To perform this i read articles and watch TV interviews to support my media work.
DANCING IN THE DISTRACTION FACTOR
Written by Andrew Goodwin
He points out that peopel blame MTV for young audience’s short attention span and says that MTV has made teh world a worser place however he argues taht it allowed blcak artists such as MJ to break through the raec barrier and becoem a global superstar.
However FRY views them as “glorified adverts” that are tools to promote teh artist(s) in contarst to GOODWIN who goes on to talk about how ahrd it is to catergorise MVS because their diversity of beign an art form.
Fiske believes they are an upcomign and future popular art form as where Walker sees them as a precouse visual art form that should be repescted. The authour LEWIS refers to them as SHOPPIGN AMLL CULTURE where the video is a shopping window to teh audince to teh buy the music it promotes.
Most interestingly MARCUS cals them semiotic pornography and only for the single minded male and not suitbale for children that its targetd at.
Sound and Vision: a Music Video Reader
Edited by Simon Frith
Commidifiaction/ taliknign of the ways that music isn’t just produecd for pleasure but is for waelth and fame. Its somehting taht can be packaged and sold in teh form of CDS and Albums. (MVS are a buisness format)
Textual SCHZOPHRENIA means the way how a MVS jumps from one place to another, however if it looks cools its OK.
Also the Disappearnce of Reality where directors use animation to turn peopel into animals and buildigns into monsters but aslogn as it looks cool….
The erosion of authenticity. Music can be considered at its most authentic when people are playing instruments or singing live peformign in concerts. However in music videos, artists are just actors, lip-synching to songs or miming along to the pre-recorded music.
Viewers know the musicians are not actually performing, but go along with this ‘in-authentic authenticity’ because we are more concerned with the visual spectacle of the video rather than whether it is ‘real’. Frith takes a different side to that of Goodwin when talking about the star image and its impact of the music world. Frith sees the importance of an image as a bad thing as it is unfair to musically talented artists who have a ‘poor’ image. Frith also states how music videos are also ‘criticised because they limit the imaginative freedom of fans by taking away the listener’s freedom to interpret a song how they like, by imposing a visual or even narrative interpretation of the song upon them.’
Videos Go to the Wall
Written by Andy Beckett
This newspaper article featuring on MVS during the time (1996) and analysis’ why they were ‘dying’ especially looking at key reasons relating to; production, pre-production and post-production
Beckett firstly interview Christine Boar a worker at MTV’s Hq, and discussese her opinions towards MVS and whether she and her industry feel as if it is a ‘dying art form’. Christine goes on to say “It’s not exactly very exciting to have videos on all the time. It’s not interactive. It’s not personable… When videos first came out, people thought, ‘Wow, someone’s put pictures to music.’ Now, they say, ‘Is the song good?’ A lot of people just have MTV on in the background.” This may be due to the following facts:
- People believed MVS were to cliche, generally rubbish, and lacked inspiration and creativity. Pordcution cost were spiralling along with the fact only 1 in 4 housese had muiltichanneled television where MVS were shown e.g. MTV etc
During this interview, Beckett stumbles across other aspects of why music videos were a ‘dying art’ in the 80′s:
- The view that music videos are little more than adverts
- Inability for critics to recognise music videos as an Art Form in their own rights
The Seonds point that Beckett puts across is that ‘Tastes in pop videos – indeed, the taste for pop videos;
have shifted and diminished.’ Looking a Duran Duran, ‘Save a Prayer’, Beckett explains the concept of the music video and the storyline and theme eighties bands commonly used. All the ‘cheesy’ and cliché conventions of music videos in the eighties can be seen; complete with the use of slow motion, planes, speedboats, tropical beaches, and alow sunset.