La présente thèse cartographie et condense l'histoire des relations entre l'art et la télévision au cours du demi-siècle environ durant lequel la télévision maintint sa position de média de masse par excellence dans la société, des années 1950 au tournant du millénaire, jusqu'à la phase de vaporisation des médias récemment apportée par la profusion des technologies numériques et d'Internet. La centaine d'artistes étudiés appartient à différentes générations, des pionniers des années 1960 tels que Nam June Paik, Andy Warhol et divers collectifs de la guerilla television aux figures postmodernistes telles que Dara Birnbaum et General Idea, des artistes issus des années 1990 comme Phil Collins, Christian Jankowski et Matthieu Laurette aux figures émergées au XXIe siècle comme Keren Cytter, Hito Steyerl, Ryan Trecartin et les Yes Men.Les travaux abordés sont des vidéos, installations, performances, interventions et programmes télévisés conçus comme des formes de résistance, d'appropriation et de parodie de la télévision grand public, qui exposent les mécanismes par lesquels le média de masse influence notre perception de la réalité et de nous-mêmes. Les genres et les formats télévisuels les plus populaires sont ciblés : les informations, publicités, soap operas, talk-shows, émissions pour enfants, vidéoclips, téléréalité, divertissements éducatifs et séries télévisées. En permettant de « voir à distance », la télévision produit chez le spectateur un sentiment étrange de déplacement physique. Les travaux étudiés mettent en évidence et tentent de surmonter cette séparation entre les corps factuels et télévisés, qui est aussi une séparation entre réalité et représentation. / The present study maps and condenses the history of the relationships between art and television during the rough half century in which television maintained its position as society’s quintessential mass medium, from the 1950s to the turn of the millennium, through to the phase of vaporization of media recently brought by the profusion of digital technologies and the Internet. The close to one hundred artists discussed belong to different generations, from 1960s pioneers such as Nam June Paik, Andy Warhol and various guerrilla television collectives to postmodernist figures such as Dara Birnbaum and General Idea, from artists emerged in the 1990s such as Phil Collins, Christian Jankowski, and Matthieu Laurette up to figures emerged in in this early XXI century such as Keren Cytter, Hito Steyerl, Ryan Trecartin, and the Yes Men.The works discussed are videos, installations, performances, interventions and television programs conceived as forms of resistance, appropriation and parody of mainstream television, that expose the mechanisms through which the mass medium influences our perception of both reality and ourselves. To be targeted are the most popular television genres and formats including news, commercials, soap operas, talk shows, children's programs, music videos, reality shows, edutainment, and TV series. By allowing to “see at distance,” television produces in the viewer an uncanny feeling of physical displacement. What the works discussed highlight and try to overcome, is that split between factual and televised bodies, that is also a split between reality and representation.

Ce mémoire propose d’étudier les représentations de la masculinité dans les vidéoclips de musique populaire. Il consiste plus précisément en une analyse textuelle de vidéoclips suivant l’approche sémiologique. La représentation y est entendue comme un processus d’attribution de sens, agissant dans la construction sociale de la masculinité. Selon une méthode qualitative, il est premièrement question de cerner et, ultérieurement, explorer les principaux schémas de la masculinité dans un corpus de 29 vidéoclips sélectionné auprès de la chaîne québécoise Musique Plus. L’observation des codes visuels est centrale à cette entreprise, l’articulation de ces derniers permettant la prolifération d’expressions du genre masculin. Partant du point de vue que des attributs, notamment la force et l’invulnérabilité, apparaissent comme typiquement masculins au sein de certaines représentations, il sera question de confronter cette idée aux trois scénarios majeurs ayant émané du corpus ; l’homme-enfant, l’introspectif et le meneur, indiquant tous trois la récente montée des représentations d’une masculinité vulnérable en musique populaire. Les constats qui résulteront de cette exploration seront finalement recadrés dans l’actuel cadre social, où le masculin et le féminin sont de moins en moins enclos dans les moules traditionnels et tendent à se redéfinir sur une nouvelle matrice. / The following study pursues an analysis of the various images of masculinity represented in popular culture, or more specifically music videos. It consists more precisely of a textual analysis of music videos according to the semiological approach. It is understood that such representations undergo a process of sensory attribution, serving to build the image of masculinity in society. Qualitatively, the method of analysis will first treat, and later explore, the main forms related to masculinity from a body of 29 music videos broadcast by the Québec entertainment station Musique Plus. The observation of visual codes is imperative to this undertaking as the codes provide the means by which various expressions of the masculine type might proliferate. Beginning with the premise that certain attributes, namely force and invulnerability, are typically masculine according to certain representations, we can further the analysis by comparing it to three main scenarios (the homme-enfant, the introspectif and the meneur) resulting from the video evidence under study. In the final analysis, I shall demonstrate how the findings rest within our current social frame where notions of masculine and feminine image tend to submit less and less to traditional models and are redefined in a new matrix.

Vi, Anna Nilsson och Jeanette Svensson, valde att producera musikvideos under vårat kandidatarbete på Blekinge tekniska högskola. Detta eftersom vi båda har ett stort intresse till musik och rörlig bild. Vi valde att göra två stycken för att lära oss produktionens process grundligt och för att nu kunna jämför de båda och av detta ta lärdom. Den ena musikvideon gjorde vi till en skånsk duett som heter KC och den andra till Advance Patrol. Båda låtarna är inom genren hiphop. Vårt mål med projektet var att skapa två videos som inte följde den generella mallen för hiphop-videos. Med andra ord ville vi undvika häftiga bilar, smycken i massor och lättklädda tjejer. På denna punkt fick vi dock kompromissa lite med Advance Patrol. Vi valde att filma i miljöer med mycket färg, djup och kontraster och att efteråt lägga på effekter som förstärkte texternas budskap. We, Anna Nilsson and Jeanette Svensson, have produced music videos during the Bachelors thesis at Blekinge Institute of Technological. We chose to make music videos since we both have a big interest in music and motion picture. We chose to make two to get the most out of the working progress and to be able to compare them to each other and our own development. The first video we made was to a duett called KC and the second one was to Advance Patrol. Both songs are in the genre of hip hop. Our goal with the project was to create two videos that did not look like the general hiphop video with things such as cool cars, lots of jewelleries and girls with not much clothes. We had to compromise a little bit with Advance Patrol about this though. With interesting places that had nice colours, deep and contrasts we came to create great videos in our own way. We also added different kind of layers and effects to make the message in the lyrics clear to the viewer. We have achieved our goals much greater then we expected and have now many new experiences to take with us in our future projects. Vi har uppnått vårt mål och resultatet blev bättre än vi förväntat oss. Vi har fått många nya erfarenheter genom hela projektets tid som vi kommer att ha stor nytta av i framtida produktioner. / Detta är en reflektionsdel till en digital medieproduktion.

This study contributes to practical discussions on the composition of dynamic music for video games from the composer’s perspective. Creating greater levels of immersion in players is used as a justification for the proposals of the thesis. It lays down foundational aesthetic elements in order to proceed with a logical methodology. The aim of this paper is to build upon, and further hybridise, two techniques used by composers and by video game designers to increase further the reactive agility and memorability of the music for the player. Each chapter of this paper explores a different technique for joining two (possibly disparate) types of gameplay, or gamestates, with appropriate continuous music. In each, I discuss a particular musical engine capable of implementing continuous music. Chapter One will discuss a branching-music engine, which uses a precomposed musical mosaic (or musical pixels) to create a linear score with the potential to diverge at appropriate moments accompanying onscreen action. I use the case study of the Final Fantasy battle system to show how the implementation of a branching-music engine could assist in maintaining the continuity of gameplay experience that current disjointed scores, which appear in many games, create. To aid this argument I have implemented a branching-music engine, using the graphical object oriented programming environment MaxMSP, in the style of the battle music composed by Nobuo Uematsu, the composer of the early Final Fantasy series. The reader can find this in the accompanying demonstrations patch. In Chapter Two I consider how a generative-music engine can also implement a continuous music and also address some of the limitations of the branching-music engine. Further I describe a technique for an effective generative music for video games that creates musical ‘personalities’ that can mimic a particular style of music for a limited period of time. Crucially, this engine is able to transition between any two personalities to create musical coincidence with the game. GMGEn (<b>G</b>ame <b>M</b>usic <b>G</b>eneration <b>E</b>ngine) is a program I have created in MaxMSP to act as an example of this concept. GMGEn is available in the Demonstrations_Application. Chapter Three will discuss potential limitations of the branching music engine described in Chapter One and the generative music engine described in Chapter Two, and highlights how these issues can be solved by way of a third engine, which hybridises both. As this engine has an indeterminate musical state it is termed the intermittent-music engine. I go on to discuss the implementation of this engine in two different game scenarios and how emergent structures of this music will appear. The final outcome is to formulate a new compositional approach delivering dynamic music, which accompanies the onscreen action with greater agility than currently present in the field, increasing the memorability and therefore the immersive effect of the video-game music.

Auf der Videoplattform YouTube finden sich hunderte sogenannter Shreds. Das sind Videos, die das Bildmaterial präexistenter Musikperformances mit einer neuen Tonspur kombinieren, und zwar mit humoristischer Intention. Hier wird erstmals die Geschichte der Shreds umfangreich nachgezeichnet und ihre stilistischen Ausprägungen untersucht. / The video platform YouTube hosts hundreds of so-called shreds: videos that combine footage of preexisting musical performances with a new soundtrack, always with a humoristic intention. The present study examines the history of shreds and their stylistic devices for the first time ever.

Porträtteringen av kvinnor inom manliga hiphopartisters musikvideor har varit i debatt och forskningens fokus länge. Denna studie ämnar att genom en kvalitativ forskningsstudie bidra med ett nytt perspektiv där vi analyserar kvinnliga hiphopartisters musikvideor utifrån ett genus och historiskt jämförande perspektiv med hjälp av en visuell textanalys. I studien syns en tydlig åtskillnad mellan två musikvideor. Lauryn Hills musikvideo Everything is Everything lyfter samhällsproblem och hon vill skapa debatt om orättvisor i det amerikanska samhället. Hill’s musikvideo har hög representation av olika etniciteter i videon och anspelar på musik som räddningen för den afroamerikanska minoritetsgruppen. Denna typ av användning av musik för att föra samhällsdebatt är inget ovanligt fenomen inom genren hiphop.  Nicki Minajs musikvideo Super Freaky Girl objektifierar män, kvinnor och använder sig av självobjektifiering. Minajs musikvideo anspelar på sexuell njutning utifrån the male gaze och visar hur den kvinnliga artisten har tagit på sig rollen som hon har blivit tillskriven i decennier av hennes manliga kollegor. Studien ger ett nytt perspektiv på forskning inom hiphop och populärkultur och ämnar bidra till debatt om objektifiering av kvinnor i samhället. / The portraying of women in male hip hop artists’ music videos have long been in debate and in the center of attention. This study aims to through a qualitative study contribute to the research with a new perspective where we analyze female hip hop artists' music videos from a gender and historical comparative perspective using a visual text analysis. The study shows a clear distinction between two music videos. Lauryn Hill’s Everything is Everything brings society’s issues to light and aims to create a debate about the injustices in American society. Hill’s music video has high representation of different ethnicities in her music video and alludes to music as the savior of the afro-american minority group. This kind of usage of music to start a debate in society is not uncommon in the genre of hip hop.  Nicki Minaj’s music video Super Freaky Girl objectifies men, women and shows usage of self-objectification. Minaj’s music video alludes to sexual pleasure from the male gaze perspective and shows how the female artist has taken on the role that she has been given for decades by her male colleagues. This study gives a new perspective on research in hip hop and popular culture and aims to contribute to the debate of objectification of women in society.

Den här uppsatsen fokuserar på autenticitet inom rapp: hur den skapas och bibehålls. Först introduceras genren ”gangsterrapp” och därefter analyseras en uppsättning av låtar inom genren både text-, ljud- och bildmässigt. Därefter följer en diskussion om mina undersökningsresultat och slutsatsen att svenska gangsterrappare skapar autenticitet genom att vara kriminella. Oavsett var de kommer från eller vilka de känner presenterar gangsterrapparna sig som frontfigurer för stora kriminella nätverk och använder sina texter som en slags ”gangsters dagbok”. Teman såsom polishat, drogförsäljning och kallblodigt mord förekommer ofta och är till och med förväntade. / This paper focuses on authenticity in rap: how it is created and maintained. First, I introduce the subgenre of “gangsta rap” and how it is defined. Then, I continue by analyzing a set of songs both lyrically, audibly and visually, and while direct audible differences are included, they are deemed less important than the social aspect of said songs. Subsequently follows a discussion of my findings and the conclusion that Swedish gangster rappers create authenticity by being criminals. No matter where they come from, or who they know they will always present themselves as the front figure of vast criminal networks and use their lyrics as a form of “gangster diary.” Themes such as hating the police, selling drugs and killing in cold blood are commonplace and are even expected.

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Lisa Markley, a.k.a. "Miz Markley", is a genuinely happy person even if she is not particularly financially successful as a musician. In an effort to validate my own choices as an artist, I chose to follow her. What was intended to be a portrait of a working musician, becomes instead a feminist musical essay film about the transformative power of art making.

This thesis provides an overview of the various ways in which select marginalized identities are represented within the twenty-first century American musical film. The first intention of this thesis is to identify, define, and organize the different subgenres that appear within the twenty-first century iterations of the musical film. The second, and principal, intention of this thesis is to explore contemporary representations of African-Americans, women, and queerness throughout the defined subgenres. Within this thesis, key films are analyzed from within each subgenre to understand these textual representations.