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English

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Medium Cool , livre ebook

Duke University Press - Roger Beebe and Jason Middleton; Ed.

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359 pages

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Music videos are available on more channels, in more formats, and in more countries than ever before. While MTV-the network that introduced music video to most viewers-is moving away from music video programming, other media developments signal the longevity and dynamism of the form. Among these are the proliferation of niche-based cable and satellite channels, the globalization of music video production and programming, and the availability of videos not just on television but also via cell phones, DVDs, enhanced CDs, PDAs, and the Internet. In the context of this transformed media landscape, Medium Cool showcases a new generation of scholarship on music video. Scholars of film, media, and music revisit and revise existing research as they provide historically and theoretically expansive new perspectives on music video as a cultural form.The essays take on a range of topics, including questions of authenticity, the tension between high-art influences and mass-cultural appeal, the prehistory of music video, and the production and dissemination of music videos outside the United States. Among the thirteen essays are a consideration of how the rapper Jay-Z uses music video as the primary site for performing, solidifying, and discarding his various personas; an examination of the recent emergence of indigenous music video production in Papua New Guinea; and an analysis of the cultural issues being negotiated within Finland's developing music video industry. Contributors explore precursors to contemporary music videos, including 1950s music television programs such as American Bandstand, Elvis's internationally broadcast 1973 Aloha from Hawaii concert, and different types of short musical films that could be viewed in "musical jukeboxes" of the 1940s and 1960s. Whether theorizing music video in connection to postmodernism or rethinking the relation between sound and the visual image, the essays in Medium Cool reveal music video as rich terrain for further scholarly investigation.Contributors. Roger Beebe, Norma Coates, Kay Dickinson, Cynthia Fuchs, Philip Hayward, Amy Herzog, Antti-Ville Karja, Melissa McCartney, Jason Middleton, Lisa Parks, Kip Pegley, Maureen Turim, Carol Vernallis, Warren Zanes

Sujets

Popular culture

Music

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Publié par	Duke University Press
Date de parution	26 septembre 2007
Nombre de lectures	0
EAN13	9780822390206
Langue	English
Poids de l'ouvrage	3 Mo

Informations légales : prix de location à la page 0,1498€. Cette information est donnée uniquement à titre indicatif conformément à la législation en vigueur.

Extrait

Music/ teleVision/cultuRal studies

RogeR BeeBe

Jason Middleton

duke uniVeRsity pRess

Will stRaW

gilBeRt B. RodMan

gayle f. Wald

MediuM cool

MediuM cool Music Videos fRoMsoundies to cellphones

RogeR BeeBe and Jason Middleton, editoRs

duke

RogeR BeeBe and Jason Middleton, editoRs

MEDIUM COOL

©  Duke University Press All rigts reserved Printed in te United States of America on acid-free paper ♾ Designed by Jennifer Hill Typeset in Caparral Pro by Tseng Information Systems, Inc. Library of Congress Cataloging-in-Publication Data appear on te last printed page of tis book.



Jason Middleton and Roger Beebe,INTRODUCTION



Kay Dickinson,MUSIC VIDEO ANDSYNAESTHETIC POSSIBILITY

 Amy Herzog,ILLUSTRATING MUSIC: THE IMPOSSIBLE EMBODIMENTS OF THE JUKEBOX FILM





Jason Middleton,THE AUDIOVISION OFFOUNDFOOTAGE FILM AND VIDEO

Maureen Turim,ART/MUSIC/VIDEO.COM



Carol Vernallis,STRANGE PEOPLE, WEIRD OBJECTS:THE NATURE OF NARRATIVITY, CHARACTER,AND EDITING IN MUSIC VIDEOS

 Pilip Hayward,DANCING TO A PACIFIC BEAT: MUSIC VIDEO IN PAPUA NEW GUINEA

 Antti-Ville Kärjä,VISIONS OF ASOUND NATION: FINNISH MUSIC VIDEOSAND SECURED OTHERNESS

Pegley, Kip “COMING TO YOU WHEREVER YOU ARE”: EXPLORING THE IMAGINED COMMUNITIES OF MUCHMUSIC (Canada) AND MTV (United States)

Coates, Norma ELVIS FROM THE WAIST UPAND OTHER MYTHS: 1950S MUSIC TELEVISIONAND THE GENDERING OF ROCK DISCOURSE

 Lisa Parks and Melissa McCartney, ELVIS GOES GLOBAL: ALOHA! ELVIS LIVE VIA SATELLITE AND MUSIC/TOURISM/TELEVISION



 Cyntia Fucs,“I’M FROM RAGS TO RICHES”: THE DEATH OF JAYZ

Warren Zanes,VIDEO AND THETHEATER OF PURITY

 Roger Beebe,PARADOXES OF PASTICHE:SPIKE JONZE, HYPE WILLIAMS, AND THE RACEOF THE POSTMODERN AUTEUR





Bibliograpy

Contributors



Index

CO N T E N TS

Jason Middleton and Roger Beebe

n recent years it as become common to lament te disappearance of music videos from . Over a decade ago Andrew Goodwin ad ﬂIseemed at ﬁrst to be. In te decade since Goodwin’sow of videos tat it already noted in isDancing in te Distraction Factorytat  was increasingly moving toward familiar televisual programming sced-ules and furter from a simple “radio wit images,” te twenty-four-our landmark text,  as only moved furter in te direction tat Good-win describes, tereby conﬁning (or condemning) music video to very speciﬁc programming slots, often in te “dead” parts of te daily sced-ule. In fact, by   even ﬁnally acknowledged its abandonment of music video. hat year saw te release of a series of ads for , one of te Viacom-owned sister networks of te music television pioneer, tat proclaimed “: Were te music’s at,” tus conceding implicitly tat  was no longermusicIronically enoug, witin monts television. of tis ad campaign,  itself abandoned its all-video format, instead opting to devote a substantial portion of its daily scedule to rerunning programs from . Faced wit suc evidence of te disappearance of music video from te regular line-up of , it would at ﬁrst glance seem strange to foist on te world a new collection of writing about music video. If music video is indeed disappearing from M[usic]T[ele]V[ision], ten wy turn our at-tention to it once again? Simply put, music video as in no way disappeared. Wile  as increasingly focused on te  over te M, music video as in actual-ity concurrently enjoyed a major renaissance by circulating in a number of oter places and oter media. Wile  may not program twenty-four ours of video a day, wen we look at te amount of music video on

all television stations—, , Video Hits  (), Fuse (formerly MucMusic ), Black Entertainment Television (), Country Music Television (), not to mention te Digital Suite, a package of tirteen digital cannels from  Networks including  Hits,  Jams,  Español,  Classic,  Hits,  Soul, and  Country—we cannot avoid te conclusion tat tere are, in fact, many, many more ours of music television available now tan ever before, even if  itself as moved away from video as te staple of its programming. And wile we migt be encouraged by  to confuse  and “music tele-vision,” it seems tat suc confusion is no longer justiﬁed, if indeed it ever was. In fact, te separation of  from music television is one of te primary goals of tis collection. Wile previous music video scolar-sip as always conﬂated te network wit te format, tis collection insists on te diﬀerence between  and te broader array of music television(s). We migt also note tat tis lament about te “deat of music video” centered on te United States is furter undermined by taking even a quick glance around te world at te various music televisions spring-ing up in almost every corner of te globe. In Italy, for example, a similar proliferation of music television cannels can be seen; Italian viewers can get teir video ﬁx on  Italia,  Brand New,  Hits Italia, Matc Music , Deejay , Music Box Italia, Video Italia, and Rock  troug Rupert Murdoc’s  satellite television service as well as on oter cannels delivered troug local providers like Napoli Music,  (te Italian Music Cannel), and Hit Cannel. Faced wit suc observa-tions (wic could easily be repeated from country to country and con-tinent to continent), te claim tat music television as come and gone seems even more untenable. But tis is only part of te picture, as we want also to insist on te per-aps even more neglected diﬀerence between music television and music video as a form tat can be disseminated troug media oter tan tele-vision. As important as te proliferation of cannels tat devote a sub-stantial part of teir programming days to music video may be, equally important is te proliferation of oter media venues for watcing music video. Music videos ave started sowing up in forms tat belie te confusion of music video (as a form) and music television (as a delivery tecnology for tat form): music videos now come to us on s and enanced s; on s, cell pones, and oter wireless communication

JA S O N M I D D L E TO N A N D R O G E R B E E B E

devices; and, peraps most importantly, on te Internet. In tis new mil-lennium nearly every band seems to ave a Web site, and vast numbers of tese sites are ome to music videos. Every record label—from indies like K Records and Matador to te music arms of multinational corporations like Arista—features videos on its site, were tey almost always are pro-moted on te front pages. And  as gotten into te act, too, wit its ig-traﬃc Web site featuring literally tousands of video clips. here are dozens upon dozens of oter sites— including Launc.com (now part of Yaoo!), sonicnet.com (now owned by Viacom and branded by ), and Rollingstone.com—tat oﬀer access to music videos in wic a model is used similar to te  online model wit videos as part of a broad array of music information. he increasing availability of broadband coupled wit te diﬃculty of streaming longer videos troug te current Inter-net tecnology as been a real boon for sort ﬁlms and videos generally, and te vast storeouse of music video as frequently been called upon to provide content for streaming or quick downloads. Given te rapid de-velopment of tecnology, music video as seen a tremendous explosion beyond te narrow limits of “music television.” hese tree canges—te proliferation of multiple nice-based ca -ble and satellite cannels sowing music videos, te explosion of music video production and programming globally, and te advent of alterna-tive tecnologies for te dissemination of music video—set te stage for tis collection. Togeter tese canges demonstrate a signiﬁcant trans-formation in te culture of music video from tat in wic te extant body of scolarsip on te form emerged. his collection’s title is, of course, derived from te title of Haskell Wexler’s  ﬁlm, wic is itself derived from concepts elaborated in Marsall McLuan’s famous essay “Media Hot and Cold.” he prase carries a deliberately polysemic quality wen recontextualized as te title for a new collection on music video. It points to te “cooling,” de-scribed above, of te relationsip between music video and television as video as proliferated into oter exibition and display formats. Music video itself would ave been considered by McLuan a very “cool” media form, in tat its generally fragmentary and incomplete narrative struc-tures compel te viewer toward a greater interaction wit te text, ﬁll-ing in te gaps im or erself. But its current dissemination on te Web takes us even furter in tis direction of interactivity, suggesting tat a media form wic as always positioned itself as “cool” in te terms of

I N T R O D U C T I O N