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Journal articles on the topic 'Music videos'
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Ambarwati, Endang Retno, and Setyo Bagus Waskito. "PENYUNTINGAN CUTTO CUT DAN COMPOSITING VIDEO MUSIK PANTAIKU KALAMASOUL BAND." Capture : Jurnal Seni Media Rekam 3, no. 2 (June 19, 2017): 30–38. http://dx.doi.org/10.33153/capture.v3i2.1885.
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There are a lot of reggae musics that can be taken advantage,among them can be usedas a means of delivering a moral message,voice calling for weak communities,provide relaxationand well able to bring a message of peace for others.Departing from this fact,producer seeks tocreate two music videos using different construction techniques, the Cut to Cut technique andCompositing technique to eliminate negative view of reggae musics and the choice was on mybeach songs created and sung by Kalamasoul Band.The Cut to Cut technique to arouse feelingsand emotions of the audience,so the audience feel being at the beach and can capture the moralmessages in the videos my beach music easily.The Compositing techniques to provide a varietyof different and interesting spectacle for the community that after seeing the music video, theaudience is not immediately forgotten of what he had just seen. Cultivation of the Pantaikumusic videos through three main stages, namely editing offline, online editing, and mixing. Byusing two different techniques on the same music,it turns out Pantaiku music video compositingtechniques packaging more attractive and entertaining. But seen from the delivery of themessage,the music video by cut to cut technique in my beach songs was more communicativeand easily received by the audience.Objective of the video was to create good music and finallyactractively reached.Keywords:Editing,cut to cut,compositing,Kalamasoul Band,dan Pantaiku
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Abas, Razif, Halimatus Sakdiah Minhat, Siti Zulaikha Zakariah, Rosni Ibrahim, Camellia Siti Maya Mohamed Razali, and Marzelan Salleh. "Production of Hand Music Videos in Anatomy Education for Medical Students in Malaysia." Education in Medicine Journal 15, no. 1 (March 31, 2023): 101–11. http://dx.doi.org/10.21315/eimj2023.15.1.8.
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Media are teaching resources that help teachers transmit messages and learning material to students effectively and efficiently. Music video making is one example of how educational media is used in anatomy training. The aim of this article is to elaborate the stages of hand music video development. The three main stages of film and video production are pre-production, production, and postproduction. Identifying the type of music video, script writing, song composition, music and vocal recording, and storyboard production are all parts of the pre-production stage. Shooting and selecting the music video’s mood, with a few adjustments, are part of the production stage. Finally, editing is included in the post-production stage. Hand music videos were found to aid in the teaching of anatomy, with the music video containing visual, auditory, and kinaesthetic elements. Therefore, music videos can be used as an alternative teaching approach, particularly in difficult subject areas that demand extensive memorisation.
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Savinova, V. E., and S. M. Isaeva. "The analysis of the effectiveness of different types of music Videos on YouTube in promoting artists." Тенденции развития науки и образования 97, no. 10 (2023): 151–55. http://dx.doi.org/10.18411/trnio-05-2023-579.
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This article analyzes the effectiveness of various types of music videos on YouTube in promoting artists. The authors explore the impact of different music video features, such as performance music videos, narrative music videos, concept music videos, lyrics and animated music videos. The study draws on a sample of popular music videos across different genres and analyzes their metrics using a quantitative approach. The results suggest that music videos with high-quality visuals and engaging storylines tend to generate higher levels of engagement and views than those without these features. The study provides insights for music industry practitioners and artists seeking to promote their work on YouTube. However, the sample used in the study is limited and may not be fully representative of the entire music industry. Additionally, the study does not explore other factors, such as marketing campaigns, that may influence the success of a music video. Overall, the article contributes to the growing body of research on the effectiveness of digital marketing strategies for promoting music.
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Denisoff, R. Serge, and Gary Burns. "Music videos." Popular Music and Society 10, no. 1 (January 1985): 74–76. http://dx.doi.org/10.1080/03007768508591240.
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Kniaź-Hunek, Lidia. "The (R)evolution of Music Video in American Music Industry." New Horizons in English Studies 8 (December 23, 2023): 163–76. http://dx.doi.org/10.17951/nh.2023.8.163-176.
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The essay offers a concise historical examination of the evolution of music videos and places this medium within the broader context of the popular music industry, which is influenced by the principles of late capitalism. The study highlights the significance of music videos in the popular music industry and media studies, underscoring their role as both promotional and artistic products. It traces the medium's development, from its early days as "illustrated songs" in the late 19th century to the MTV era's explosion, marked by groundbreaking music video directors and the digital turn in the 21st century, which has reshaped the landscape of music video production, distribution, and reception. The article also addresses emerging trends, such as visual albums and changes in video length and format, reflecting shifts in music consumption and technology. In conclusion, it asserts that music videos continue to evolve, challenging conventions and fostering a multisensory, intermedial relationship with audiences.
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Keazor, Henry. "Portable Music Videos? Music Video Aesthetics for Handheld Devices." Volume !, no. 14 : 2 (April 26, 2018): 201–10. http://dx.doi.org/10.4000/volume.5594.
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Golovanova, Elena Aleksandrovna. "Creation of musical content based on the plotline of music videos." Человек и культура, no. 6 (June 2020): 175–83. http://dx.doi.org/10.25136/2409-8744.2020.6.30990.
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This article examines the visual means of modern music videos and their impact on perception of the audience. The author is first to study the peculiarities of creation of visual imagery along with artistic means of music videos and their impact on the viewership. The conception, development stages, and specifics of the visual imagery of music videos on TV – from the “Little Blue Light” and musical films to modern music videos – are considered. Each of the is based on the balance between musical content of the composition, based on the compositional differences of the plot, and viewership perception, arousing the feeling of immersion into the image, connectedness to the events on TV, and affection with the heroes. The scientific novelty consists in the attempt to correlate verbal content of the music video with its visual imagery. The conclusion is made that the audience perception in a certain way depends on the peculiarities of visual imagery of music videos, which feature contrapuntal aesthetics combined with the main idea of music video and differences within the framework of performer’s representation of the composition. The common aspect for creation of all music videos is the depiction of motion, which again underlines its inextricable connection of music video and cinematography, which is based on creation of a certain image by the actor.
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Mukhortikova, Elena A. "Features of the Formation of Visual Series of Music Videos." Observatory of Culture 18, no. 3 (July 22, 2021): 264–71. http://dx.doi.org/10.25281/2072-3156-2021-18-3-264-271.
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This article explores the typology of visual means of modern music videos on the television screen and their impact on the audience. For the first time, there are studied the distinctive features of building visual series of music videos basing on three types of musical compositions. The structure of the visual series is based on their connection with the plot features of the work and their impact on the viewer based on the sense of belonging of the audience to what is happening on the screen, attracting their attention to the aesthetic opportunities of music video products.The article examines the features of building visual series in combination with visual means of music videos. There are considered the origin, periods of development and features of the visual series of music videos. The basis for drawing the foundations of cinema to the visual and expressive means of music videos is its aesthetics, which contributes to constructive transformations in the development of new, modern means of computer technologies. The use of cinematic aesthetics contributes to the development of the narrative thought of music videos. In this study, the following typology of visual video series is highlighted: plot, illustrative, parallel; some examples of music videos are given. There is established that each of the considered visual series of videos is based on the features of the musical content of the work and its plot construction. This is based on a specific perception by the viewer, which causes penetration into the image, a sense of belonging to what is happening on the screen, and feelings for the characters. The article concludes that the viewer’s perception is influenced, to a certain, extent by the features of the visual series of videos, which have their own contrapuntal aesthetics, coupled with the general idea of the music video and the differences in the performer’s vision of the composition.
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Bodyanskaya, Alisa, and Kapitalina Sinegubova. "Music Video as a Poetic Interpretation." Virtual Communication and Social Networks 2023, no. 2 (April 25, 2023): 47–55. http://dx.doi.org/10.21603/2782-4799-2023-2-2-47-55.
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This article introduces the phenomenon of videopoetry as a hybrid product of mass media whose popularity is based on intermediality, i.e., the cumulative effect on different perception channels. Videopoetry is a productive form of verbal creativity in the contemporary media culture with its active reception of art. The research featured poems by W. B. Yeats, T. S. Eliot, and W. H. Auden presented as videos and the way they respond to someone else's poetic word. The authors analyzed 15 videos by comparing the original text and the video sequence in line with the method developed by N. V. Barkovskaya and A. A. Zhitenev. The analysis revealed several options for relaying a poetic work as a music video. Three videos provided a direct illustration of the source text, suggesting a complete or partial visual duplication of the original poetic imagery. Five videos offered an indirect illustration of the source text by using associative images in relation to the central images of the poem. Five videos gave a minimal illustration: the picture did not dominate the text of the poem, but its choice implied a certain interpretation. Two videos featured the video maker as a reciter. The video makers did not try to transform the poetic text but used the video sequence as a way to enter into a dialogue with the original poem or resorted to indirect illustration to generate occasional meanings. Thus, video makers keep the original text unchanged and see the video sequence and musical accompaniment as their responsibility but maintain a dialogue between the original text and its game reinterpretation.
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Strasburger, Victor C., and Robert L. Hendren. "Rock Music and Music Videos." Pediatric Annals 24, no. 2 (February 1, 1995): 97–99. http://dx.doi.org/10.3928/0090-4481-19950201-09.
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DINNEN, ZARA. "Understanding the Funny Military Music Video." Journal of American Studies 50, no. 4 (April 14, 2016): 899–921. http://dx.doi.org/10.1017/s0021875816000591.
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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.
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Kretschmer, Tobias, and Christian Peukert. "Video Killed the Radio Star? Online Music Videos and Recorded Music Sales." Information Systems Research 31, no. 3 (September 2020): 776–800. http://dx.doi.org/10.1287/isre.2019.0915.
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We study how online video platforms affect the sales volume and sales distribution of recorded music. To do so, we study two events that removed and then partially restored access to online music videos for consumers in Germany. Because of a legal dispute, virtually all music videos were blocked from YouTube, which led to a decrease in record sales of about 5%–10%. When the dedicated platform Vevo entered a few years later, record sales increased again by a similar amount. This is effect can be attributed to user-generated content (fan videos and cover versions) as much as to official music videos. Record sales of newcomer artists and mainstream music benefit disproportionally. We discuss the implications for debates on the reform of compulsory licensing rules and copyright.
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Hwang, Yooji, and Beatriz Ilari. "O uso de plataformas digitais de video (OVPS) no preparo e nas aulas de música." Revista Latinoamericana de Tecnología Educativa - RELATEC 18, no. 2 (December 17, 2019): 45–55. http://dx.doi.org/10.17398/1695-288x.18.2.45.
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New technological developments and the popularity of the internet have changed the ways that people learn, listen to, make and teach music. Many music teachers now use a variety of digital tools to enhance their students’ learning in the classroom. However, the use of technology in music education, and particularly videos, is still an under-researched area. This paper reports on an exploratory investigation of music teachers’ use of online video platforms (OVP) such as YouTube, Vimeo, Panopto, and Dailymotion in lesson design and instruction. Through an online survey with 21 American music teachers, we gauged: (1) the frequency of use of videos in lesson design and teaching, (2) types of videos used by teachers, (3) the qualities of videos that teachers used, and (4) whether there were differences in video usage between grade levels and modalities of their music class. Findings suggested that music teachers frequently used OVPs both when planning and instructing their lessons, believing that such uses would make their lessons more engaging. Implications for music education are outlined at the end of the report.
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Li, Jiahao. "Exploring the Application Strategies of Background Music in Mainstream Media Short Videos." Journal of Innovation and Development 4, no. 2 (September 21, 2023): 28–30. http://dx.doi.org/10.54097/jid.v4i2.11858.
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With the popularity of social media and short video platforms, mainstream media organizations have gradually realized the importance of background music in short videos, and have begun to actively use it to enhance the attractiveness of the content and communication effect. Through an in-depth study of the application of background music on People's Daily's TikTok, this paper aims to reveal the strategy of background music in enhancing the quality and influence of media short videos. Analyzing in-depth the video case of People's Daily TikTok, provides new research directions and ideas for subsequent studies, as well as lessons for the use of background music in mainstream media short videos.
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Wicaksana, Inovensius Hugo Bima. "Application of Video Mapping Technique in Kotak Band Video Music." Business Economic, Communication, and Social Sciences (BECOSS) Journal 4, no. 2 (June 4, 2022): 89–96. http://dx.doi.org/10.21512/becossjournal.v4i2.7963.
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In the current development of visual videography technology, especially in the creation of music video content, new media are developing very rapidly, one of which is video projection (Projection Mapping). apart from the screen. Video Mapping is one of the newest video projection techniques used to convert almost any surface into a dynamic video display. The purpose of video mapping is to create the physical illusion of an image by combining visual elements. Most of the mapping projects are used in fashion shows, corporate events, concerts, and theater performances and can be an asset in artistic music videos. This research explains how to implement video projection into an artistic asset. Then displayed in public spaces to reach a wider audience. This paper will focus on the aspect of video mapping with the technical aspects of developing the concept of the Musik Video Kotak Band project entitled Wings of Garuda by using visual elements of applying visual video mapping in music videos to convey visual messages in video projections on the faces of the band members of the Kotak band. visual delivery in projection mapping creates artistic innovation in music video visuals to minimize the number of production teams in music video projects and messages in video projection visuals can convey their messages, the visuals will be perfected in the editing process to achieve the desired contrast so that video projections on the face more visible detail.
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Momcilovic, Drago. "Music Video Gothic: Fragmentary Form at the Dawn of MTV." Gothic Studies 23, no. 2 (July 2021): 148–62. http://dx.doi.org/10.3366/gothic.2021.0091.
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This article argues that the modern music video at the dawn of the MTV era embraces a logic of the Gothic fragment. Mobilizing an archive of gothic archetypes of haunting and monstrosity, the music video of the early 1980s confronts anxieties about its unshaped aesthetic character and discursive placelessness and its strained connections to absent textual wholes, performance cultures, and marginalized histories. Through a close reading of four seminal music videos from this time period – The Buggles' Video Killed the Radio Star (1979), David Bowie's Ashes to Ashes (1980), Blondie's Rapture (1981), and Michael Jackson's Thriller (1983) – I argue that the early music video incarnates a tradition of production, circulation, and decoding that I want to call Music Video Gothic. This tradition expresses latent concerns about the music video's aesthetic borders and intertextual relations with cultural and career narratives.
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Ekanayake, E. M. T. T., and E. W. M. S. Boyagoda. "Representation of Violence in Music Videos Special Reference to Most Viewed Ten Sinhala Music Videos in 2016." International Journal of Trend in Scientific Research and Development Volume-3, Issue-4 (June 30, 2019): 575–77. http://dx.doi.org/10.31142/ijtsrd23723.
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Selva-Ruiz, David, and Desirée Fénix-Pina. "Soundtrack Music Videos: The Use of Music Videos as a Tool for Promoting Films." Communication & Society 34, no. 3 (May 31, 2021): 47–60. http://dx.doi.org/10.15581/003.34.3.47-60.
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The soundtrack music video is an audiovisual format used by the cultural industries of film and music as a commercial communication tool, since it is based on a song from the soundtrack of a film, so that both the artist that performs the song and the film itself obtain promotional benefits. This paper conceptualizes this poorly studied phenomenon of cross-promotion connecting the music and film industries and uses a content analysis of 119 music videos produced over a period of 33 years in order to study the importance of the artist and the movie in the video, the various strategies developed in order to accomplish its double promotional mission, and the specific formal and strategic features of this audiovisual format. Analysis reveals that the soundtrack music video has the distinctive feature of including promotional elements both for the musical artist and for the movie. Although the artist tends to be more prominent, the vast majority of music videos include images from the film or use various ways of integrating the artist’s identity with the film’s iconography or narrative. Anyway, it is a phenomenon characterized by diversity, with the common pattern of the dual promotional objective, but with different ways of implementing that pattern.
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Eke, Ransome, Tong Li, Kiersten Bond, Arlene Ho, and Lisa Graves. "Viewing Trends and Users’ Perceptions of the Effect of Sleep-Aiding Music on YouTube: Quantification and Thematic Content Analysis." Journal of Medical Internet Research 22, no. 8 (August 24, 2020): e15697. http://dx.doi.org/10.2196/15697.
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Background Sleep plays an essential role in the psychological and physiological functioning of humans. A report from the Centers for Disease Control and Prevention (CDC) found that sleep duration was significantly reduced among US adults in 2012 compared to 1985. Studies have described a significant association between listening to soothing music and an improvement in sleep quality and sleep duration. YouTube is a platform where users can access sleep-aiding music videos. No literature exists pertaining to the use of sleep-aiding music on YouTube. Objective This study aimed to examine the patterns of viewing sleep-aiding music videos on YouTube. We also performed a content analysis of the comments left on sleep-aiding music video posts, to describe the perception of users regarding the effects of these music videos on their sleep quality. Methods We searched for sleep-aiding music videos published on YouTube between January 1, 2012, and December 31, 2017. We sorted videos by view number (highest to lowest) and used a targeted sampling approach to select eligible videos for qualitative content analysis. To perform the content analysis, we imported comments into a mixed-method analytical software. We summarized variables including total views, likes, dislikes, play duration, and age of published music videos. All descriptive statistics were completed with SAS statistical software. Results We found a total of 238 sleep-aiding music videos on YouTube that met the inclusion criteria. The total view count was 1,467,747,018 and the total playtime was 84,252 minutes. The median play length was 186 minutes (IQR 122 to 480 minutes) and the like to dislike ratio was approximately 9 to 1. In total, 135 (56.7%) videos had over 1 million views, and 124 (52.1%) of the published sleep-aiding music videos had stayed active for 1 to 2 years. Overall, 4023 comments were extracted from 20 selected sleep-aiding music videos. Five overarching themes emerged in the reviewed comments, including viewers experiencing a sleep problem, perspective on the positive impact of the sleep-aiding music videos, no effect of the sleep-aiding music videos, time to initiation of sleep or sleep duration, and location of viewers. The overall κ statistic for the codes was 0.87 (range 0.85-0.96). Conclusions This is the first study to examine the patterns of viewing sleep-aiding music videos on YouTube. We observed a substantial increase in the number of people using sleep-aiding music videos, with a wide variation in viewer location. This study supports the hypothesis that listening to soothing music has a positive impact on sleep habits.
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Su, Yan. "The Impact of Pop Music on Teenagers' Music Aesthetics under Short Video." International Journal of Social Sciences and Public Administration 3, no. 2 (June 26, 2024): 127–31. http://dx.doi.org/10.62051/ijsspa.v3n2.15.
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Popular music, also known as "popular music", has developed rapidly in China in recent years and is deeply loved by the public. With the popularity of smart phones and the development of the Internet, short video software has gradually emerged. The platform represented by Tiktok has brought a new path to the development of popular music. A batch of popular music that is popular with short videos has set off a boom in all age groups. Teenagers account for the largest proportion of Internet users. This paper briefly discusses the impact of short videos on teenagers and popular music, analyzes the aesthetic characteristics of teenagers' music, and takes Tiktok "Subject 3" as an example, the characteristics of popular music under the background of short videos and its positive aesthetic impact on teenagers, and provides reference and suggestions for cultivating teenagers' aesthetic appreciation of music.
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Fazrin, Ranti, and Alex Sobur. "Makna Syukur dalam Musik Video Yura Yunita di Youtube." Bandung Conference Series: Communication Management 3, no. 2 (July 28, 2023): 681–87. http://dx.doi.org/10.29313/bcscm.v3i2.8056.
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Abstract. The research entitled The Meaning of Gratitude in Yura Yunita's Music Video on Youtube is motivated by how the signs presented as gratitude through music videos are currently in demand by a wide audience. Music videos are a medium for musicians to convey meaningful messages to their listeners. This study aims to determine the meaning of gratitude in the music video “Dunia Tipu-Tipu” through John Fiske's semiotic theory and approach. The research method used is qualitative. Observation and Documentation as data collection techniques in this study as well as data analysis techniques in terms of the level of reality, the level of representation and the level of ideology. The results of the study show that the meaning of gratitude in the music video "Dunia Tipu-Tipu" is seen from the level of reality through the code of gestures, clothing, appearance, expression and sound. describes the presence of the closest people such as parents, partners and friends who are always there under any circumstances and conditions. Then at the representation level through the camera code, music, lighting and sentences show the meaning of gratitude in form of attention by paying attention to each other’s condition, warm hugs and holding hands. And at the ideology level, it can be concluded that the music video for "Dunia Tipu-Tipu" has an ideology of being grateful for the feelings you have for those closest to you.
Abstrak. Penelitian yang berjudul Makna Syukur dalam Musik Video Yura Yunita di Youtube ini dilatarbelakangi oleh bagaimana tanda-tanda dihadirkan sebagai rasa syukur melalui musik video yang sedang diminati saat ini oleh khalayak luas. Musik video menjadi salah satu media bagi musisi untuk menyampaikan pesan yang memiliki makna kepada para pendengarnya. Penelitian ini bertujuan untuk mengetahui bagaimana makna syukur pada musik video “Dunia Tipu-Tipu” melalui pendekatan teori semiotika John Fiske ditinjau dari dari level realitas, level representasi dan level ideologi. Metode penelitian yang digunakan yaitu kualitatif. Observasi dan Dokumentasi sebagai teknik pengumpulan data pada penelitian ini. Hasil penelitian menunjukkan makna syukur pada musik video “Dunia Tipu-Tipu” ditinjau dari level realitas melalui kode gesture, pakaian, tampilan, ekspresi dan suara. Digambarkannya atas kehadiran orang-orang terdekat seperti orang tua, pasangan dan sahabat yang selalu ada dalam keadaan dan kondisi apapun. Lalu pada level representasi melalui kode kamera, music, lighting dan kalimat ditunjukkannya makna syukur dalam bentuk perhatian dengan memperhatikan kondisi satu sama lain, pelukan hangat dan genggaman tangan. Dan dalam level ideologi dapat disimpulkan bahwa musik video “Dunia Tipu-Tipu” memiliki ideologi bersyukur atas rasa yang dimiliki terhadap orang-orang terdekat.
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Taylor, Kris P. "Interview." Alphaville: Journal of Film and Screen Media, no. 19 (July 23, 2020): 195–202. http://dx.doi.org/10.33178/alpha.19.17.
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Kris P. (formerly Puszkiewicz) Taylor moved to New York from London in 1980. She was working at Island Records in the Publicity and Artist Development department when MTV was launched in 1981. The department quickly expanded to include Music Videos and she was soon promoted to Director of Music Video Promotion and Production. She left in 1985 to work as Executive Producer at Zbig Vision in New York after commissioning Zbigniew Rybczyński’s first music video, the MTV-award-winning Close to the Edit (1985) by Art of Noise. After successfully working together on fourteen videos over two years Kris moved briefly to work at MCA Records in Los Angeles and then in 1988 became Director of Music Video Production at Columbia Records (West Coast), working with artists such as Bob Dylan, The Rolling Stones, Michael Bolton, The Bangles, Alice In Chains, Billy Joel, Carlos Santana and Mariah Carey. In all she commissioned or was involved in the production of over three hundred music videos.
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Haddon, Mimi. "Warp's Music Videos: Affective Communities, Genre and Gender in Electronic/Dance Music's Visual Aesthetic." Journal of British Cinema and Television 16, no. 4 (October 2019): 571–90. http://dx.doi.org/10.3366/jbctv.2019.0499.
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This article examines Warp's music videos primarily from the ‘Warp Vision’ era of 1989–2004. I adopt a multidisciplinary approach and map three analytical perspectives. Firstly, I look at the videos' origins in Sheffield's electronic/dance music scene of the early 1990s. I then consider the way in which Warp's visual aesthetic refracts a gendered and raced identity through the lens of cult fandom and the ‘techno-geek’. Finally, I scrutinise the gendered division of labour involved in the making of Warp's music videos and consider how production studies might enhance current approaches to the study of music video.
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Goldberg, Marvin E., Amitava Chattopadhyay, Gerald J. Gorn, and Jerry Rosenblatt. "Music, music videos, and wear out." Psychology and Marketing 10, no. 1 (January 1993): 1–13. http://dx.doi.org/10.1002/mar.4220100102.
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Swenberg, Thorbjörn, and Simon Carlgren. "On-Beat/Off-Beat." Projections 15, no. 1 (March 1, 2021): 28–54. http://dx.doi.org/10.3167/proj.2021.150103.
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Audio-visual rhythm can be achieved in a variety of ways, in film as well as in music videos. Here, we have studied human visual responses to video editing with regard to musical beats, in order to better understand the role of visual rhythm in an audio-visual flow. While some suggest that music videos should maintain synchrony in the audio-visual rhythm, and others claim that music videos should be rhythmically loose in their structure, there is a functional aspect of vision and hearing that reacts to the juxtaposition of audio and visual rhythms. We present empirical evidence of cognitive effects, as well as perceptual differences with attentional effects, for viewers watching music videos cut on-beat and off-beat.
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Noronha, Ana Luíza Silva, Frederico Leocádio Ferreira, and Juliana Maria Magalhães Christino. "EMPOWER YOURSELF OR DIE TRYING: A thematic and narrative analysis of the most famous music videos of Brazilian pop divas." Communication Papers 11, no. 22 (July 21, 2022): 96. http://dx.doi.org/10.33115/udg_bib/cp.v11i22.22774.
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<p dir="ltr"><span>This article reports how female empowerment and female sexual objectification are present in music videos and songs belonging to the Brazilian Pop Divas. From a thematic analysis of video clips and lyrics, about 70 video clips and songs present on Youtube were analyzed. Compared to male artists, female artists were more sexually objectified, held to stricter standards of appearance, and more likely to demonstrate sexually attractive behavior; moreover, female singers were subjected to secondary roles in their music videos before male participation. Therefore, the consumption of Brazilian Pop Divas' songs and music videos can influence and reinforce sexist attitudes and sexual objectification of the female figure for their consumers since these attitudes are normalized in present music videos and songs of the most acclaimed female singers in Brazil.</span></p><div><span><br /></span></div>
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Pentaris, Panagiotis, and Maria Yerosimou. "The role of background music in the experience of watching YouTube videos about death and dying." Journal of Education Culture and Society 6, no. 2 (January 2, 2020): 305–19. http://dx.doi.org/10.15503/jecs20152.305.319.
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YouTube is the largest video sharing site live at the moment. It has been used to communicate a vast array of information, while it allows for user-generated content. This paper will focus on YouTube videos that communicate death, and in particular will present findings from a preliminary study undertaken by the authors considering the role that background music plays in these videos.
Specifically, this study explores the experiences of the viewers of death-related YouTube videos with and without background music while it makes comparisons in relation to the impact that music has on the viewers’ emotional experiences.
We conclude that background music elicits emotions and enhances feelings of sadness and sympathy in relation to the visual content of videos while recommendations for future research are made.
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Su, Kun, Judith Yue Li, Qingqing Huang, Dima Kuzmin, Joonseok Lee, Chris Donahue, Fei Sha, et al. "V2Meow: Meowing to the Visual Beat via Video-to-Music Generation." Proceedings of the AAAI Conference on Artificial Intelligence 38, no. 5 (March 24, 2024): 4952–60. http://dx.doi.org/10.1609/aaai.v38i5.28299.
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Video-to-music generation demands both a temporally localized high-quality listening experience and globally aligned video-acoustic signatures. While recent music generation models excel at the former through advanced audio codecs, the exploration of video-acoustic signatures has been confined to specific visual scenarios. In contrast, our research confronts the challenge of learning globally aligned signatures between video and music directly from paired music and videos, without explicitly modeling domain-specific rhythmic or semantic relationships. We propose V2Meow, a video-to-music generation system capable of producing high-quality music audio for a diverse range of video input types using a multi-stage autoregressive model. Trained on 5k hours of music audio clips paired with video frames mined from in-the-wild music videos, V2Meow is competitive with previous domain-specific models when evaluated in a zero-shot manner. It synthesizes high-fidelity music audio waveforms solely by conditioning on pre-trained general-purpose visual features extracted from video frames, with optional style control via text prompts. Through both qualitative and quantitative evaluations, we demonstrate that our model outperforms various existing music generation systems in terms of visual-audio correspondence and audio quality. Music samples are available at tinyurl.com/v2meow.
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Gutiérrez, Miren, and Cristina Ubani. "A conceptual framework of the sexual objectification of women in music videos." Feminismo/s, no. 42 (July 10, 2023): 27–60. http://dx.doi.org/10.14198/fem.2023.42.02.
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Feminist theory has extensively explored the sexualization of women’s images across time. Women are sexually objectified in music videos, TV series, ads, cinema, video games, and other types of audiovisual content. Scholarship has acknowledged, for instance, that women’s visual objectification in news, publicity, and cinema can lead to discrimination and gender-based violence. Audiovisual content is especially impactful, while digital content has a broader and more immediate reach than other types of content. On the one hand, the consumption of music videos and other digital content among minors is rising. On the other hand, music videos influence the normalization of gender violence and gender stereotypes in girls and boys. Despite its importance, until now, there is no conceptual framework of the sexualization of women in music videos. What elements compose the sexual objectification of women in music videos? What dimensions does it encompass? Can they be operationalized to serve as a basis for further analysis? Based on a literature review and analysis by three gender experts of five of the most popular music videos on YouTube in 2020, this article offers a new framework that can serve as a reference. This topic is especially relevant in the age of platforms because, once these videos are online in the public domain, they become the basis for biased algorithmic decision-making.
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Rahman, Annisa, and Filosa Gita Sukmono. "Representation of Girl Power in Music Video of K-Pop Girlband ITZY." Symposium of Literature, Culture, and Communication (SYLECTION) 2022 1, no. 1 (December 2, 2022): 122. http://dx.doi.org/10.12928/sylection.v1i1.11447.
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Music video is one form of communication media that contains audio and visual. Through music videos, creators can convey messages which are a form of self- expression of phenomena that occur around them. One phenomenon that is widely discussed today is the case of discrimination against women, this is something that is still being fought for in South Korea and throughout the world. More and more young women today are uniting to fight the views that tend to hinder women from expressing themselves. Based on this phenomenon, the South Korean entertainment industry has participated in fighting for women's rights through music videos from K-Pop with the theme Girl Power. This study aims to determine the representation of Girl Power in ITZY's music video entitled ICY and WANNABE. This research method uses an interpretive qualitative research approach, data collection through documentation, and literature study is then analyzed using Roland Barthes' semiotics. The results showed that there were depictions of scenes in two ITZY music videos entitled ICY and WANNABE which were denotative, connotative, and mystical signs as a representation of Girl Power. This study concludes that ICY and WANNABE's music videos illustrate that women must be confident and strong, and have choices in life.
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Yang, Xueting, Ying Yu, and Xiaoyu Wu. "Double Linear Transformer for Background Music Generation from Videos." Applied Sciences 12, no. 10 (May 17, 2022): 5050. http://dx.doi.org/10.3390/app12105050.
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Many music generation research works have achieved effective performance, while rarely combining music with given videos. We propose a model with two linear Transformers to generate background music according to a given video. To enhance the melodic quality of the generated music, we firstly input note-related and rhythm-related music features separately into each Transformer network. In particular, we pay attention to the connection and the independence of music features. Then, in order to generate the music that matches the given video, the current state-of-the-art cross-modal inference method is set up to establish the relationship between visual mode and sound mode. Subjective and objective experiment indicate that the generated background music matches the video well and is also melodious.
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Pettit, Joseph A., and Costas I. Karageorghis. "Effects of video, priming, and music on motivation and self-efficacy in American football players." International Journal of Sports Science & Coaching 15, no. 5-6 (July 2, 2020): 685–95. http://dx.doi.org/10.1177/1747954120937376.
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Highlight videos accompanied by inspiring music can help in enhancing an athlete’s motivational state and self-efficacy (SE). The addition of verbal priming techniques could provide a further boost, but this combination of audiovisual stimuli has yet to be examined in a sport context. A repeated-measures, crossover design was used. The study entailed a pretraining intervention administered to American football players ( N = 32). Measures included the Situational Motivation Scale and an SE scale. Participants were exposed to control, music, video, video-music, video-priming, and video-music-priming conditions. Repeated-measures MANOVA indicated that the video-music condition elicited the strongest response in terms of increasing intrinsic forms of motivation ( p = .010) and decreasing amotivation ( p = .019). Three of eight SE components (Perceptions of Effort, Consistency, and Concentration), and an overall global SE score were significantly enhanced by the experimental stimuli, with video-music-priming eliciting the most positive response, followed by video-music. The present findings indicate the utility of audiovisual interventions combined with verbal primes immediately prior to sporting performance. Practitioners working with athletes might consider the preperformance use of motivational music and videos along with embedded subliminal verbal primes.
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Pick, Michał. "Co jest grane? O relacjach muzyki i ruchomego obrazu w wideoklipach muzycznych." Literatura i Kultura Popularna 28 (October 7, 2022): 225–43. http://dx.doi.org/10.19195/0867-7441.28.15.
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The article discusses the relations between sound and moving image in music videos. The author, referring to the concepts of researchers such as Jurij Łotman, Carol Vernallis, Urszula Jarecka, Mirosław Przylipiak, and others, draws attention to the special type of synthesis which occurs between sound and vision in music videos. Supporting his considerations with the analysis of representative video clips, the author proves that the mutual relation of sound and image is an important element of the narration present in music videos. Sound (in the form of a song) is the core element of music videos, but their polymedia nature allows to emphasize correlation and synthesis of individual layers comprising its structure. The higher-order communication quality created in this way results from the integration of semantically different-code elements, which can be seen in the analytical part.
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Kerr, David. "'Maisha yetu ya kila siku kama vile movie': Fantasy, desire and urban space in Tanzanian music videos." Journal of African Cinemas 11, no. 3 (December 1, 2019): 225–40. http://dx.doi.org/10.1386/jac_00018_1.
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Abstract An explosion of creative practices in music, film and video production followed the liberalization of the Tanzanian media in the early 1990s. Concerned about cultural imperialism, Tanzania's first president Julius Nyerere had resisted allowing television in mainland Tanzania and consequently the first licence was only granted in 1994. Following the establishment of the first TV station there has been a proliferation of TV station and online platforms circulating the new genre of popular music videos. During the last decade, new media spaces, including continent-wide TV channels such as Channel O and MTV Africa (both based in South Africa), have created new circuits for the circulation of Tanzanian music videos. New media spaces enabled by liberalization have become sites for negotiating gendered, moral and sociopolitical value. They also serve as imaginative sites of desire and fantasy. Music videos set in the cinematic space of Dar es Salaam's new high-rise buildings and 'exclusive' clubs have become something of a trope in Tanzania. These videos display fantasies of enjoyment and consumption. In so doing, they reflect neo-liberal and individual modes of wealth accumulation which challenge accepted social norms about consumption and wealth. Examining these new contemporary cinematic representations of the city as spaces of fantasy and desire, this article will explore the modes of spectatorship audiences bring to these videos. It will examine how audiences, largely excluded from these exclusive city spaces of consumption and excess, read cityscapes in music videos. This article ultimately sets out the multiplicity, ambiguity and indeterminacy of the desires (both creative and destructive) evoked in audiences by contemporary music video.
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Henderson, David. "World Music Videos Today." World Literature Today 88, no. 2 (2014): 7. http://dx.doi.org/10.1353/wlt.2014.0241.
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David Henderson. "World Music Videos Today." World Literature Today 88, no. 2 (2014): 7. http://dx.doi.org/10.7588/worllitetoda.88.2.0007.
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Perrott, Lisa. "Experimental animation and the neosurrealist remediation of popular music video." Animation Practice, Process & Production 8, no. 1 (December 1, 2019): 85–106. http://dx.doi.org/10.1386/ap3_00006_1.
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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.
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Rossetto, Tania, and Annalisa Andrigo. "Cities in music videos: Audiovisual variations on London’s neoliberal skyline." Urban Studies 55, no. 6 (June 13, 2017): 1257–73. http://dx.doi.org/10.1177/0042098017707928.
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Despite the resurgence of music video clips in the YouTube era, they have not received attention as a specific subject of inquiry in either cultural or urban geography. This article is aimed at providing a full consideration of music videos with a focus on the urban realm. In particular, the paper concentrates on how neoliberal iconic buildings and city skylines emerge in music videos by using London as a case study. Drawing from recent developments within architectural geography and urban morphology, as well as in the geocultural subfields of music geography, media geography and film geography, the paper shows how a partial return to critical traditional interests and text-based research styles could be still useful to appreciate the mutable, fluid, and affective ways in which skylines are mediated. The empirical part of the paper provides an analysis of three music videos set in London and with lyrics and music that refer to a mood or feeling ascribed to London’s iconic architecture.1
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Dixon, Travis L., Yuanyuan Zhang, and Kate Conrad. "Self-Esteem, Misogyny and Afrocentricity: An Examination of the Relationship between Rap Music Consumption and African American Perceptions." Group Processes & Intergroup Relations 12, no. 3 (April 17, 2009): 345–60. http://dx.doi.org/10.1177/1368430209102847.
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The aim of this study was to examine the relationships between African American audiences, rap music videos, Black collective self-esteem, and attitudes towards women. One-hundred and forty-one African American college students participated in a survey measuring their amount of rap music video viewing, collective self-esteem, Afrocentric identity, and their belief that rap degrades women. The results revealed that viewers who consumed more rap music videos also had a higher sense of collective self-esteem. Additionally, individuals who had strong Afrocentric features tended to identify with rap music videos that contained characters with strong Afrocentric features. Finally, consumption of misogynistic rap content was negatively related to the belief that rap music degrades women. These results are discussed in light of Allen's (1993, 2001) cultural lens perspective, Appiah's (2004) theory of ethnic identification and the priming paradigm. Suggestions are made for future research concerning African American audiences and rap music.
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Oishi, Ai, Eiji Kamioka, Phan Xuan Tan, and Manami Kanamaru. "Improvement of Presence in Live Music Videos and Alleviation of Discomfort of Viewers by Zooming Operation." Journal of Image and Graphics 11, no. 3 (September 2023): 233–41. http://dx.doi.org/10.18178/joig.11.3.233-241.
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People can enjoy watching live performances without visiting live venues thanks to the development of live music streaming services on the Internet. However, such live music videos, especially those recorded by amateur band members, lack a sense of presence. Therefore, in the previous study, the authors proposed a method to improve the sense of presence in live music videos by performing zooming on the video frames. It achieved enhancing the sense of presence. However, it also increased the discomfort of the viewers. This is because the zooming was performed not on a music performer but in the center of the screen, resulting in an unnatural experience for the viewer. Therefore, in this paper, a new zooming method, which effectively emphasizes the music performer with intense movement, is proposed, introducing the concept of the “Main Spot”. The evaluation results through an experiment verified that the proposed method improved the sense of presence in live music videos and alleviated the discomfort of the viewers.
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Chandi, Jasdeep Kaur, and Kulveen Trehan. "The cultural shareability of Korean popular media in India: A reflexive thematic analysis of BTS music videos." East Asian Journal of Popular Culture 8, no. 1 (April 1, 2022): 27–52. http://dx.doi.org/10.1386/eapc_00061_1.
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In this article, the BTS phenomenon in India was examined by looking closely at the music of this South Korean band. A reflexive thematic analysis was performed on five BTS music videos followed by interviews with self-identified Indian BTS fans. Three salient themes were identified in the music videos and fans’ interview responses: the fusion of multiple music video genres, cultural hybridity and love as an evolutionary process. It is suggested that these identified themes are culturally shareable with Indian fans. The cultural shareability of the music of BTS has gradually created a mere-exposure effect amongst Indians, which is responsible for their growing affinity for Korean popular media.
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Pancake, Catherine. "Optical Scores for Improvised Music." Leonardo Music Journal 21 (December 2011): 17–18. http://dx.doi.org/10.1162/lmj_a_00055.
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The author describes her creation and use of HD videos that serve as projected scores for improvisatory musicians. Each video score provides pulsing color and visual elements to inspire the improvisation group in performance.
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Levine, Robert. "Videos." Opera Quarterly 5, no. 2-3 (1987): 142–63. http://dx.doi.org/10.1093/oq/5.2-3.142.
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JACKSON, JOSEPH O. "Searching for Soul, Reframing the Pursuit of Capital." Music, Sound, and the Moving Image 16, no. 1 (July 1, 2022): 53–77. http://dx.doi.org/10.3828/msmi.2022.3.
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Two music videos were commissioned for Aloe Blacc’s breakthrough song ‘I Need A Dollar’ (2010). The Harlem, New York version directed by Kahlil Joseph adopts a split-screen technique, depicting an unnamed man negotiating the city’s busy streets while, at the same time, framing Blacc as a directionless musician singing wistfully at the window of a dilapidated flat. Derek Pike’s Las Vegas, Nevada version, on the other hand, portrays the singer as a struggling musician traversing the desert before - unexpectedly - winning the jackpot at a casino. This article explores two main lines of argument. Firstly, I explore how institutional and industrial contexts result in two distinguishable music videos, suggesting that although both versions are created in similarly professional and commercialised settings one video is produced within a more ‘independent’ environment. Secondly, I explore how two different music videos can emphasise or de-emphasise certain elements of a song’s content and meaning, drawing from Emily J. Lordi’s theorisation of ‘soul’ to suggest that the ‘soul music’ qualities of Blacc’s ‘I Need A Dollar’ record are emphasised when practitioners adopt a more ‘soulful’ approach to music video creation (Lordi, 2020).
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Putri, Astrid Hidayanti Ananda. "The Representation of Non-Heterosexuality in YouTube: Study on K-Pop Girl Group Music Video." MUHARRIK: Jurnal Dakwah dan Sosial 4, no. 02 (September 17, 2021): 201–18. http://dx.doi.org/10.37680/muharrik.v4i02.844.
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Since the late 2000s, the Korean pop music industry (K-pop) has made significant progress outperforming the music industry of other countries. The abundance of South Korean media content showing the concept of “Girl Band” is engaging because of changes in gender representation in the Korean pop music industry. This study focuses on the representation of non-heterosexuality in the music videos of the K-Pop girl groups Mamamoo, Loona, and Red Velvet. The Music Video (MV) of the three girl bands shows other sexual orientations, as is often shown in the South Korean media. By observing the three music videos, the author found that South Korea has begun to represent several sexualities and genders that exist through the KPop industry. This study aims to analyze how the South Korean entertainment industry began to represent non-heterosexuality in the music video clips of K-Pop girl groups. The method used in the study uses a qualitative approach with semiotic analysis by John Fiske. The results of this study indicate the existence of a non-heterosexual ideology implied by the three girl groups through the content in the music video uploaded on the Youtube media platform
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Muller, Sophie. "Interview." Alphaville: Journal of Film and Screen Media, no. 19 (July 23, 2020): 211–18. http://dx.doi.org/10.33178/alpha.19.19.
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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.
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Caston, Emily. "Music videos in the British screen industries and screen heritage: From innovation to curation. Introduction." Alphaville: Journal of Film and Screen Media, no. 19 (July 23, 2020): 154–59. http://dx.doi.org/10.33178/alpha.19.13.
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In December 2019, Rolling Stone magazine ran a piece on the best videos of the year which began by asking, “What even counts as a music video now?” (Shaffer). Vevo, Tiktok and Instagram TV have blurred the lines. Videos can be an hour long. They can be events on YouTube Premiere. They can be virtual reality. The idea that the world of the earliest creators of pop promos was simple in comparison to today subtends this dossier. In 2015, I was awarded an Arts and Humanities Research Council (AHRC) grant to investigate the history of music videos in Britain since 1966. At the end of the grant, I curated a collection of the most significant of those videos into a limited-edition box set (Power). Selecting them involved very detailed discussions with our interviewees and industry consultants about just what a “music video”—known as a “promo” until the mid 1980s—is. The term “music video” arose in the 1980s. It was used in record labels to describe visual products mastered on physical videotapes for television broadcast. In fact, almost all of those products were shot on celluloid (16mm or 35mm) until digital technologies allowed HD to become the norm in the 2000s. For the purposes of this dossier, I define music videos and pop promos as a type of musical short film for mass audiences commissioned and released by record labels (usually) at the same time as the release of a synchronised audio “single”; the shorts comprise a copyrighted synchronised picture and audio track in which a percentage of the royalties accrue to the recording artist and/or record label. This dossier is a collection of core materials emerging from the AHRC project.
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Nafie, Juan Ardiles. "Pemaknaan Profesi Perempuan Dalam Video Musik Lokal Di Nusa Tenggara Timur." Jurnal Communio : Jurnal Jurusan Ilmu Komunikasi 9, no. 1 (July 15, 2020): 1538–63. http://dx.doi.org/10.35508/jikom.v9i1.2311.
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The appearance of women in music videos is a site that shows various ideologies which influence the thinking of a society about the construction of women, including the construction of the profession of women. The appearance of women is inseparable from values and is not solely in the interests of women but there are certain interests.
This study wants to see whether the representation of the women's profession in the local music video shows strength in women or leads to a new repression for local women in East Nusa Tenggara. The aims of this study are to provide an overview of the meaning of the women's profession through local music videos of East Nusa Tenggara and to provide a description of the hybridity discourse in the depiction of the women's profession through the NTT Local music video. The type of this research is descriptive qualitative research uses the approach of feminism, the women's profession, public space and cultural hybridization theory to see how the meaning of the women's profession in local music videos in East Nusa Tenggara.
This study uses the analysis of semiotics of Carol Vernalis. The data in this study were analyzed in 3 stages, namely: (1) structural analysis created in the music video, (2) reading the video chronology and analysis of two specific parts, and (3) understanding the women's profession in terms of cultural hybridity.
The results of this study indicate that women who are teachers are not professionally interpreted as attached to the teaching profession but emphasize the symbols of modern women through space and fashion. Hybridity between the appearance of modern women but still bound by local patriarchal culture. Women who are midwives are interpreted by the domestication of women. Women are shown with an ideal picture of women. The meaning of the women's profession experienced repression, where the women's profession featured in this local music videos is the result of a tug-of-war on various discourses in which the appearance is more concerned with modernity that leads to industrial interests. Hybridity is not only related to the fusion of culture but the consequences of domination that arise when there is fusion of culture. In the end, this music videos do not fully show the female profession but the interests of modernity, global, patriarchy are prioritized.
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Putranto, Teguh Dwi, and Daniel Susilo. "Message of Nationalism in the Music Video 'Wonderland Indonesia'." Jurnal Komunikatif 10, no. 2 (December 2021): 185–96. http://dx.doi.org/10.33508/jk.v10i2.3520.
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Film is a communication medium that includes audio-visual types that are used to convey messages to a group of people watching. In addition to films, music videos which are also a medium of communication also convey messages in an audio visual work. One of the trending music videos during the celebration of the 76th Anniversary of the Republic of Indonesia (HUT RI) in 2021 is "Wonderland Indonesia". Through “Wonderland Indonesia” the landscape of Indonesia and the diversity of Indonesian culture is shown with epic cinematography. This study aims to determine how the message of nationalism in the music video "Wonderland Indonesia". The method used in this research is Charles Sanders Peirce's semiotics of the music video "Wonderland Indonesia" on Alffy Rev's YouTube Channel. The conclusion of this study is that the message of nationalism in the music video "Wonderland Indonesia" is so that the Indonesian people have a sense of devotion for Indonesia, have courage in defending Indonesia, self-determination so as not to be shaken, purity of heart, and have an unyielding spirit and a spirit that never goes out.
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Vernallis, Carol. "The aesthetics of music video: an analysis of Madonna's ‘Cherish’." Popular Music 17, no. 2 (May 1998): 153–85. http://dx.doi.org/10.1017/s0261143000000581.
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When we become engaged with a music video, what draws us in? What constitutes craft or artistry in the genre? Theorists of music video have usually addressed these questions from the perspective of sociology, film theory or popular cultural studies. Film theory, in particular, has had a tremendous influence on the analysis of music video, because of the two genres' apparently similar structuring of sound and image. But by the criteria of film, music videos tend to come off as failed narratives; the genre's effectiveness eludes explanation.