Popular Music on Screen: From the Hollywood Musical to Music Video

2000 ◽  
Vol 29 (6) ◽  
pp. 846
Author(s):  
Chelsea Starr ◽  
John Mundy
Keyword(s):  
Popular Music ◽  
Music Video

Music video in its contexts: popular music and post-modernism in the 1980s

Popular Music ◽  
1988 ◽  
Vol 7 (3) ◽  
pp. 247-266 ◽  
Author(s):  
Will Straw
Keyword(s):  
Popular Music ◽  
Rock Music ◽  
Surrounding Rock ◽  
Music Video ◽  
Post Modernism ◽  
Song Lyrics ◽  
Music Experience ◽  
To Come ◽  
The Individual

Writing on music video has had two distinctive moments in its brief history. The first wave of treatments tended to come from the culture surrounding rock music and from those who were primarily interested in music video as something which produced effects on that music. Here, two claims were most common, and generally expressed in the terms and the contexts of rock journalism:(1) that music video had made ‘image’ more important than the experience of music itself, with effects which were to be feared (for example, the potential difficulties for artists with poor ‘images’, the risk that theatricality and spectacle would take precedence over intrinsically ‘musical’ values, etc.);(2) that music video would result in a diminishing of the interpretative liberty of the individual music listener, who would now have visual or narrative interpretations of song lyrics imposed on him/her, in what would amount to a semantic and affective impoverishment of the popular music experience.

Experimental animation and the neosurrealist remediation of popular music video

2020 ◽  
Vol 8 (1) ◽  
pp. 85-106
Author(s):  
Lisa Perrott
Keyword(s):  
Popular Music ◽  
Performing Arts ◽  
Music Videos ◽  
Music Video ◽  
Popular Entertainment ◽  
Close Analysis ◽  
Art And Culture ◽  
Animation Technique ◽  
Experimental Animation ◽  
Functionally Diverse

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.

Coda

2020 ◽  
pp. 215-222
Author(s):  
Landon Palmer
Keyword(s):  
Popular Music ◽  
First Century ◽  
Music Video ◽  
Recording Industry ◽  
Unique Form ◽  
Moving Image ◽  
Political Expression ◽  
Feature Film ◽  
Medium Specificity ◽  
History Of

This chapter concludes the volume with a concise coda that problematizes the genre and medium specificity of categories such as “rock” and “cinema,” and interrogates their relevance to understanding popular music stardom onscreen in the twenty-first century. By exploring several recent visual albums, this coda demonstrates how the history of rock stardom onscreen paved the way for the unification of the feature film and the music video on display in this unique form. Yet, at the same time, visual albums present musicians with renewed opportunity for overt political expression and aesthetic experimentation not seen since late 1960s rock movies. Visual albums are ultimately the latest intersection between the recording industry and moving image media—an intersection that, as this book demonstrates, has a rich and enduring history.

Negotiating Gender, Popular Culture, and Social Justice in Music Education

2015 ◽  
pp. 581-597
Author(s):  
Joseph Abramo
Keyword(s):  
Social Justice ◽  
Popular Culture ◽  
Music Education ◽  
Popular Music ◽  
Music Videos ◽  
Female Empowerment ◽  
Music Video ◽  
The World ◽  
Relations Of Power

This chapter describes how educators may use Stuart Hall’s encoding/decoding model to create instruction and curricula that challenge students to critically examine popular music. Through this process, students generate dominant, oppositional, and negotiated readings of songs, music videos, and other popular culture texts, and situate these readings within relations of power and privilege. This pedagogical process is illustrated in an analysis of contested notions of “female empowerment” in Beyoncé Knowles’s music video Run the World (Girls). Finally, limitations of the encoding/decoding model are accounted in order to create new aims for social justice in music education, including the exploration of diversity and the exploration of societal power and privilege in the production and reception of popular music.

scholarly journals Światła małego miasta. O doświadczaniu i opisywaniu małomiasteczkowości Zbliżał

2021 ◽  
Vol 12 (330) ◽  
pp. 376-388
Author(s):  
Maria Szoska
Keyword(s):  
High School ◽  
High School Students ◽  
Popular Music ◽  
Music Video ◽  
School Students ◽  
The Difference

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

Sign in / Sign up

Export Citation Format

Share Document