Music Video and the Spectator: Television, Ideology and Dream

Abstract

The spectacular burgeoning of music videos poses many intriguing questions about the form and its institutional setting, as well as the relations between video and dreaming.

Music Video, Remediation, and Generic Recombination

“…4 One of the most influential was Marsha Kinder’s study of three central “components” of music video. Two of these three components are guided by genre: the “performance” component is tied to musical genre, and the “narrative” component “turns the video into a minifilm with specific generic identification (e.g., horror, gangster film, screwball comedy, western, noir , melodrama, women’s picture)” (Kinder 1984, p. 4–5). 5 Kinder’s (1984) work importantly (1) points to music video’s remediational nature with regard to both popular music and film genres and (2) indicates that while performance, narrative, and abstraction are distinct components of music video, they are also often “combined with different emphases to create considerable variety within the form” (p. 4).…”

A Review of Challenges in Display Technology

“…In August 2010, Canon announced they were shutting down their joint effort to develop SEDs commercially, signalling the end of development efforts. [31] SEDs are closely related to another developing display technology, the field emission display, or FED, differing primarily in the details of the electron emitters. Sony, the main backer of FED, has similarly backed off from their development efforts.…”

Comportamientos artísticos en la era de los nuevos medios

“…Marsha Kinders relaciona las diferentes variedades del clip en función de la fuente de donde provenga: "Dependiendo de L qué medio de comunicación leas, el vídeo musical es un nuevo medio que amplía las posibilidades únicas de la estética de vanguardia anteriormente restringidas al cine independiente y al videoarte, una nueva combinación de música e imágenes que redefine las relaciones audiovisuales en los medios de comunicación, un nuevo medio de marketing para discos y cintas que está salvando la industria de la música pop, o una nueva fuente de imágenes sadomasoquistas violentamente sexistas que infectan las mentes de nuestros hijos" (Kinder, 1984).…”