My Blog

Just another WordPress.com site

MUSIC VIDEO HISTORY June 24, 2011

Filed under: Secondary Research — ryansmith66 @ 9:23 pm

80s to the 90s the birth of videos

MVS only when big to the public in the 1980’s when the launch of a new tv station MTV( august 1st 1981) a tv station dedicated to showing 24hr non-stop music videos to the cable subscribers. MTV saw the potential for MVS and signed up to a couple of big time record labels to try and produce big hit videos for BIG HIT SINGLES. MVS prior motives were promotional tools and film clips but with the aid of MTV they became the modern day art form.

***********************************************************************************************************

The first video shown was an icon statement of MTV’s by choosing to preview “VIDEO KILLED THE RADIO STAR” by the BUGGLES. As MVS grew more and more popular acts such as MADONNA & MJ started to owe alot of their successes in the early 90’s the creative directors of the films.

However it was provign to be costly and lengthy to produce videos so in the latter stages of teh 90’s tecniques such as image compositions, portable and handheld high qaulity coloured camcorders were released. Allowing producers and artists to turn out videos in a couple of weeks and cheaply. Then directors started to have the idea of introducing storylines and live footage to videos a convention that are still upheld.

However artists in these video were sparced, in fact they are created to promote the artists as much as teh song so all videos began to concentrate on teh artists themselves and began to commify them as sex symbols or bad boys etc.

NOVEMBER 1983, even to-date the highest grossing song and most influentcial video and song ever released, MICHAEL JACKSON: THRILLER produced by EPIC RECORDS which costed $500,000. However its airing was shrouded in controversy as prior hits such as “SUPER FREAK” which took the US charts by force, video never aired by MTV which led to the artist’s RICK JAMES retalation callign the show racist. This would be th eifrst MVS aired that had been sung by an AFRICAN AMERICAN.

***********************************************************************************************************

MJ didnt animation or live concert footgae or models but told stories such as THRILLER and SMOOTH CRINIMAL also BILLY JEAN where he would usee effects such as the glowing side walk and mass choreography sessions which made the video famouse.

***********************************************************************************************************

The 00’s

The 1st company to feature MVS virally were teh IRC based group who recoreded them off teh television and exchnaged teh files via IRC channels. The rival group iFILM launched in teh summer if 97 which allowed subscribers to send media file via e-mail to other users allowign MVS to be shown for free. By 2002 MTV gaev uup on airing MVS in favour of reality television which was provign a huge hit USA and still is today.

***********************************************************************************************************

YOUTUBE’s launch in 2005 makign the lengthy process of downlaodign and chunign in to watch MVS was over, with YOUTUBE’s instant connection with high qaulity assurance. Also by managing directors of FACEBOOK & MYSPACE MVS were able to be downlaoded from YOUTUEBE and be featured on ypur homepage, allowign record labels to reach a huge, global audience for free without marketing.

***********************************************************************************************************

In 2007, the RIAA issued cease-and-desist letters to YouTube users to prevent single users from sharing videos, which are the property of the music labels. After its merger with Google, YouTube assured the RIAA that they would find a way to pay royalties through a bulk agreement with the major record labels. This was complicated by the fact that not all labels share the same policy toward music videos: some welcome the development and upload music videos to various online outlets themselves, viewing music videos as free advertising for their artists, while other labels view music videos not as an advertisement, but as the product itself.

MTV itself now provides streams of artists’ music videos, while AOL‘s recently launched AOL Music, featuring a wide collection of advertising supported through the streaming of videos. The Internet is now the primary market for record companies to promote their artists. When first launched, Apple’s iTunes Store provided a section of free music videos in high quality compression to be watched via the iTunes application. More recently the iTunes Store has begun selling music videos for use on Apple’s iPod with video playback capability.

********************************************************************************************************

Another significant factor in the change in direction towards Music Video airplay, MTV officially dropped the Music Television tagline on February 8, 2010 from their logo in response to their increased commitment to non-scripted reality programming and other youth-oriented entertainment rising in prominence on theirnetwork.

EVALUATION

This has helped me because, i need to change and challenge the common convention of music by using my own ideas and images, the best way of doing this is to look how conventions have changed of teh years and bring back some of the original ideas before hi-tech animations.

Back in teh begginign low budgeted videos were created without featurign teh artist, this will be used in my video as well will cutaway scenes to carry on the story and leaving the main narrative of the dance off. But challenging teh choruse MVS repition nothing will be repeated in my video however i will slow down or rewing certain moves becasue of the perfect imagery to please teh viewer.

 

MUSIC VIDEO STYLINGS

Filed under: Primary Research,Secondary Research — ryansmith66 @ 9:03 pm

After researching differnt features of MVS i discovered they are broken into 3 differnt catergories:

  • ILLUSTRATION
  • DISJUNCTURE
  • AMPLIFICATION

Illustartional Videos

Although these are quite common and can be effective, some may argue that it is too simple and leaves no room for creativity. I believe this type of video is effective as it creates entertainment for the audience which means they will want to watch this type of video repeatedly.

This is the most common way of explaining the narrative; in which music videos use a set of images to simply illustrate the meaning in what the song is saying. It gives the audience a visual image of the audio they are listening to, as if they are watching a mini-film.This video demonstrates the tense struggle between two people in a relationship.Are songs that the written lyrics lituarlly and develop these words into an narrative for a lyrical journey. This is called visualisation. This is considered as the basic technique. Although this can be quite popular many critics believe that this is too simple and not very creative.

A good example of this is EMINEM’S ‘LOVE THE WAY YOU LIE’

http://www.youtube.com/watch?v=uelHwf8o7_U

 

Secondary Research – Literature & Media

Filed under: Secondary Research — ryansmith66 @ 9:02 pm

**************************************************************************

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 motionplanes, speedboats, tropical beaches, and alow sunset.