"Voodoo Love" is a music video for jazz saxophonist, Lance Ellis. Set at The Turning Point Lounge in New Orleans, as well as the countrysides of Madisonville and Bush, Louisiana, the video takes us into a world where classic Motown style meets the world of campy horror films. Voodoo Love is also the first local jazz video to be produced in high-definition video. It includes appearances by Lischelle Brown, Mardi Gras Indian Big Chief Alfred Doucette, blues player Big Al Carson and the singing trio Mahogany Blue. The video was authored to DVD and includes extras features on the making of the video, including an extended behind the scenes documentary.

<p>The following thesis aim to describe the design process when creating a music video. How does it differ from designing other digital artefacts? And what are the similarities. Our focus has been to work with the band and their song as a brand with a specific market. The conclusion is that the design process is not as regulated when working with a band compared to a company. This made it possible to create a more artistic design. The effects of the video depends on how the fans will react on it. A well-produced video is not necessarily equal to a successful one. In this aspect it does not differ from making a commercial for a brand.</p>

Recently, academic researchers have brought critical attention to representations of the Iraq War in popular culture. Most of this work, however, focuses on film and music, leaving the influential medium of music video largely unexplored. A number of artists produced music videos that capture the zeitgeists of competing movements leading up to and following the United States' involvement in the Iraq invasion. This project, "Stars, Stripes, Cameras and Decadence: Music Videos of the Iraq War," seeks to survey music videos in order to understand how music video helps shape Americans' relationship to heavily polarized public discourses in the United States regarding this controversial military act. The thesis will take a multi-dimensional approach to analyzing each music video. The study will incorporate data on public opinion, audience reaction and political shifts in relationship to each video. On the most elementary level, the thesis will address the "anti" and "pro" war stances portrayed by music videos to understand both how they were shaped by their relationship to power and how they consequently shape their audience's relationship to power. The study will also undertake to understand these music videos aesthetically. Both "anti" and "pro" music videos draw upon schools of political messaging that largely dictate the art of the music video. Each school portrays soldiers, violence, war, enemies, families and loved ones in different ways. The thesis will delve into the histories of how various political traditions use images of war to shape their messages and how music videos continue (or break from) these traditions.

<p>”A designer rarely works alone”. The first sentence of Jonas Löwgren and Erik Stolterman's chapter on design as a social process made me curious. What if a designer worked alone? What are the actual differences between working on a project alone and as part of a group? How would it influence the creative process? What would be different when coming up with ideas, meeting with clients and setting deadlines? Does the influence of another designer stifle the individual creativity or does it actually nurish it? This paper is written to answer these and other questions as well as take you through the creative process of the production of ”Daddy” - the music video.</p>

Este trabalho tem como objetivo estudar a incorporação de elementos estilísticos do vídeo-clipe pelo cinema, da década de 1990 em diante. Alinharemos o olhar da história cultural, esta entendida como história dos símbolos, com as teorias de McLuhan sobre os meios de comunicação, sobretudo no que diz respeito às mudanças sensoriais impulsionadas pela exposição e utilização de novas tecnologias. Com aplicação simultânea destes enfoques, estabeleceremos a diferença entre a narrativa cinematográfica clássica e uma nova forma narrativa, influenciada pelo estilo de filmagem e montagem dos vídeo-clipes e da MTV. Adotaremos o termo Amálgama, para designar esta nova forma. Demonstraremos como estas mudanças do cinema refletem um novo ambiente cultural ocidental do final do século XX, especialmente no que diz respeito à fragmentação das identidades culturais e ao surgimento de uma cultura mundializada neste período. / This paper aims to study the assimilation of stylistic elements from music vídeos in film as of the 1990s. We shall align natural history, hereby understood as a history of symbols, with McLuhans media theories, which deal with changes in sensitivities due to exposure and utilization of new technologies. With these complementary two premises, we shall stablish a distinction between classic film narrative and this new one, influenced by the style of editing and filming of music videos and MTV. This new narrative shall be named Amalgam. We shall demonstrate how such changes in film making reflect the new western cultural environment of the late 20th century, with emphasis on the fragmentation of cultural identities and the rising of a global, media-centered culture.

Este trabalho tem como objetivo estudar a incorporação de elementos estilísticos do vídeo-clipe pelo cinema, da década de 1990 em diante. Alinharemos o olhar da história cultural, esta entendida como história dos símbolos, com as teorias de McLuhan sobre os meios de comunicação, sobretudo no que diz respeito às mudanças sensoriais impulsionadas pela exposição e utilização de novas tecnologias. Com aplicação simultânea destes enfoques, estabeleceremos a diferença entre a narrativa cinematográfica clássica e uma nova forma narrativa, influenciada pelo estilo de filmagem e montagem dos vídeo-clipes e da MTV. Adotaremos o termo Amálgama, para designar esta nova forma. Demonstraremos como estas mudanças do cinema refletem um novo ambiente cultural ocidental do final do século XX, especialmente no que diz respeito à fragmentação das identidades culturais e ao surgimento de uma cultura mundializada neste período. / This paper aims to study the assimilation of stylistic elements from music vídeos in film as of the 1990s. We shall align natural history, hereby understood as a history of symbols, with McLuhans media theories, which deal with changes in sensitivities due to exposure and utilization of new technologies. With these complementary two premises, we shall stablish a distinction between classic film narrative and this new one, influenced by the style of editing and filming of music videos and MTV. This new narrative shall be named Amalgam. We shall demonstrate how such changes in film making reflect the new western cultural environment of the late 20th century, with emphasis on the fragmentation of cultural identities and the rising of a global, media-centered culture.

The following thesis aim to describe the design process when creating a music video. How does it differ from designing other digital artefacts? And what are the similarities. Our focus has been to work with the band and their song as a brand with a specific market. The conclusion is that the design process is not as regulated when working with a band compared to a company. This made it possible to create a more artistic design. The effects of the video depends on how the fans will react on it. A well-produced video is not necessarily equal to a successful one. In this aspect it does not differ from making a commercial for a brand.

nÃo hà / Esta pesquisa investiga como o videoclipe se estabelece como um gÃnero audiovisual hÃbrido que transita nos diversos dispositivos de exibiÃÃo e fruiÃÃo da imagem, sob o espectro das teorias modernas sobre arte e imagem e dos estudos do videoclipe dentro do seu contexto midÃtico - o universo de discursos e imagens que determinam seu posicionamento histÃrico na produÃÃo cultural. Para tal, colocamos em diÃlogo dois videoclipes da cantora BjÃrk â Black Lakeâ e â Stonemilkerâ . A partir disso, mapearemos quais elementos constit uem a imagem midiÃtica de BjÃrk e que implicaÃÃes esta tem na constituiÃÃo estÃtica das obras estudadas e no trÃnsito do gÃnero entre televisÃo, ciberespaÃo e o espaÃo museolÃgico. Tais reflexÃes se articulam com os estudos sobre territÃrios e nomadismo de Gilles Deleuze e Felix Guattari (2002); sobre histÃria da arte, da imagem e da cultura de Aby Warburg (2015) e sobre a sensorialidade dentro da imagem em movimento de Laura U. Marks (2000); alÃm das teorias sobre televisÃo e anÃlise midiÃtica dos videocli pes de Thiago Soares (2009), Andrew Goodwin (1992) e Arlindo Machado (2000). / This research investigates how the music video establishes itself as an hybrid audiovisual genre which moves between in a sort of imageâs exhibition and fruition devices, under the spectrum of modern theories about art and imagens and the videoclipe studies in their mediatic context â the universe of discourses and imagens that determine their historial place in the cultural production. For such proposition, we put in dialogue two music videos from the singer BjÃrk â Black Lakeâ and â Stonemilkerâ. From that, weâll map wich elements constitute the mediatic image of BjÃrk and what sort of implications it has in the aesthetic con stitution of the analised works, and the transit of the genre between television, cyberspace and museum spaces. That reflections articulate with the studies about territories and nomadism from Gilles Deleuze and Felix Guattari (2002); Warburg (2015) art, i magem and culture history studies and the moving image sensory in Laura U. Marks (2000); the television studies and mediatic analysis of the music videos proposed by Thiago Soares (2009), Andrew Goodwin (1992) and Arlindo Machado (2000).

Submitted by Rafael Santana (rafael.silvasantana@ufpe.br) on 2017-12-06T17:09:43Z No. of bitstreams: 2 license_rdf: 811 bytes, checksum: e39d27027a6cc9cb039ad269a5db8e34 (MD5) tese deposito Eduardo Dias.pdf: 13485018 bytes, checksum: 3e7ed9b8bb164286f2486067e8bcc8c2 (MD5) / Made available in DSpace on 2017-12-06T17:09:43Z (GMT). No. of bitstreams: 2 license_rdf: 811 bytes, checksum: e39d27027a6cc9cb039ad269a5db8e34 (MD5) tese deposito Eduardo Dias.pdf: 13485018 bytes, checksum: 3e7ed9b8bb164286f2486067e8bcc8c2 (MD5) Previous issue date: 2015-03-03 / A investigação que esta pesquisa empreende procurou desenvolver uma perspectiva para a compreensão dos julgamentos de valor de autoria do videoclipe e as atribuições que decorrem desse processo, observando como as transformações na materialidade do videoclipe estão articuladas a mudanças na própria ideia de autoria, abordada nesta tese como autoria múltipla. A abrangência dessa discussão pretende incorporar as qualidades artísticas dos clipes articulando-as com as suas características promocionais e midiáticas, desenvolvendo um resgate das principais perspectivas sobre a autoria nas indústrias culturais com o intuito de instrumentalizar uma noção que priorize esta natureza ambígua do videoclipe. O intuito é amplificar o panorama da discussão sobre autoria no videoclipe desenvolvido a partir das suas próprias particularidades como um formato cultural. Esse panorama foi construído a partir de discussões sobre as características de produção e reconhecimento do clipe que despertaram as atribuições e manifestações de autoria ao longo de sua história. A proposta se concretizou através da promoção de uma perspectiva da valoração autoral no videoclipe cuja abrangência atinja os modos de produção e consumo juntamente com a percepção das ações dos indivíduos envolvidos na criação, produção e reconhecimento. Assim, hoje, para além da perspectiva dos videoclipes como um formato ligado às grades televisivas, é importante pensá-los em suas formas de autoria múltipla como ambientes visuais que acionam valorações e atribuições de autoria aos clipes. / This research seeks to develop a perspective to the comprehension of value judgments of authorship and their assignments, noticing the transformations in how the materialization of music vídeo are articulated to the change in the ideia of authorship, addressed in this research as multiple authorship. This discussion coverage intend embody the artistic qualities of music vídeos in an articulation with their marketing and media characteristics with the assistence of the majors perspectives about authorship in the cultural industry to promote an view which honors the ambiguous essence of music videos. The intention is amplify the survey of discussion about authorship in music video developed on their own features as cultural format. This survey was built from discussions about features of production and consumption of music vídeo which arouse the attributions and manifestations of authorship in their own history. The proposition was materialized through the production of a perspective of authorship valuation in music vídeo whick coverage reachs the forms of production and comsumption along with perception of individuals’ attitudes who are attendants in the conception, production and consumption. Thus, beyond the production television-centered, it is important considering forms of multiple authorship as visuals ambients which operates valuations and attributions of authorship in music video.

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