Avec l’apparition des chaînes musicales au début des années 1980, l’industrie musicale investit massivement dans la production de clips vidéo. Pour répondre à la forte demande de clips, de nombreux réalisateurs venant aussi bien de la télévision, de la publicité, que du cinéma mirent tous leur talent au service de ce nouveau format télévisuel. C’est dans ce contexte que différents artistes visuels furent également sollicités ou proposèrent leur service pour réaliser différents clips. Au début des années 1980, le clip apparut à certains artistes comme le format idéal pour diffuser leurs images à la télévision. Il leur permettait par sa diffusion à la télévision de toucher un plus large public que celui des musées ou des galeries d’art. Pour d’autres, le clip fut un format d’expérimentation mais aussi un prolongement possible pour leur pratique artistique. Ainsi cette étude se propose d’analyser une partie de la production de certains artistes plasticiens souvent ignorée par les historiens de l’art et les critiques. À travers leurs travaux artistiques, certains artistes construisirent au contraire une critique et interrogèrent le format tout en remettant en question la pop culture diffusée à la télévision. Si la création de MTV fut une date fondatrice dans l’histoire du clip vidéo, vingt-cinq ans plus tard, l’avènement de YouTube et des sites de partage de vidéos dès 2005 marqua un grand changement dans la production mais aussi dans la consommation de clips vidéo. Nous verrons que cela entraina de nouveaux usages pour les utilisateurs pour les artistes qui s’emparèrent des contenus disponibles pour les détourner. / With the advent of music channels in the early 1980s, the music industry invested heavily in the production of music videos. To meet the high demand of music video, many filmmakers from television industry, advertising, cinema put their talents in this new TV format service. It is in this context that different visual artists were also requested and proposed their services to direct different music videos. In the early 1980s, the clip appeared some artists as the ideal format to distribute their images on television. It allowed them by its broadcast on television to reach a wider audience than museums or art galleries. For others, the clip was an experimental format, but also a potential extension to their artistic practice. So this study will analyze some of the production of certain visuals artists often ignored by art historians and critics. Through their artworks, some artists built instead a critique and questioned the format while challenging pop culture broadcast on television. If the creation of MTV was a funding event in the history of the music video, twenty-five years later, the advent of YouTube and in 2005 marked a big change in production but also in consumption of music videos. We will see that it led to new uses for Internet users and for artists who took possession available content to divert it.

This thesis examines the ways in which Beyoncé Knowles-Carter’s 2016 album Lemonade works as a culturally significant text in the realm of popular media. Situated within Black feminist theoretical concepts of freedom practices and Black Feminist Love Politics, the thesis argues that Lemonade mobilizes stylistic and strategic intertextual references to develop a transmedia storyworld within a paradigm of resistance to, and healing from, white supremacist histories. Such intertextual information exists within the musical, lyrical, visual, poetic, and transmedia domains of Lemonade. The transmedia extensions include interviews, live performances, speeches, social media posts, and photoshoots. Combined with theories from Black feminist thought of freedom practices—which include talking back (bell hooks 1989), dark sousveillance (Simone Browne 2015), and interruptions to whiteness (DiAngelo 2011)— and Black Feminist Love Politics (Jennifer Nash 2013), the intertextual data present in Lemonade can be analyzed using methodologies from the field of popular musicology (intertextuality and mediality).

Esta pesquisa tem por objetivo debater a abordagem de músicas de rap na universidade, analisando conceitos e princípios utilizados em alguns trabalhos que abordam os elementos das letras, imagens dos videoclipes e samplers, mais das vezes enquanto representação, assim como algumas das implicações desse procedimento, como a valorização das letras das músicas e o relevo dado ao papel do artista engajado para uma possível emancipação das ideologias da dominação, em detrimento de artistas e/ou obras não ajustadas a tais conceitos e princípios teórico-metodológicos. Por outro lado, em nossa abordagem das rimas, samplers e no caso dos videoclipes de música, das imagens, partimos do pressuposto de que a música não é necessariamente a representação de algo, mas antes, é formada por um tecido estético com múltiplas possibilidades interpretativas. Dessa forma, a pesquisa procura mostrar algumas consequências da interpretação do rap pela lógica representativa, como a constituição de uma espécie de senso comum fundamentando em algumas hierarquias sociológicas e políticas tomadas de antemão, assim como discutir sobre outras possibilidades de pensar a relação entre música, história e política, como por exemplo, por um senso comunitário traçado no interior das expressões estéticas. / This research aims to discuss the approach of rap music in the university, analyzing concepts and principles used in some works that deal with the elements of lyrics, images of video clips and samplers, more often as representation, as well as some of the implications of this procedure, such as the valorization of the lyrics of the songs and the importance given to the role of the artist engaged in a possible emancipation of the ideologies of domination, in detriment of artists and / or works not adjusted to such concepts and theoretical-methodological principles. On the other hand, in our approach on rhyming, samplers, and in the case of music video clips, the images, we start from the assumption that music is not necessarily the representation of something but rather is formed by an aesthetic fabric with multiple interpretative possibilities. In this way, the research attempts to show some consequences of the interpretation of rap by the representative logic, such as the constitution of a kind of common sense based on some sociological and political hierarchies taken beforehand, as well as discussing other possibilities of thinking about the relationship between music, history and politics, as for example, by a community sense traced within aesthetic expressions. / Dissertação (Mestrado)

Användandet av produktplacering som marknadsföringsmetod har ökat med åren, inte minst då konsumenter allt mer aktivt undviker traditionell marknadsföring. Genom att utnyttja produktplacering kan man väva in reklambudskap i handlingen på ett sätt som gör den oundviklig. Majoriteten av den forskning som finns om produktplacering pekar dock på att en för uppenbar varumärkesexponering bör undvikas då det ger upphov till negativa effekter bland konsumenter.Vår studie bygger vidare på Gillespie, Muehling och Kareklas (2018) studie som motbevisar att tydlig produktplacering enbart har negativa effekter med hjälp av författarnas Product Placement Fit Model. I modellen beskriver de hur uppenbar produktplacering kan kopplas till en novells eller films handling och känslomässiga tema för att på bästa sätt ge positiva varumärkesresponser bland konsumenter. Dessa två dimensioner benämner författarna som kognitiv- respektive affektiv överensstämmelse. Vår studie ämnar att (till följd av Gillespies, Muehlings och Kareklas rekomendation) ta reda på om detta även går att tillämpa för musikvideor genom att studera ungdomar och unga vuxnas förändringar i varumärkesinställning efter att de sett på musikvideor innehållandes produktplacering. 246 respondenter deltog i studiens undersökning och resultatet visade på att en uppenbar produktplacering med hög överensstämmelse både affektiv och kognitiv ger bäst effekt. Vidare kan en produktplacering med partiell överensstämmelse (det vill säga av antingen hög kognitiv- eller hög affektiv överensstämmelse) kan ge en positiv effekt på konsumentens varumärkesinställning men inte i samma utsträckning. Därmed är slutsatsen att Gillespie, Muehling och Kareklas modell och teorier går att applicera även för musikvideor bland ungdomar samt unga vuxna. / The use of product placement as a marketing strategy has increased in recent years, not least as a result of consumers avoiding traditional marketing. By utilizing product placement, a marketer enables the possibility to embed advertising in e.g. the storyline of a film in a way that makes it inevitable. Majority of existing research within the field suggests that a blatant product placement should be avoided at all costs since it can cause negative effects among consumers brand perceptions. Our study aim to follow up Gillespie, Muehling and Kareklas’ (2018) study which disproves that blatant placement exclusively has negative impact on consumers. The authors uses their model Product Placement Fit Model to describe the benefits with a blatant placement - given that the placement corresponds with a movie’s or a novel’s storyline and emotional theme. The authors describes that the placement needs affective and/or cognitive fit. Furthermore our study aim to examine if it is possible to apply this theories on music videos by studying youths and young adults brand attitudes. 246 respondents partook in the study and the result indicated that a blatant product placement with both affective and cognitive fit gives the best effect. Furthermore, a product placement with partial fit (i.e. affective or cognitive fit) can give a positive outcome, although not to the same extent as a placement that corresponds on both dimensions. Thereby, the conclusion is that Gillespie’s, Muehling’s and Kareklas’ model and theories are applicable to music videos while studying youths and young adults

Indiana University-Purdue University Indianapolis (IUPUI) / This thesis sought to attain a greater understanding of persuasion through narrative. First, a rhetorical analysis was conducted. The rhetorical analysis identified fantasy themes represented in two original music video artifacts. These themes formed what the author calls Symbolic Convergence Cycle of Intimate Partner Violence (IPV). Next, an experiment was conducted to provide further evidence that realistic narrative presentations have a greater ability to shape perceptions than more abstract presentations. Findings included that women were more likely to identify subtle abusive behaviors as abusive then men. However, after exposure to conditions containing the visual portion of the music video “Love the Way You Lie”, both female and male participants were less likely to identify subtle abusive behavior as abusive. This revealed that even though two messages can contain the same themes about the subject of IPV, the way that these messages were presented effected the way in which viewers interpreted the messages.

No description available.

This master thesis study examines Kyrgyz-language music videos to explore the visual representation of women, including women experiencing gender-based violence. It addresses a gap in the literature regarding women in Kyrgyz music videos and argues that media communicates context-specific meaning about gendered cultural realities. Following an inductive and qualitative research design, the study conducts a social semiotic analysis of 22 Kyrgyz-language music videos focusing on what and how meaning about women is created through visual content. The study analyzes its material through the lens of cultural representation theory (Hall et al., 2013) and discusses its findings in relation to Okin’s (1989) feminist critique regarding gendered vulnerabilities. It finds that women in Kyrgyz music videos are represented within familial roles. The study argues that the “ideal” Kyrgyz woman, as embodied through female main characters, is portrayed as young, beautiful, and good of character, while marriage, motherhood, and domesticity are connoted as life goals. Women experiencing violence are represented as vulnerable to domestic violence and bride abduction.

Analyzing the relationship between the visual imagery used in music videos, and the sexual cognition of viewers. Sexual cognition is the awareness of one's own sexual behavior, and its implications. The visual content of music videos was analyzed focusing only on the imagery used. The Heterosexual Script (Jhally, 2007) in particular is observed in most music videos, highlighting the sexual objectification of women and the dominant role of males. The direction of causality between the visual imagery and sexual cognitions can only be speculated using a number of theories, namely cognitive dissonance (Festinger, 1957), cultivation theory (Gerbner et al., 1994), Objectification theory (Fredrickson & Roberts, 1997), Social Learning theory (Bandura, 2001; 2002), and that of semantic constructs. Significant results would suggest that music videos have the potential to alter an individual's sexual cognitions, which may lead to riskier sexual behavior and negative views of women sexually.

Denna uppsats syfte är att analysera hur musikartister använder sig av YouTube som marknadsföringsverktyg, samt vilken betydelse YouTube har för dessa artisters marknadsföring. En kvalitativ och induktiv metod har tillämpats, medan ett antal intervjuer samt en innehållsanalys genomförts som grund till det empiriska materialet. Detta för att få en inblick i musikbranschens syn på ämnet, samt även ge en objektiv bild av hur plattformen används som marknadsföringsverktyg. Slutligen menade studien att ge artister och andra arbetande inom musikbranschen, en bild av hur användandet av denna marknadsföringskanal kan förbättras för att skapa en mer effektiv marknadsföring.    Den teoretiska referensramen har utgått från tidigare teorier kring YouTubes betydelse, roller och potential inom musikartisters marknadsföring. Teorier kring YouTubes möjliggörande för artister att upptäckas av A&R personer eller nya fans, YouTubes påverkan på musikvideons roll som marknadsföringsmedel, samt teorier kring plattformens påverkan på maktbalansen inom branschen har legat som grund. Även teorier kring ett nytt fokus på opinion leaders; vem och när, samt teorier gällande relationsmarknadsföring, kommunikation, feedback och sampling har tillämpats. Slutligen har teorier kring YouTubes negativa aspekter, såsom svårigheter att sticka ut och illegal spridning setts till. I redogörelsen av det empiriska materialet ingår svar från de intervjuer som genomförts med musikartister samt nyckelpersoner inom branschen. Här redogörs även resultatet från den innehållsanalys som genomförts av de intervjuade artisternas respektive YouTube-kanaler.   I analysen sammankopplas den teoretiska referensramen med det empiriska materialet i en diskussion och analys. Detta för att jämföra tidigare teorier med branschens nuvarande syn på forskningsfrågan samt artisternas faktiska användande av plattformen. Även för att belysa vad musikartisterna har för möjligheter att förbättra sin marknadsföring via YouTube, för en mer framgångsrik marknadsföring.   De slutsatser som uppsatsen sedan mynnar ut i menar att YouTube har utvecklats till en stark marknadsföringskanal för musikartister. Plattformen är av stor betydelse för musikartisters exponeringsmöjligheter, men det krävs dock andra marknadsföringsaktiviteter för att klipp ska hittas av A&R avdelningar och nya fans. Musikvideon har en fortsatt viktig roll för artisternas exponeringsmöjligheter. YouTube skapar en möjlighet till relationsbyggande mellan artister och fans, men denna möjlighet utnyttjas ej till fullo av artisterna. Feedback via kommentarsfält skulle dock kunna nyttjas för större grad av lärande, samt för starkare relationsbyggande. En nackdel är att YouTube dock tycks vara illegal spridning av material, samt minskad kontroll över eget material. Makten över kreativiteten tycks med YouTube ha flyttats mer mot artisterna själva, men de stora aktörernas nätverk och resurser tycks dock fortsatt viktiga för att ge möjligheter att sticka ut i det enorma mediaflödet. / This paper aims to analyze how music artists use YouTube as a marketing tool, and the importance YouTube has for these artists' marketing. A qualitative and inductive approach was used, while a number of interviews and a content analysis conducted as the basis for the empirical material. This to get an insight into the music industry's views on the topic, and also give an objective picture of how the platform is used as a marketing tool. Finally, the study is meant to give artists and others working in the music industry a picture of how the use of this marketing channel can be improved to create a more effective marketing.   The theoretical framework was based on earlier theories of YouTube's importance, roles and potential in music artists' marketing. Theories on how YouTube enables artists to be discovered by A & R people or new fans, YouTube's impact on the music video's role as a marketing medium, and theories about the platform's impact on the balance of power within the industry has been the foundatioin. Theories about a new focus on opinion leaders; whom and when, as well as theories on relationship marketing, communication, feedback and sampling have also been applied. Finally, theories of YouTube's negative aspects, such as difficulties to stand out and illegal distribution has been looked into. In the account of the empirical material responses from the interviews with music artists and key people in the industry are included, as well as the results from the content analysis conducted by the interviewed artists' respective YouTube channels.   In the analysis the theoretical framework is linked to the empirical material in a discussion and analysis. This is to compare previous theories with the industry's current opinions on the research question and the performers' actual usage of the platform, also to illustrate how music artists could improve their marketing through YouTube for more successful marketing.   The conclusions of the essay is of the opinion that YouTube has evolved into a powerful marketing channel for music artists. The platform is of great importance for music artists interms of opportunities of exposure, but additional marketing activities are  however required gor the material to be found by A & R departments and new fans. The music video has a continued important role for artists' exposure opportunities. YouTube creates an opportunity to build relationships between artists and fans, but this opportunity is generally not utilized fully by the artists. Feedback via the comment field could be utilized for greater levels of learning, and for stronger relationship building. One negative aspect of YouTube is that it can be considered as a way to illegaly distribute content, and it does add to reduced control over the artists own material. The creative authority seems with YouTube have moved more towards the artists themselves rather than their labels or management, but networks and resources available to the major labels seem to remain important to provide opportunities to be able stand out in the masses f available media on YouTube.

本研究以內容分析法比較共200首台灣與美國音樂錄影帶中的性內容以及愛情關係表現。研究結果顯示美國音樂錄影帶中的性內容普遍高於台灣的音樂錄影帶，不論是在歌詞表達或影像呈現中。但值得一提的是，臺灣2010年音樂錄影帶中相較於2000年音樂錄影帶中性內容增加的幅度大於美國2010年音樂錄影帶中相較於美國2000年因樂錄影帶中性內容的增加。而且愛情表現方面，台灣的歌曲不論是在2000年還是2010年都有超過80%以上的歌曲為愛情歌曲；美國歌曲則較為多元，從2000年到2010年，少了20%的愛情歌曲。 總體來說，此研究結果與先前研究的結果類似：台灣歌曲中的愛情表達多為無性的表達，而美國歌曲中則較易將愛情等同或化約成肉體慾望，且不論歌曲主題，性內容也較常表達在歌曲中。雖然台灣音樂錄影帶及歌曲中的性內容還尚未達到足以造成威脅的程度，由2010年的增加多於同時期美國的音樂錄影帶顯示未來研究更應重視這一塊因為大眾流行音樂錄影帶在年輕族群的生活中扮演了重要的角色。若其不當性內容持續增加，勢必會對年輕族群的性觀念及行為造成影響。 / This study examines 200 music videos from Taiwan the USA for their sexual content lyrical and visual presentation. The second focus is the illustration of themes in songs. Results of a content analysis shows that in terms of sexual content in music videos, the USA is still more sexual than Taiwan as a whole; however, the increase of sexual imagery in music videos is greater in Taiwan in 2010 compared to in 2000 than that from USA in 2010 compared to 2000. Within-country comparisons show that the increase in images is greater than that in lyrics from 2000 to 2010 in both countries. For themes in songs, in both years, over 80% of the songs analyzed from Taiwan are love theme songs. Songs from the USA are more varied, and from 2000 to 2010, there are 20% less love theme songs. On the whole, this study agrees with previous studies, which found that love manifested in lyrics is often an asexual kind of love in Taiwan, while in the USA physical desires are often outright portrayed, regardless of the song themes. Although the sexual level in music videos images have not yet reached an alarming level, researchers should, however, keep track of the sexual content because music videos do take up a part in forming a socializing environment, especially for the young people.