Results 141 to 150 of about 601,262 (201)
Some of the next articles are maybe not open access.
2012
Music video emerged as the object of academic writing shortly after the introduction in the United States of MTV (Music Television) in 1981. From the beginning, music video was claimed as the focus of academic study by different disciplines or subfields, leading to evident tensions and territorial disputes in early scholarship.
William Straw, Mathias Bonde Korsgaard
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Music video emerged as the object of academic writing shortly after the introduction in the United States of MTV (Music Television) in 1981. From the beginning, music video was claimed as the focus of academic study by different disciplines or subfields, leading to evident tensions and territorial disputes in early scholarship.
William Straw, Mathias Bonde Korsgaard
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2017
This book is a lively, comprehensive and timely reader on the music video, capitalising on cross-disciplinary research expertise, which represents a substantial academic engagement with the music video, a mediated form and practice that still remains relatively under-explored in a 21st century context. The music video has remained suspended between two
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This book is a lively, comprehensive and timely reader on the music video, capitalising on cross-disciplinary research expertise, which represents a substantial academic engagement with the music video, a mediated form and practice that still remains relatively under-explored in a 21st century context. The music video has remained suspended between two
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2008
Abstract Music Video Television (MTV), launched in August 1981, became increasingly prominent in the 1980s. Although music videos had been pioneered before MTV, the cable channel afforded a dedicated platform to promote sales of recorded music, a function previously assumed by radio.
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Abstract Music Video Television (MTV), launched in August 1981, became increasingly prominent in the 1980s. Although music videos had been pioneered before MTV, the cable channel afforded a dedicated platform to promote sales of recorded music, a function previously assumed by radio.
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Popular Music and Society, 1983
The Kinks, ONE FOR THE ROAD Vestron Video 60 min. $29.95. Neil Diamond, LIVE AT THE GREEK. Vestron Video. 60 min. (HiFi) Video 45s XX½ Stray Cats. Sony Corp. Video 45. (13 min.) XXX David Bowie. Sony Corp. Video 45 (14 min.) Duran Duran. Sony Corp. Video 45 (11 min.)
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The Kinks, ONE FOR THE ROAD Vestron Video 60 min. $29.95. Neil Diamond, LIVE AT THE GREEK. Vestron Video. 60 min. (HiFi) Video 45s XX½ Stray Cats. Sony Corp. Video 45. (13 min.) XXX David Bowie. Sony Corp. Video 45 (14 min.) Duran Duran. Sony Corp. Video 45 (11 min.)
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Traveling Music Videos offers a new interdisciplinary perspective on how contemporary music videos travel across, shape, and transform various media, online platforms, art institutions, and cultural industries worldwide. With the onset of digital technologies and the proliferation of global video-sharing websites at the beginning of the 21st century ...
Tomáš Jirsa, Mathias Bonde Korsgaard
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Tomáš Jirsa, Mathias Bonde Korsgaard
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2020
This chapter examines music video dissemination. Through an initial discussion of Passenger’s video for his song ‘Let her go’ (2012), a video that has a YouTube viewership in the billions and as such is an outlier in the field, this chapter examines YouTube’s role in the music business ecology.
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This chapter examines music video dissemination. Through an initial discussion of Passenger’s video for his song ‘Let her go’ (2012), a video that has a YouTube viewership in the billions and as such is an outlier in the field, this chapter examines YouTube’s role in the music business ecology.
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Dynamic Music Video: Categorizing the Convergence of Video Games and Music Videos
Games and CultureThe present article examines how the aesthetics of a specific format can be applied to another, thus creating a new autonomous product. This is the case of a distinctive point in video games wherein the playthrough is imbued with music video aesthetics, and the player interacts with the music, camera movements and landscape, becoming the protagonist ...
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Popular Music, 1988
In order to take advantage of the promotional potential of the music video, the country music industry was forced to adapt a medium with conventions and aesthetic elements established by other musical genres – by pop and rock. And to reach its distinct market country music video also had to incorporate country's own established iconographic elements ...
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In order to take advantage of the promotional potential of the music video, the country music industry was forced to adapt a medium with conventions and aesthetic elements established by other musical genres – by pop and rock. And to reach its distinct market country music video also had to incorporate country's own established iconographic elements ...
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