Download Medium Cool: Music Videos from Soundies to Cellphones PDF
Tune video clips can be found on extra channels, in additional codecs, and in additional international locations than ever sooner than. whereas MTV—the community that brought track video to so much viewers—is relocating clear of track video programming, different media advancements sign the sturdiness and dynamism of the shape. between those are the proliferation of niche-based cable and satellite tv for pc channels, the globalization of track video creation and programming, and the supply of movies not only on tv but additionally through mobile phones, DVDs, better CDs, PDAs, and the net.
In the context of this reworked media panorama, Medium Cool showcases a brand new new release of scholarship on song video. students of movie, media, and tune revisit and revise latest study as they supply traditionally and theoretically expansive new views on track video as a cultural form.The essays tackle various subject matters, together with questions of authenticity, the stress among high-art affects and mass-cultural attraction, the prehistory of song video, and the creation and dissemination of song movies outdoor the U.S.. one of the 13 essays are a attention of ways the rapper Jay-Z makes use of track video because the fundamental website for acting, solidifying, and discarding his quite a few personas; an exam of the hot emergence of indigenous song video creation in Papua New Guinea; and an research of the cultural concerns being negotiated inside Finland’s constructing song video undefined.
Contributors discover precursors to modern track video clips, together with Nineteen Fifties song tv courses equivalent to American Bandstand, Elvis’s the world over broadcast 1973 Aloha from Hawaii live performance, and varieties of brief musical movies which may be seen in “musical jukeboxes” of the Nineteen Forties and Sixties. even if theorizing track video in connection to postmodernism or rethinking the relation among sound and the visible picture, the essays in Medium Cool reveal tune video as wealthy terrain for extra scholarly investigation.
Contributors. Roger Beebe, Norma Coates, Kay Dickinson, Cynthia Fuchs, Philip Hayward, Amy Herzog, Antti-Ville Kärjä, Melissa McCartney, Jason Middleton, Lisa Parks, Kip Pegley, Maureen Turim, Carol Vernallis, Warren Zanes
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Extra resources for Medium Cool: Music Videos from Soundies to Cellphones
More often than not, these films contain no narrative elements and are accentuated only by occasional shots of dancing couples or chorines. In these performance-based Soundies, the viewer is aware of the artists in an intimate, bodily sense. Removed from the inaccessible sheen of the glitzy, big-budget numbers found in the typical feature-length musical, these performances seem more spontaneous and sincere. Since many of these musicians had not been filmed previously, the impact of such Soundies, displayed in a small format and controlled by the viewer, cannot be overestimated.
The distribution of film reels for the Panoram was exclusive to the Soundies Distributing Corporation of America, which released nearly two thousand Soundies during the company’s seven years of operation. Yet even early press lauding the Panoram as the next sure thing expressed some reservations about the quality of the product. ”8 Indeed, novelty and topicality were the primary operatives of the Soundie, with vaudeville-style acts, burlesque numbers such as Sally Rand’s “The Bubble Dance,” a flurry of numbers related to World War II, and comedy titles such as “Who Threw the Turtle in Mrs.
Limited by extremely small budgets and resistance from both the film and recording industries, the producers of Soundies created shorts that were often formulaic, stilted, and riddled with clichés. Despite attempts to engage viewers with comedic acts and even sexually suggestive material, the Soundies Distributing Corporation was never able to build or sustain a consistent audience. The novelty of the Soundies, therefore, appears to be tied to the unusual format of the medium: the integration of moving images with musical jukeboxes, the location of the machines in nontheatrical public spaces, the reliance on exclusively musical subject matter, and the visual documentation of artists outside the Hollywood studio system.