This research will study cultural appropriation that is presentable in 2010th music videos by famous artists/bands like Coldplay, Beyoncé, Lana Del Rey, No Doubt and Iggy Azalea. The term cultural appropriation is about the taking over of practices, artistic forms or themes from usually a minority culture. The focus will lay on two different cultures, Indian culture and Native American culture. I will with the help of researchers like Erich Hatala Matthes and James. O Young argue the harms of cultural appropriation, where I will include bell hooks to supports my arguments. My task will also be to enlighten the common behavior traits that show occurring cultural appropriation in music videos. Deeply analysis of these music videos will help me reach my concluded arguments about the harms of cultural appropriation. Every music video will focus on three concepts and they are, romanticization, sexualization and exotification. With tracing these concepts, I will argue the differences of the cultural appropriation Indian culture and Native American culture experiences.

It has become conventional to use product placement in music videos. Big brands have started marketing themselves through product placement, for example, brands such as BMW, VitaminWater and Virgin Mobile. Placing products in music videos could be perceived as the brands linking themselves with celebrities. This product placement could either have a positive or negative effect on the celebrity and/or the brand. This research study aimed to provide the world of brands with insights into 18-28-year-olds’ perception of product placement in music videos, and whether placing their product in a music video where the audience is not partial to the celebrity, could be detrimental or not. This research study aimed to determine the selected sample’s (Nelson Mandela Metropolitan University students) perceptions of the product placement of three specific brands (VitaminWater, BMW and Virgin) in three specific music videos, namely: Jessie J and David Guetta “Laserlight” http://www.youtube.com/watch?v=syxd2n8S4AE JLo’s “Get on the Floor” http://www.youtube.com/watch?v=t4H_Zoh7G5A Lady Gaga and Beyoncé “Telephone” http://www.youtube.com/watch?v=GQ95z6ywcBY An electronic survey questionnaire was concluded with both closed and open-ended questions relating to the use of product placement in these three music videos. The survey questionnaire helped to determine what the selected sample’s perceptions were of each brand and celebrity, what they were after the respondents and seen the relationship between the brand and celebrity and finally, of product placement in general. A semiotic analysis of screen shots from each music video was conducted to determine what kind of nature the product placement occurred in in each music video.

Given the controversial history of the music genre hiphop it is important to investigate how the genre is representing violence and drugs. Since the beginning of hiphop the content of the genre has been heavily criticised for its explicit references to drugs and violence. The controversial genre is growing in popularity and in modern Sweden the hiphop genre is topping  music charts.  This study aims to research the change in how acclaimed Swedish hiphop artists represent violence and drugs in their music videos, today versus 20 years ago. The study analyses four different award winning artists' music videos from two different time periods, using Stuart Hall's representation theory (1997) as its theoretical framework. Two of the chosen music videos are from the later half of this decade and the other two are from the early 2000s. The studied artists are Z.E, Einár, Petter and Timbuktu; their videos have been analysed by using the methodological semiotic approach, which utilises the denotative and connotative levels when analysing media content. The result of the study shows that there is a change in how these acclaimed hiphop artist from these two generations represent drugs and violence in their videos. Especially it is shown that the modern era of acclaimed Swedish hiphop artist are connecting heavy drugs with success and social status. Simultaneously they use violence to build a threatening and powerful image of themselves. The older generation only represent lighter drugs which are portrayed in festive contexts and their negative consequences are presented. It should be noted that any violence portrayed in their videos is neutralised by the use of humor and levity.

The current study examined the relationship between sexual content in popular pop, rap, and R&B music videos and female consumers’ body image, self-objectification, the objectification of other women, and self-esteem. The current study had two main hypotheses: (1) exposure to sexual content in music videos would be negatively correlated with women’s body image, self-objectification, and the objectification of other women and (2) Women’s body image and self-objectification would mediate the relationship between exposure to sexual content in music videos and self-esteem. Participants included 308 female college students who answered questions related to the study aims online. Exposure to sexual content in music videos was estimated by the use of self-report viewing habits and content analysis using the frequency method of popular songs performed by artists highly rated by participants. Results indicated that there was a negative association between exposure to sexual content in R&B music videos and participants’ objectification of other women as well as exposure to sexual content in rap music videos was associated with negative body image. Results also indicated that exposure to sexual content in rap music videos was related to increased self-objectification, which, in turn was related to decreased self-esteem among participants. Negative body image was also found to be related to decreased self-esteem among participants.

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Utilizing an Afrocentric methodological framework, this dissertation research seeks to examine the general public perceptions of African American women as reflected in rap music videos, and to determine how African American females perceive the images that are presented of them in rap music videos. This study explores Black women's representation through analyses of top ten rap music videos from January to September 2010 and conceptualizes the effects of these representations on Black female viewers. This study also explores the reception of Black women's images in rap music videos as they are potentially exported to other cultures. This project is a multi-method examination including questionnaires and focus group sessions, exploring the effect of rap music video content on the representation of African American women, society's perceptions of African American females, and how when given an opportunity to construct their own media image, how would African women be represented. / African American Studies

Chan, Mun Tak Ada. / Thesis (M.Phil.)--Chinese University of Hong Kong, 2009. / Includes bibliographical references (leaves 65-69). / In English with some Chinese characters; abstract also in Chinese. / Abstract --- p.i / Abstract (Chinese) --- p.iii / Acknowledgements --- p.iv / Table of Contents --- p.V / List of Figures and Tables --- p.vii / Chapter Chapter One --- Introduction --- p.1 / Geographical Location and Political Status of Hong Kong --- p.3 / Personal Reflection on the Change of HKSAR´ةs Sovereignty --- p.8 / Chapter Chapter Two --- Propaganda on Television: Music Video in Hong Kong Mass Media --- p.10 / Defining Post-colonialism --- p.10 / A Brief History of Hong Kong --- p.12 / National Affiliation of the Hong Kong Citizens in the Pre- and Post-Handover Era --- p.14 / Chapter Chapter Three --- The Changing Audiovisual Presentation of the PRC National Anthem Video Clips in Post-colonial Hong Kong --- p.23 / Chinese Musical Nationalism in Post-colonial Hong Kong --- p.23 / “Vocabulary´ح and Its Post-colonial Interpretation --- p.24 / “Structure´ح and Its Post-colonial Interpretation --- p.25 / Conceptualization of the Nation by Displaying the PRC flag and the Hong Kong SAR flag --- p.26 / Conceptualizing the Ideas of Ethnicity --- p.30 / Image of People´ةs Liberation Army in Constructing the Concept of the Nation --- p.32 / Interrelationship between the Musical Interpretation and the People featured --- p.34 / Vocabulary in Constructing the Concepts of the Chinese Nation --- p.41 / Conclusion --- p.44 / Chapter Chapter Four --- Conclusion --- p.48 / Post-Colonial Influences Upon the Cultural Identity of Hong Kong Citizens --- p.48 / Reinforcing Political Affiliation to the PRC using the National Anthem after the 1997 Handover --- p.49 / Our Home Our Country featuring the PRC National Anthem as a Political Tool --- p.50 / The Historical Significance of Our Home Our Country --- p.52 / Appendix I Basic Information of the National Anthem Video Clip Our Home Our Country --- p.54 / Appendix II Musical Aspects of the National Anthem Video Clips Our Home Our Country --- p.55 / Appendix III Prologues (and Epilogues) of Our Home Our Country --- p.56 / Bibliography --- p.65

Text in Afrikaans / Musiekvideos is 'n integrerende deel van die (rock)-musiekbedryf, hoofsaaklik as reklame vir die kunstenaars en hul musiekopnames. Musiekvideos is verder 'n wesenlike deel van die massamedia, in so 'n mate dat daar verskeie spesialismusiektelevisiekanale is wat 24 uur per dag op al die kontinente uitsaai, wat 'n aanduiding gee van die omvang van musiekvideos. Hierdie videos speel veral 'n vemame rol by die jeug as sub-kultuurgroep. Ook christenmusikante gebruik musiekvideos, en hul videos word gereeld as deel van christelike programme uitgesaai. Dit is gewoonlik een van die oogmerke van christenkunstenaars om die evangelie deur hul musiek uit te dra, en in die geval van christelike musiekvideos dien hulle dikwels nie net as reklame nie, maar word daar ook 'n christelike boodskap oorgedra, veral in die geval van verhalende en konsepvideos. Daar word na die rol van hierdie videos in die konteks van die christene se benutting van die massamedia gekyk en daar word onder meer 'n teologiese fundering vir die gebruik van die massamedia in die algemeen, asook musiekvideos in die besonder gegee. 'n Aantal musiekvideos van kontemporere musiekkunstenaars soos Carman, Michael W. Smith, Steve Taylor, The Newsboys, en Steven Curtis Chapman word individueel beskryf en vanuit 'n teologiese perspektief beoordeel om te sien hoe suksesvol hulle in die oordra van 'n christelike boodskap is. Daar word 'n vergelyking getref tussen christelike en sekulere musiekvideos en hoe sekere onderwerpe benader word. Sekere tekortkominge, sowel as positiewe aspekte by christelike musiekvideos word as deel van 'n missiologiese reflektering uitgewys. / Missiology / D.Th. (Missiology)

Att musik väcker känslor är nog något som vi alla kan komma överens om. Musiken kan få oss att skratta, gråta, dansa, ja, alla känslouttryck kan skapas genom den. Och kanske är den ultimata låten den som får oss att känna allting på en och samma gång, och får oss att vilja lyssna på den om och om igen. Vissa låtar med tillhörande musikvideos exploderar och får miljoner, för att inte tala om miljarder, klick. Musiken kan ibland bli mer än bara en låt, och folk kan bli sittandes och diskutera dess mening i timtal. Låten This is America, med tillhörande musikvideo, är en sådan. Den här studien redogör för den videons beståndsdelar, hur den anspelar med den nutida politiska kontexten och vad för eko den har skapat till omvärlden. För att ta reda på hur videon blivit så populär författade vi en övergripande frågeställning som löd: “Hur ska vi förstå meningsskapandet i This is America?”. Utifrån vår forskningsöversikt, kunde vi finna att ett popkulturellt fenomens mångtydighet och öppenhet till tolkning, bäddar för dess popularitet. Genom historien finns det även fog för att musik som är sprungen ur utanförskap och som kritiserar samhället, har möjlighet att bli än mer populär. Mot bakgrund av forskningsöversikten bröt vi ner musikvideon This is America i olika delar för att ta reda på dess innebörd och djupliggande meningar, allt för att förstå dess popularitet. Videon, tillsammans med dess låttext, tar upp ämnen såsom vapenfrågan i USA, spåren efter slaveriet och hur mörkhyade personer fortfarande lever i ett förtryck i landet. Videons enorma popularitet beror förmodligen på att de tecken och de ämnen som den tar upp berör väldigt många människor. I princip vem som än tittar på videon kan se något som de känner igen, oavsett om personen är fem år, eller 105. Barnen känner igen danserna från spelet Fortnite, medan de äldre ser figuren Jim Crow som de associerar till segregationen i det tidiga 1900-talets USA. En musikvideo kan säga oss så ohyggligt mycket mer än vad vi, vid första anblick, tror, vilket den här uppsatsen pekar på. Att skänka en extra blick åt den där musikvideon kan ge en inblick i en värld som vi annars inte alltid kan se in i. Den kan öppna dörren och ge en samhällsskildring som få medier skulle kunna presentera. / The fact that music evoke emotions inside us is something that probably all of us are willing to agree on. Music can make us laugh, cry, dance - every possible expression of emotions can be created through it. Perhaps may the ultimate song be the one that make us feel all of these emotions at once, and make us want to listen to it, over and over again. Some songs and music videos blow up and create millions or even billions of views. At times, music can be more than just a song, making people want to sit down and discuss its meaning for hours. The song This is America and its music video is a good example of this phenomenon. The purpose of this study is to explore the elements of this particular video, how it alludes with the current political context and the aftermath that have aroused from it. To explore the reason behind the enormous popularity of this video, we composed a comprehensive research question, that goes “How are we to understand the meaning in This is America?”. From the background of our research summary, we were able to find that the ambiguousness and the potential of a wide interpretation of a popular cultural phenomenon, is what lays the ground for its popularity. Through history, it can be said that music, that have been made from alienation, have a possibility of becoming even more popular. With our research summary in hand, we broke down the music video This is America into sections, in order to learn its meaning and signification, and to understand its popularity. The video and its lyrics, brings up subjects such as gun politics in the United States, the remaining traces of slavery, and how people of colour still suffer from oppression. The enormous popularity of the video probably comes from the wide range of subjects and signs that it addresses. Basically anyone who watches it will see something they recognize, regardless of if the person is five or 105 years old. Children recognize the dances from the video game Fortnite, while the elder recognize the character Jim Crow, who they associate with the segregation in the United States in the beginning of the 20th century. A music video can tell us more than we originally think, which is also what this essay points to. If given an additional look, a music video might be able to give an insight to a world that is unknown to us. It may even open the door to provide a portrayal of society that regular media rarely presents.