Orientador: Antonio Carlos Rodrigues de Amorim / Dissertação (mestrado) - Universidade Estadual de Campinas, Faculdade de Educação / Made available in DSpace on 2018-08-18T09:59:06Z (GMT). No. of bitstreams: 1 Oda_PamelaZachariasSanches_M.pdf: 2739353 bytes, checksum: 0745236c9fb9041f805ae85982a8f120 (MD5) Previous issue date: 2011 / Resumo: Os videoclipes, que originalmente eram produções audiovisuais destinadas a fazer a propaganda de um artista, ainda mantêm sua finalidade original, mas, ao longo do tempo, modificaram-se de tal forma que desenvolveram uma linguagem característica e foram a gênese de várias inovações técnicas e narrativas, que fizeram com que perdessem seu caráter de propaganda e assumissem o status de arte. Esta dissertação tem o objetivo de analisar videoclipes como produções artísticas responsáveis por produzir forças geradoras de caos, de mudanças em sua própria estrutura e também no espectador. O indivíduo, ao assistir a um videoclipe, entra em contato com várias imagens e sons que atuam, naquele acontecimento, como forças ativas que podem produzir transformações no eterno devir. Para tais discussões foram utilizados os conceitos de Gilles Deleuze e toda a sua reflexão sobre sentido e acontecimento, bem como foi analisada a obra do francês Michel Gondry, diretor de videoclipes consagrados e responsável pela criação de uma linguagem inventiva e inovadora na produção de videoclipes. / Abstract: The music videos, that originally were audiovisuals productions made for artist publicity, still keep their original purpose, but, along of time, they have changed so that developed a characteristic language and were the genesis of many narrative and technical innovations that have made they lost their feature of publicity and took over the status of art. This text have the purpose to analyze the music videos like artistic productions responsible for generate chaos forces, changes in their own structure and also in the spectator. The person, when watch a music video, get in touch with many images and sounds that act, in that happening, like active forces that produces transformations in the eternal devir (emergence). For that discussions, the concepts of Gilles Deleuze were used, just as his considerations about the meaning and the happening, and was analyzed too the work of the renowned French director Michel Gondry, the creator of an inventive and innovative language for the production of music videos. / Mestrado / Educação, Conhecimento, Linguagem e Arte / Mestre em Educação

Music video is an intriguing genre of television due to the fact that music drives the images and ideas found in numerous and varied examples of the form. Pre-recorded pieces of pop music are visually written upon in a palimpsest manner, resulting in an immediate and entertaining synchronisation of sound and vision. Ever since the popularity of MTV in the early 1980s, music video has been a persistent fixture in academic discussion, most notably in the work of writers like E. Ann Kaplan, Simon Frith and Andrew Goodwin. What has been of major interest to such cultural scholars is the fact that music video was designed as a promotional tool in their inception, supporting album sales and increasing the stardom of the featured recording artists. Authorship in music video studies has been traditionally kept to the representation of music stars, how they incorporate post-modern references and touch upon wider cultural themes (the Marilyn Monroe pastiche for the Madonna video, Material Girl (1985) for instance). What has not been greatly discussed is the contribution of music video directors, and the reason for that is the target audience for music videos are teenagers, who respond more to the presence of the singer or the band than the unknown figure of the director, a view that is also adhered to by music television channels like MTV.