kommer från en klassisk filmbakgrund snarare än en musikerbakgrund. För framtida forskare skulle uppsatsen kunna ligga till grund för en mer omfattande analys av eventuellt fler videor eller analys ur ett internationellt perspektiv. För att starkare kunna förankra sambandet mellan musikvideors berättande och spelfilm, kunde en undersökning göras på regissörer, som arbetat med både musikvideor och spelfilm. Man kunde då på ett mer säkert sätt undersöka om det fanns paralleller i berättarform och stil mellan de olika filmtyperna.

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3

LAAKE, REBECCA A. "DEPICTION OF SEXUALITY IN MUSIC VIDEOS." University of Cincinnati / OhioLINK, 2005. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1104784016.

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4

Juul, Lisa. "Examining 360° storytelling in immersive music videos." Thesis, Malmö universitet, Fakulteten för teknik och samhälle (TS), 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-20828.

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Music videos invite the viewer to an enhanced experience of a song, and by combining it with360°, a new dimension of immersion emerges. However, a new wave of complex narrativeand user interface unfolds when intertwining 360° and the contemporary way of telling storiesin music videos.This thesis used an experimental mixed method research design, focusing on collecting,analyzing, and mixing both quantitative and qualitative data in a series of studies. A surveywas first conducted to get an overview of consensus with respect to music videos, VR, and360°. The majority of the respondents had tried VR and 40% of stated that they felt immersedwhile trying it. Around 18% argued it was experience-dependent and 42% did not feelimmersed at all. The survey was followed by experiments showing two 360° music videoswith different storytelling techniques. After the participants had seen the videos, theydiscussed the experience in focus groups in a semi-structured interview. The results were thencoded and benchmarked with theory, which led to the rise of six key 360° storytellingguidelines.All three focus groups concluded 360° music videos enable a deeper level of immersion.However, when combining novelty and a sometimes overwhelming visual experience, 360°music videos can distract the audience if not told right. The guidelines discuss the purpose ofa music video, how the technology affects the experience, if the medium is passive or active,and how different types of interaction can be used as a storytelling mean. They also discussways to pedagogically intertwine audio and visuals. Additionally, the guidelines includediscussions of how different cues and POV’s can be utilized to ensure that the filmmakers andviewers experiences are somewhat aligned, they also tackle the fear of missing out, andfinally compare 360° and traditional music videos.Conclusively, the research shows that storytelling in a 360° sphere will entail a journey oftrial and error, and that the audience have scattered preferences of what different narrativestyles they find work and do not.

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5

Yiu, Yan-ling. "Rock music as cultural translation : a case study of Hong Kong rock music video /." Hong Kong : University of Hong Kong, 2000. http://sunzi.lib.hku.hk/hkuto/record.jsp?B22200174.

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6

Turner, Jacob S. "An examination of sexual content in music videos." Access to citation, abstract and download form provided by ProQuest Information and Learning Company; downloadable PDF file 0.51Mb, 223 p, 2005. http://wwwlib.umi.com/dissertations/fullcit/1428252.

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7

Häggbom, Mikael. "The Use of Graphic Styles in Music Videos." Thesis, Högskolan i Gävle, Avdelningen för Industriell utveckling, IT och Samhällsbyggnad, 2011. http://urn.kb.se/resolve?urn=urn:nbn:se:hig:diva-9747.

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Music videos are becoming more and more important to an artist. Computer Graphics is a large element in the making of the videos, because of the chances to enhance the end result. That is why the combination of the two is being explored now. A literature review is the starting point of the thesis where the history of music videos and Computer Graphics is researched. After exploring a variety of music videos, nine categories and eight sub-categories was formed to assists those who are looking for inspiration and knowledge of the different graphic styles that could be used in music videos. The sub-categories are not primarily graphics styles, rather tips of what other techniques and styles that can be created with Computer Graphics. To place these in context, some categories are matched with different music genres as well. From that, a different style is developed, called Beat Visualization. That style is then applied to a music video for everyone to become inspired.

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8

Paxton, Sue. "A Content Analysis of Violence in Music Videos." Thesis, North Texas State University, 1985. https://digital.library.unt.edu/ark:/67531/metadc501107/.

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This content analysis study of music videos answered questions concerning the amount and severity of violence content during different time periods of the day. A system of classifying violence content as nonviolent, mostly light, neither light nor serious, mostly serious, and extremely serious was used to evaluate music videos from MTV. One hour from each day was randomly selected for evaluation for a period of thirty days. During this time, there were 313 occurrences of music videos which were aired and subsequently evaluated. The results indicated the majority of these music videos contained mostly light or no violence content. This study also revealed that the most likely time of day a viewer would see videos with violence would be from midnight until eight in the morning.

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9

Hanby, Gary T. "The Status Is Not Quo: Unraveling Music Videos." BYU ScholarsArchive, 2017. https://scholarsarchive.byu.edu/etd/6600.

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The Utah State Standards for media arts are general and therefore give teachers a great deal of freedom in how they present the content for media arts courses. How the teacher engages students and project assignments are left to the teacher as they walk the students through the process of making films. This thesis explores how an art teacher might use music videos to teach filmmaking techniques and engage students in the process of meaning making. My research hypothesis is that, by educating students to understand and interpret the messages they consume through media, I can help them recognize the hidden texts in visual culture. My curriculum provides students with learning activities that foster the development of critical thinking skills and also techniques for analyzing images. An important part of the curriculum for this unit is a critical study of music videos wherein the students examine music videos using semiotics and qualitative film analysis. The students explore filmmaking techniques and the processes needed to create their own messages in a music video.

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Johnson, Maya Ayana. "Harem Fantasies and Music Videos: Contemporary Orientalist Representation." W&M ScholarWorks, 2007. https://scholarworks.wm.edu/etd/1539626527.

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Fidler, Tristan. "Music video auteurs : the directors label DVDs and the music videos of Chris Cunningham, Michel Gondry and Spike Jonze." University of Western Australia. School of Social and Cultural Studies, 2007. http://theses.library.uwa.edu.au/adt-WU2008.0251.

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Music video is an intriguing genre of television due to the fact that music drives the images and ideas found in numerous and varied examples of the form. Pre-recorded pieces of pop music are visually written upon in a palimpsest manner, resulting in an immediate and entertaining synchronisation of sound and vision. Ever since the popularity of MTV in the early 1980s, music video has been a persistent fixture in academic discussion, most notably in the work of writers like E. Ann Kaplan, Simon Frith and Andrew Goodwin. What has been of major interest to such cultural scholars is the fact that music video was designed as a promotional tool in their inception, supporting album sales and increasing the stardom of the featured recording artists. Authorship in music video studies has been traditionally kept to the representation of music stars, how they incorporate post-modern references and touch upon wider cultural themes (the Marilyn Monroe pastiche for the Madonna video, Material Girl (1985) for instance). What has not been greatly discussed is the contribution of music video directors, and the reason for that is the target audience for music videos are teenagers, who respond more to the presence of the singer or the band than the unknown figure of the director, a view that is also adhered to by music television channels like MTV.

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12

So, Augustine, and 蘇曉衡. "Auteur in 3 minutes: authorship in music video." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2011. http://hub.hku.hk/bib/B4684885X.

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13

Ripmeester, Helena. "Permitted performativities the construction of youth in music videos /." [S.l. : Amsterdam : s.n.] ; Universiteit van Amsterdam [Host], 2006. http://dare.uva.nl/document/25781.

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14

Legaspi, Melissa M. "Gender Role Identity and Audience Perceptions of Music Videos." Digital Archive @ GSU, 2006. http://digitalarchive.gsu.edu/communication_theses/9.

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The emergence in recent years of strong female musical artists asserting their sexuality as empowerment (Andsager & Roe, 2003; Gauntlett, 2002) has necessitated an evaluation of their depictions in music videos as perceived by contemporary target audiences. This study attempts to determine how viewers’ gender role identity, based upon gender schema theory (Bem, 1981; 1993) and measured through Bem Sex-Role Inventory (BSRI), relate to perceptions of female pop and hip hop artists’ music videos. It was hypothesized that sex-typed respondents would perceive portrayals as traditional more than other groups, whereas cross-sex typed respondents would perceive empowerment more than others groups. A convenience sample of 177 female undergraduate students was used for this cross-sectional study. Results did not support the hypotheses. Though some of the traditional items were found significant, no other significant differences emerged. Overall, gender role identity was ultimately found to have little relationship to perceptions of music video portrayals.

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15

Turski, Andrew. "Revealing the Hidden Symbols and Agendas within Music Videos." Master's thesis, Akademie múzických umění v Praze.Filmová a televizní fakulta. Knihovna, 2015. http://www.nusl.cz/ntk/nusl-251417.

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Cílem této diplomové práce je objasnit a lépe pochopit opakující se témata a symboly v hudebním průmyslu, která jsou chápána jako zlo a která jsou běžně spojována s nechvalně známým tajným společenstvím: Ilumináti. Dopad těchto témat a symbolů na podvědomí jejich diváků je významný. Toto umožňuje lépe pochopit budoucnost amerického hudebního průmyslu, který nemalou měrou ovlivňuje budoucnost společnosti. Práce začíná stručným popisem hnutí Iluminátů a jejich cílů, dále se zabývá historií použitých symbolů. Základem tohoto výzkumu je analýza několika videoklipů a záznamu živého vystoupení. Práce rozebírá jak tato videa ovlivňují veřejné mínění a náladu dvěma negativními způsoby: vštěpováním satanistické přítomnosti skrze rituály a posilováním sexuální perverze. V závěru je uvedeno množství témat a symbolů, které se opakovaně vyskytují v hudebním průmyslu, z důvodu jejich závažnosti by neměly být ignorovány. Nicméně spektrum hudebních videí, které mají tyto negativní vlivy, je vcelku široké a bylo by nad rámec jedné práce je všechny pokrýt. Tato práce si klade za cíl sloužit jako první krok v tak potřebném tématu zkoumání.

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16

Harris, Sabra. "Anime Music Videos and Storytelling: Performing Channels of Communication." Thesis, University of Oregon, 2016. http://hdl.handle.net/1794/20420.

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Anime Music Videos (AMVs) are transformative works that provide channels of communication between the viewer and the viewed. The editors who make AMVs have distinct communities built on the evolution of anime conventions in the United States but have prospered and transformed globally. In the performance of technology, AMV editors find ways of using mass-mediated texts to express themselves, to convey emotions, and to communicate social messages. They make new associations by combining materials and display these associations in sophisticated ways on social forums like the Internet and anime conventions. The associations are interpretive and articulate how storytelling, rather than a fixed and linear one-way flow, is nonlinear, a negotiation between the storytelling performer and audience.

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17

Enkenberg, Roland, and Anders Grentzelius. "Det svenska medialandskapet i förändring : en fallstudie av musikvideokanalen MTV." Thesis, Linköping University, Department of Thematic Studies, 2004. http://urn.kb.se/resolve?urn=urn:nbn:se:liu:diva-2420.

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This is a case study of the music channel MTV and it’s impact on the Swedish mediascape. We want to look into the process that lies behind this huge intercontinental corporation. Through literature studies we present the mechanism’s that paved the way for MTV growing into the number one music channel of modern time. To investigate how MTV was received in Sweden, we analyse articles taken from databases providing us with essential information about how Swedish journalist’s debate the issue. To show an assumed development within the Swedish mediascape we are using two different time periods, the first represents the year 1993 through to 1995 and the second, 2000 through 2003. These time periods are also used within statistical research included in this paper. This part shows the differences between MTV and other music channels that are competitors in the Swedish mediascape. Altogether these parts helps us to bring out topics that hopefully gives answers to our main quandary – what kind of effect has MTV had on the Swedish mediascape?

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18

Lindgren, Björn. "Erfarenheter och åsikter om videos : Instrumentlärare om videos som undervisningsmaterial." Thesis, Linnéuniversitetet, Institutionen för musik och bild (MB), 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-65800.

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I en undersökning vars syfte är att lyfta instrumentlärares erfarenheter och åsikter om videos som undervisningsmaterial har fem informanter intervjuats. Materialet som samlats in presenterar efter analys informanternas erfarenheter och åsikter genom Koehler och Mishras (2009) TPaCK-modell. Det som framgår efter analys är informanternas olika vilja, intresse och kunnande för att involvera videos och deras erfarenheter och åsikter om att involvera videos i sin undervisning. I resultatet presenteras en gemensam åsikt om videos som en visuell resurs där åskådaren både kan se och höra. Videos främsta egenskap är också enligt informanterna att verka som en möjlig förlängning av lektionen. I diskussionen framgår dock att videos inte är någon självklar del av undervisningen utan hänger på instrumentlärares intresse, kunnande och vilja att involvera videos i sin undervisning.

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Wesley, Chelcie Melissa. "Cowboys, pop stars, pimps and players: themes in music videos." Thesis, Texas A&M University, 2005. http://hdl.handle.net/1969.1/2395.

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Television is something that is a part of the everyday lives of a majority of people in America. The content of what is on television can vary in nature from being positive to being negative. However, what people are exposed to through music videos, in particular, a very popular form of artistic expression, has not been thoroughly investigated. This study uses structural ritualization affect, gender schema theory, media and audience power theories, cultivation theory, agenda setting and framing theories, and (cognitive) social learning theory in order to investigate what people are actually exposed to by watching music videos, in particular, MTV, BET, and GAC.

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20

JOHNSON, COURTNEY. "MORE THAN MUSIC VIDEOS: RAMMSTEIN AND THE ART OF REFERENCE." Thesis, The University of Arizona, 2008. http://hdl.handle.net/10150/190470.

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21

Kelly, Darlene Deloria 1958. "A SCHOOL AGE GIRL'S VIEW OF MUSIC VIDEOS (CHILD DEVELOPMENT)." Thesis, The University of Arizona, 1986. http://hdl.handle.net/10150/292036.

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22

Schwaner, Shawn Louis. "A content analysis of sexuality in popular music lyrics and videos." Connect to resource, 1991. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1180455062.

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23

Burkhalter, Janee N. "'Check the Rhyme': A Study of Brand References in Music Videos." Digital Archive @ GSU, 2009. http://digitalarchive.gsu.edu/marketing_diss/14.

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In this study we will explore impact exposure to brands references in music videos may have on the development of consumers’ brand knowledge. We assert that an understanding of this relationship is a function of both executional elements of the message and the intervening effects of select individual-difference factors. This dissertation applies social cognitive theories, the cultivation hypothesis, attribution theory and the elaboration likelihood model to develop the set of hypotheses. This dissertation seeks to provide initial evidence regarding the key factors brand managers and music executives must be aware of when implementing music video brand placements. A conceptual model of music video brand placement is presented and evaluated utilizing qualitative and quantitative techniques. The qualitative methodology employs real music fans as informants and music videos as stimuli in developing an understanding of the relationship consumers have with music as well as their reactions to music videos. The quantitative methodology uses an original music video as the stimulus, real music fans as respondents and a real-time on-line survey to measure the relationship among the variables. Study findings support the ability of music videos to impact extra-musical consumption and provide early evidence regarding factors important to understanding consumers’ responses to music video brand placements.

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Gillis-Furutaka, Amanda. "The consumption of English-language music videos on YouTube in Japan." Thesis, Goldsmiths College (University of London), 2017. http://research.gold.ac.uk/23507/.

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Euro-American (Western) popular music has been imported, performed and adapted to Japanese musical sensibilities since 1854. It influenced Japanese popular music throughout the 20th century and can be heard everywhere these days in shops, on university campuses, at school festivals, on the radio and television, and at the live shows of touring artists. Although record sales indicate the dominance of the domestic industry, especially the J-pop market, young Japanese people are actively consuming Western music through YouTube. This study demonstrates the eclectic musical tastes of young Japanese people today and the role of YouTube as a music platform. Using a mixed methods approach that combines a survey of over 500 university undergraduates with interviews and focus group work with 82 students, a rich description is presented of the ways in which music videos on YouTube are consumed mainly through mobile digital devices. The data show that the music videos themselves are watched with varying levels of engagement because music provides a background accompaniment to other activities much of the time. Nevertheless, certain types of music video, such as those with skilful dancing, great originality, or a dramatic storyline, tend to attract higher levels of engagement and repeated viewings. The role of English-language lyrics and the priority given to melody and rhythm are also explored. Although many of the YouTube viewing practices of young Japanese audiences resemble those of their Western counterparts, this study highlights attitudes, values and expectations of Japanese and non-Japanese artists that are unique to Japanese audiences. In doing so, it underscores the need for investigating global phenomena in local (non-Western) contexts and sharing those findings to build a more accurate understanding of music video consumption through YouTube worldwide.

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Mitra, Sukanya. "A study of the impact music videos have had on production techniques in relation to network television programs and commercials." Instructions for remote access. Click here to access this electronic resource. Access available to Kutztown University faculty, staff, and students only, 1986. http://www.kutztown.edu/library/services/remote_access.asp.

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Miller, Henry. "Stars, stripes, cameras and decadence music videos of the Iraq War era." Honors in the Major Thesis, University of Central Florida, 2011. http://digital.library.ucf.edu/cdm/ref/collection/ETH/id/476.

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Recently, academic researchers have brought critical attention to representations of the Iraq War in popular culture. Most of this work, however, focuses on film and music, leaving the influential medium of music video largely unexplored. A number of artists produced music videos that capture the zeitgeists of competing movements leading up to and following the United States' involvement in the Iraq invasion. This project, "Stars, Stripes, Cameras and Decadence: Music Videos of the Iraq War," seeks to survey music videos in order to understand how music video helps shape Americans' relationship to heavily polarized public discourses in the United States regarding this controversial military act. The thesis will take a multi-dimensional approach to analyzing each music video. The study will incorporate data on public opinion, audience reaction and political shifts in relationship to each video. On the most elementary level, the thesis will address the "anti" and "pro" war stances portrayed by music videos to understand both how they were shaped by their relationship to power and how they consequently shape their audience's relationship to power. The study will also undertake to understand these music videos aesthetically. Both "anti" and "pro" music videos draw upon schools of political messaging that largely dictate the art of the music video. Each school portrays soldiers, violence, war, enemies, families and loved ones in different ways. The thesis will delve into the histories of how various political traditions use images of war to shape their messages and how music videos continue (or break from) these traditions.
B.A.
Bachelors
Arts and Humanities
English

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Chuen-huey, Jiang. "An analysis of the visual structure of American and Taiwanese music videos." The Ohio State University, 1990. http://rave.ohiolink.edu/etdc/view?acc_num=osu1407145876.

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Wallbaum, Christopher. "Zur Praxis des Musikunterrichts in Europa: eine Erhebung mit Videos und drei Reflexionen." Diskussion Musikpädagogik, Bd. 60 (2013), S. 45-54, 2013. https://slub.qucosa.de/id/qucosa%3A7331.

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Der Text berichtet über eine Erhebung zu Praxen des Musikunterrichts in 5 Ländern Europas. Über eine auf Englisch veröffentlichte Erhebung ‚About Different Cultures in Music Classrooms of Europe’ hinaus enthält dieser Text auch die Ergebnisse einer zweiten Erhebung. Nach der Reflexion einiger methodischer Aspekte der Arbeit mit Videos sowie des Kontexts eines europäisch geförderten ‚Intensive Programs’, gibt der Text Information über gemeinsame Inhalte und Methoden sowie unterschiedliche Praxismerkmale im Musikunterricht. Abschließend liefert der Text drei Reflexionen der Daten über (1) die Wichtigkeit von Sound und Gesten im Musikunterricht, (2) Interferenzen zwischen Kulturen der Musik und Kulturen der Pädagogik im Klassenzimmer und (3) Muster von Musikunterricht.
The article is about an exploration about practices of school music in 5 countries of Europe. Beyond an exploration ‚About Different Cultures in Music Classrooms of Europe’, which was published in English, this article includes results of a second exploration. After reflecting some methodological aspects of working with videos and the context of an Intensive Programm, the article gives information about common contents and methods and distinguishing marks of practices in music education. At last the article gives three reflections of the data about (1) the importance of sound and gestures in music education, (2) interferences between cultures of music and cultures of pedagogy in the classroom, (3) patterns of school music.

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Förster, Felicitas. "Shreds: zur Geschichte und Stilistik parodistischer Overdubbing-Videos auf YouTube." Hochschule für Musik und Theater 'Felix Mendelssohn Bartholdy' Leipzig, 2017. https://slub.qucosa.de/id/qucosa%3A15826.

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Auf der Videoplattform YouTube finden sich hunderte sogenannter Shreds. Das sind Videos, die das Bildmaterial präexistenter Musikperformances mit einer neuen Tonspur kombinieren, und zwar mit humoristischer Intention. Hier wird erstmals die Geschichte der Shreds umfangreich nachgezeichnet und ihre stilistischen Ausprägungen untersucht.
The video platform YouTube hosts hundreds of so-called shreds: videos that combine footage of preexisting musical performances with a new soundtrack, always with a humoristic intention. The present study examines the history of shreds and their stylistic devices for the first time ever.

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Yiu, Yan-ling, and 饒欣凌. "Rock music as cultural translation: a case study of Hong Kong rock music video." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2000. http://hub.hku.hk/bib/B30432996.

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31

McKenna, Libby. "Audience interpretations of the representation of women in music videos by women artists." [Tampa, Fla] : University of South Florida, 2006. http://purl.fcla.edu/usf/dc/et/SFE0001670.

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32

Liu, Chu-Ying. "Images of the female singer : the structural characteristics of Taiwanese Mandopop music videos." Thesis, University of Southampton, 2016. https://eprints.soton.ac.uk/397112/.

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Music video visually communicates with music, in a storytelling manner with direct or subliminal messages to audiences. It encompasses many discourses over different contexts, and often used in contradictory ways to embody gendered aesthetic values of authenticity. This thesis sets out to investigate Taiwanese Mandopop female stars and their representations in the music videos seen in the Mandopop industry. At the heart of the body of work presented in this thesis is an exploration and examination of three case studies, focusing on female singers Winnie Hsin, Cyndi Wang, and Jolin Tsai, situating them within the Taiwanese Mandopop context, and in relation to their music videos: Understanding (1994), Love You (2003), and The Great Artist (2012). The representatives and adaptabilities for analytical interest are in relation to the three major themes, namely sadness, cuteness, and sexiness, meaning that their work can be seen to construct their specific star representation of femininity, feminism and creativity. Writing on the theoretical dialogue between film studies, music video studies, cultural studies, feminism, psychoanalytic theory and postmodernism, the textual analysis, combining the concept of music video detail analysis and the reconstruction of representations of each performer, will show how their images are created, and lead to a discussion of the embedded semiotic meanings, links among audience reception, creative control, and artistic freedom. Finally, these texts, a link to how the representations relate to cultural tradition and social transformation, will offer a dialogue and critique of Taiwanese society, through representations of the female stars they created.

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Montagnet, Emilie G. "A Content Analysis of Product Placements in American and Hispanic American Music Videos." Thesis, University of Louisiana at Lafayette, 2016. http://pqdtopen.proquest.com/#viewpdf?dispub=10163323.

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This study compared and contrasted product placements found in two different pop music markets in the United States: the American Hot 100 Billboard charts and the American Hispanic Hot Latin Billboard charts. It determined there are numerous product placements in the current music video market. Also, differences were found between the types of products in a video and the artists and record labels using those products in videos. A majority of the videos had male artists performing in them. Artists were analyzed based on their genders, ethnicity, and the number of performers in the ensemble. Product placements were also analyzed by the way the products were placed in the music video: background, in use by a character, or connected to the story shown on screen. The study related the theory of the social construction of reality to the product placements present in popular music videos.

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Norkey, Alec. "Intersectional Androgyny in Cyberspace: Gender, Commercialization, and Vocality in Female Ryouseiruis' Music Videos." Bowling Green State University / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1462552660.

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Kimbrel, Deanna Niccole. "The visual analysis of heterogeneous sex role interactions : a content analysis of popular music videos /." Online version of thesis, 2008. http://hdl.handle.net/1850/7904.

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Strand, Joachim. "The cinesthetic montage of music-video: hearing the image and seeing the sound." Thesis, Curtin University, 2006. http://hdl.handle.net/20.500.11937/1521.

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This thesis examines the interconnected relationship that exists between sound and moving-image in the music-video. The flow of images used in many music videos often carries no definite meaning. Rather, the viewer must perceive the physiological sensations of the video's audiovisual expression to make sense of it. Thus, both the expression and the perception of music-video is a cross-modal process. Using Vivian Sobchack's theory of cinesthetics as a framework, the thesis contends that the music-video produces an aural visuality in which sound can be cinesthetically expressed and perceived as image and the image perceived and expressed as sound.

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Canuday, Jose Jowel. "Music, dances, and videos : identity making and the cosmopolitan imagination in the southern Philippines." Thesis, University of Oxford, 2013. http://ora.ox.ac.uk/objects/uuid:ad25b3dd-8d0c-4c9a-8b0a-c85eb3255dd3.

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This ethnography examines the processes in which rooted but overlapping forms of cosmopolitan engagements implicate the Tausug imagination of collectivity. It investigates Tausug expression of connection and belonging as they find themselves entangled into global cultural flow and caught up in the state and secessionist politics of attachment. Utilising methodological and theoretical approaches engendered by visual and material anthropology, the ethnography locates rooted cosmopolitan imagination in the works and lives of creative but marginalised and often silenced Tausug cultural agents engaged in street-based production, circulation, and consumption of popular music and dance videos on compact discs. The ethnography follows these cosmopolitan expressions as they are being imagined, embodied, reproduced, and shared by and across Tausug communities in the Zamboanga peninsula, the Sulu archipelago, and beyond through the digital spaces of the internet and cross-border flow of the videos. How the translocality of imaginaries reflected on the videos play out in everyday life and the broader politics of representation are demonstrated here as vital to the understanding of Tausug imagined community as an open, flexible, and dynamically engaging Muslim society despite long-standing political turbulence and economic uncertainty in their midst. Saliently, the thesis argues that Tausug cosmopolitanism cannot be reduced into a phenomenon driven by the expansive currents of Western-led globalisation. Rather, Tausug cosmopolitanism constitutes both continuity of and departure from past forms of translocal connections of Zamboanga and Sulu, which as a region was once integrated to a pre-colonial Southeast Asian emporium and continually through varying ways of connectedness. Old and new global processes come into play in shaping the everyday production of Tausug imaginaries inevitably rendering Tausug identity formation as a trajectory rather than an unchanging fact of being. Drawing from the Tausug ethnographic experience, the thesis contends that rooted cosmopolitanism does not necessarily constitute a singular condition but rather a contested and distinctively multifaceted phenomenon.

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Manento, Theresa M. "A study on the effects music videos have on adolescent fashion and hair styles." Instructions for remote access. Click here to access this electronic resource. Access available to Kutztown University faculty, staff, and students only, 1991. http://www.kutztown.edu/library/services/remote_access.asp.

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Thesis (M.S.)--Kutztown University of Pennsylvania, 1991.
Source: Masters Abstracts International, Volume: 45-06, page: 2714. Abstract precedes thesis as [1] preliminary leaf. Typescript. Includes bibliographical references (leaves 27-28).

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McLaren, Laura. "The Lyric Video as Genre: Definition, History, and Katy Perry's Contribution." Thesis, Université d'Ottawa / University of Ottawa, 2018. http://hdl.handle.net/10393/38124.

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Since YouTube was founded in 2005, prosumers have been uploading karaoke-style “lyric videos” of their favourite songs in order to creatively and visually accompany the song, while making it available online to other listeners. In the last few years, more and more artists have adopted this trend and are releasing official lyric videos that follow and expand on this tradition, thus commanding immediate visual attention to new singles. Additionally, these videos control the images and sounds associated with the song and artist, while profiting from advertising revenue tied to online video content. Though scholarship on music video is increasing, there is no evidence of scholarly research on lyric videos. Seemingly simple, these videos create meanings that impact artistic personae, song and album reception, and genre identity formation. They are not merely promotional devices, or placeholders for “official” music videos. Grounding my analysis in genre theory (Frow 2015, Brackett 2015 & 2016, Fabbri, 1982, Holt, 2007), I claim that lyric videos comprise a new visual genre of music video, following their own parameters, connections, and histories, while simultaneously participating in the ideologies and tropes of their musical genre. In order to illustrate the framework, I offer a history of the genre by focusing my analysis on the lyric videos released by Katy Perry over the course of seven years, from 2010 to 2017, from the promotion for four of her most recent albums. By offering a historical analysis, I show how the lyric video has emerged, evolved and become established as a distinct visual genre. I include brief interludes in my analysis to highlight other important moments in the development of the genre, and to discuss how the lyrics, sound, and images are diversely represented in lyric videos depending upon musical genre. Drawing from feminist theory (Gledhill 2000), as well as persona theory (Auslander 2004, Moore 2005), I conclude that lyric videos offer unique possibilities for artists to amplify the meaning of their song and the spectator’s understanding of the lyrics, while portraying information about the artist’s subjectivities, and as such, deserves more scholarly attention as a distinct visual genre.

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Hagersjö, Sandqvist Elias. ""In an ideal world people wouldn’t be watching my videos" : En kvalitativ studie av YouTube-musiklärares syn på sin egen praktik." Thesis, Karlstads universitet, Institutionen för konstnärliga studier (from 2013), 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-84523.

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Syftet med denna studie är att undersöka hur internetbaserade musiklärare konstruerar sin syn på videoundervisning. För att undersöka detta har fokusgrupper bestående av internetbaserade musiklärare använts som datainsamlingsmetod. Studien har en kvalitativ forskningsansats och en socialkonstruktionistisk ontologisk och epistemologisk utgångspunkt, och diskurspsykologi används som teoretiskt och analytiskt perspektiv. I resultatet synliggörs tolkningsrepertoarer där olika synsätt på videoundervisning uttrycks. Dessa tolkningsrepertoarer framställs ibland som motstridiga, så som framställningarna av videoundervisning som begränsande respektive som fördelaktigt. Detsamma gäller framställningarna av videoundervisning som något för många respektive som något för få. Däremot rådde samstämmighet i tolkningsrepertoaren som framställer videoundervisning som marknadsstyrt. Resultatet diskuteras i relation till tidigare forskning om instruktionsvideor, YouTube och musiklärares syn på undervisning.
The purpose of this study is to examine how internet-based music teachers construct their views towards video lessons. To examine this, focus groups consisting of internet-based music teachers were used as a method for data collection. The study has a qualitative research approach and a social constructionist ontological and epistemological view, and discourse psychology is used as a theoretical and analytical framework. The results shed light on interpretative repertoires where different views towards video lessons are expressed. Sometimes these interpretative repertoires are described as conflicting, such as the descriptions of video lessons as limiting or as beneficial. This is also true for the descriptions of video lessons as something for a large audience or video lessons as something for a small audience. Other interpretative repertoires are unanimous, such as the description of video lessons as market driven. The results are discussed in relation to previous research on instructional videos, YouTube and music teachers' views on teaching.

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Wallbaum, Christopher. "Comparing international music lessons on video." Georg Olms Verlag, 2018. https://slub.qucosa.de/id/qucosa%3A33770.

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Video-recorded music lessons (on multi angle DVDs) were used to inspire and improve understanding among experts from different cultures and discourses of music education. To make the process manageable and focused we developed the Analytical Short Film (2-3 minutes) to address particular areas of interest and starting points for debate. We asked selected music teachers from seven nation-states to allow a typical and (in their opinion) good lesson to be recorded. We also asked the students and their parents for permission. At a symposium, national experts and researchers presented views on „their“ lessons through Analytical Short Films. Discussion included implicit and explicit comparisons. The presenters also used a lesson from one of the other countries to stimulate discussion about assumptions in and challenges to their own views. We documented all comparisons made and compared these to derive cross cultural categories (tertia comparationis). These categories should be relevant for understanding what makes a music lesson „good“. The different perspectives and discussions offered by the authors in this book provide rich and diverse material for researchers, teachers and teacher educators.

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Clinton, Zerric. "What adolescent African American male adolescents say about music videos with implications for art education." Tallahassee, Florida : Florida State University, 2010. http://etd.lib.fsu.edu/theses/available/etd-05032010-184907.

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Thesis (Ph. D.)--Florida State University, 2010.
Advisor: Tom Anderson, Florida State University, College of Visual Arts, Theatre and Dance, Dept. of Art Education. Title and description from dissertation home page viewed on July 26, 2010. Document formatted into pages; contains vii, 247 pages. Includes bibliographical references.

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Haldane, Jayne. "Nelson Mandela Metropolitan University students' perceptions of celebrity endorsement and product placement within music videos." Thesis, Nelson Mandela Metropolitan University, 2013. http://hdl.handle.net/10948/d1020294.

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It has become conventional to use product placement in music videos. Big brands have started marketing themselves through product placement, for example, brands such as BMW, VitaminWater and Virgin Mobile. Placing products in music videos could be perceived as the brands linking themselves with celebrities. This product placement could either have a positive or negative effect on the celebrity and/or the brand. This research study aimed to provide the world of brands with insights into 18-28-year-olds’ perception of product placement in music videos, and whether placing their product in a music video where the audience is not partial to the celebrity, could be detrimental or not. This research study aimed to determine the selected sample’s (Nelson Mandela Metropolitan University students) perceptions of the product placement of three specific brands (VitaminWater, BMW and Virgin) in three specific music videos, namely: Jessie J and David Guetta “Laserlight” http://www.youtube.com/watch?v=syxd2n8S4AE JLo’s “Get on the Floor” http://www.youtube.com/watch?v=t4H_Zoh7G5A Lady Gaga and Beyoncé “Telephone” http://www.youtube.com/watch?v=GQ95z6ywcBY An electronic survey questionnaire was concluded with both closed and open-ended questions relating to the use of product placement in these three music videos. The survey questionnaire helped to determine what the selected sample’s perceptions were of each brand and celebrity, what they were after the respondents and seen the relationship between the brand and celebrity and finally, of product placement in general. A semiotic analysis of screen shots from each music video was conducted to determine what kind of nature the product placement occurred in in each music video.

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Pellerin, Marquita Marie. "Perceptions of African Ameircan Females: An Examination of Black Women's Images in Rap Music Videos." Diss., Temple University Libraries, 2011. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/139738.

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African American Studies
Ph.D.
Utilizing an Afrocentric methodological framework, this dissertation research seeks to examine the general public perceptions of African American women as reflected in rap music videos, and to determine how African American females perceive the images that are presented of them in rap music videos. This study explores Black women's representation through analyses of top ten rap music videos from January to September 2010 and conceptualizes the effects of these representations on Black female viewers. This study also explores the reception of Black women's images in rap music videos as they are potentially exported to other cultures. This project is a multi-method examination including questionnaires and focus group sessions, exploring the effect of rap music video content on the representation of African American women, society's perceptions of African American females, and how when given an opportunity to construct their own media image, how would African women be represented.
Temple University--Theses

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Angell, Helena. "What music videos teach at-risk adolescent girls making a case for media literacy curriculum /." [Gainesville, Fla.] : University of Florida, 2005. http://purl.fcla.edu/fcla/etd/UFE0009942.

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46

Strand, Joachim. "The cinesthetic montage of music-video: hearing the image and seeing the sound." Curtin University of Technology, Department of Media and Information, 2006. http://espace.library.curtin.edu.au:80/R/?func=dbin-jump-full&object_id=16907.

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This thesis examines the interconnected relationship that exists between sound and moving-image in the music-video. The flow of images used in many music videos often carries no definite meaning. Rather, the viewer must perceive the physiological sensations of the video's audiovisual expression to make sense of it. Thus, both the expression and the perception of music-video is a cross-modal process. Using Vivian Sobchack's theory of cinesthetics as a framework, the thesis contends that the music-video produces an aural visuality in which sound can be cinesthetically expressed and perceived as image and the image perceived and expressed as sound.

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Brown, Jennifer R. "Monsters, of whom I am chief a metaphoric and generic criticism of Jars of Clay's concept video, Good Monsters /." Lynchburg, Va. : Liberty University, 2008. http://digitalcommons.liberty.edu.

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48

Bartlett, Loron. "The Women Behind the Moves: A Phenomenological Study of Video Models." Digital Archive @ GSU, 2011. http://digitalarchive.gsu.edu/wsi_theses/25.

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This research studied three women who have performed in hip hop music videos. Previous literature concerning these women, including memoirs, men’s magazine interviews, and Black feminist scholarship, has situated them as video vixens, terminology that all three participants disputed applied to them. The research was completed in two parts—a face-to-face phenomenological interview and a semi-structured telephone interview. In the phenomenological interview, the initial question—what are your experiences as a woman who dances/models in music videos?—was posed. The answers ranged from musings about professionalism and the lack thereof in the industry to the politics of skin color and nationality. The semi-structured interview allowed the participants to clarify or expound on experiences they discussed during the first interview.

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Gee, Narelle. "Maintaining our rage: Inside Australia's longest-running music video program." Thesis, Queensland University of Technology, 2015. https://eprints.qut.edu.au/85665/10/Narelle_Gee_Thesis.pdf.

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This research presents an insider's account of rage, Australia's longest-running music video program. The research's significance is that there has been scarce scholarly analysis of this idiosyncratic ABC program, despite its longevity and uniqueness. The thesis takes a reflective and reflexive narrative journey across rage's decades, presenting the accounts of the program makers, aided by the perspective of an embedded researcher, the program's former Series Producer. This work addresses the rage research gap and contributes to the scholarly discussion on music video and its contexts, the ABC, public service broadcasting, creative labour, and the cultural sense-making of television producers.

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Ehmer, Emily A. "An attitudinal study of music videos portraying violence, sex-role stereotypes, and objectification of women among young women." Virtual Press, 2008. http://liblink.bsu.edu/uhtbin/catkey/1390657.

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This study investigated the relationships between young women's attitudes and exposure to violence, objectification of women, and sex-role stereotypes. The research analyzed whether or not viewing sexual content or violence in music videos affected young women's current moods or changed attitudes about sexual beliefs. Music videos were selected from cable television networks and music Web sites. Sixty-six undergraduate women at a Midwest university were exposed to six music videos with violent, sexual, or neutral content. Pretests and post-tests were used to assess any change of mood or attitude after viewing music videos. Results showed no significant change in sexual beliefs for any of the three groups. The group viewing neutral videos demonstrated a significant change in mood prior to viewing the music videos between the groups. The data suggested the method of selection of participants, use of pretests and post-tests, effects of music, and desensitization to violence and sexual content may have played a role in the outcomes of the study.
Department of Journalism

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