Music video, songs, sound: experience, technique and emotion in Eternal Sunshine of the Spotless Mind

Vernallis, Carol

doi:10.1093/screen/hjn036

Cited by 35 publications

(6 citation statements)

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“…Some of these new teaching-learning approaches are: integrated art education (Burnaford, 1993; Choi, 2001; Hayes, McAllister, & Dowds, 2007; Park, 2008), learner-centered approaches (McCombs, 2000; Min, 2007), project-based music education (J. I. Lee, 2008), and technology-mediated music education (Burnard, 2007; Gadsen, 2008; Reese & Davis, 1998; Rhee & Lee, 2004; Vernallis, 2008).…”

mentioning

confidence: 99%

Music technology-mediated teaching and learning approach for music education: A case study from an elementary school in South Korea

Kim

2013

International Journal of Music Education

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This study aims to show how music technology mediated (or music software mediated) music teaching and learning can provide an effective pedagogy in music education. It also seeks to demonstrate that music technology mediated teaching is in accordance with socio-educational trends for both postmodern values and IT mediated learning. The new approach in this study utilizes the principles of “convergence” and applies diverse digital technologies to the class. After implementing the music technology mediated approach to an after-school program in an elementary school in Gyeonggi Province in Korea for 3 months, this study analyzed mind maps, in-depth interviews with the students, and surveys to examine how the students changed in terms of creative engagement and perception of music in everyday life. Results indicate that the digital technology mediated teaching and learning approach have the potential to enhance students’ self-motivated engagement in the music class and their perception of music in general.

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mentioning

confidence: 99%

Music technology-mediated teaching and learning approach for music education: A case study from an elementary school in South Korea

Kim

2013

International Journal of Music Education

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“…Desde aquí, para abordar el análisis del álbum visual es necesario introducir un componente esencial, núcleo de la naturaleza del video musi-cal: la necesidad de construcción visual del estrellato del grupo o artista, más allá de su presentación física en concierto o en directo supone el origen del videoclip conceptual, fruto de la "carencia visual" que según Simon Frith (1988) caracteriza la música popular y da forma al hecho de la narrativa laxa que describe Vernallis (2008): se encuentra aquí el centro de la condición no narrativa del videoclip, herencia que llega a este formato desde las prácticas videoartísticas, el arte de acción, el happening y el arte de vanguardia. En diversos momentos se ha descrito este tipo, bien como videoclips antinarrativos o apelando a un nivel poliédrico que, "expresa el desarrollo temporal en favor de una espacialización: el video concretamente gira en torno a un escenario, personaje o escenas, compone/se interna en un espacio, narra un espacio o atmósfera, sugiere presencia simultánea en varios lugares o detalles, provoca la sensación del presente continuo" (Leguizamón, 1998).…”

Section: Videoclip Y áLbum Conceptual Como Antecedentesunclassified

El Mal Querer como álbum visual: simbología de lo español, apropiación y narrativa transmedia en los videoclips de Rosalía

Valdellós

2021

Pacla

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La narrativa transmedia supone una nueva configuración de los proyectos culturales mediados a través de los canales de comunicación, que combina los tradicionales (televisión, radio, medios impresos) con los novedosos (medios online, redes sociales). En ellos se trasciende la gestión única de los mensajes, se planifica de forma que adquieran sentido a través de los medios y se diversifican los momentos de liberación de estos mensajes. El álbum visual, como heredero del álbum conceptual de rock, establece un formato extendido en la idea de videoclip musical, donde la unidad y la coherencia de los discursos visuales son rasgos primordiales. El artículo examina los motivos visuales a modo de símbolos reconocibles de la tradición española y la apropiación cultural que hace de ellos el álbum visual El Mal Querer de Rosalía (2018). El análisis se enmarca en una reflexión sobre el videoclip actual y otros conocidos álbumes visuales.

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“…The camera follows the man into the room so that the eye is focused on his glimmering golden cape and headdress, as well as the muscular blue backs of Perry’s male servants. Typically, it is women who appear fragmented in music videos (Schoppmeier, 2015; Vernallis, 1998; Vernallis, 2008), with this fragmentation indicating their existence as sexual objects. In Dark Horse , this is reversed, as it is the men in the video who are sometimes reduced to close-ups of body parts, it is the men who will be on display, not the pop star.…”

Section: Eating Hearts and Marginalizing Menmentioning

confidence: 99%

“…Often music videos shirk narrative in the pursuit of spectacle (Peeters, 2004; Vernallis, 2008), but there seems to be a clear narrative developing in Katy Perry’s throne room. One which positions her as all powerful and all consuming.…”

Section: Eating Hearts and Marginalizing Menmentioning

confidence: 99%

Dissolving the Other: Orientalism, Consumption, and Katy Perry’s InsatiableDark Horse

Pennington

2016

Journal of Communication Inquiry

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Pop star Katy Perry courts controversy with the performance choices she makes. She has been accused of peddling sex to young girls and of perpetuating racist stereotypes in her music videos and live shows. In early 2014, Perry stirred up controversy when she destroyed a necklace with the word Allah—Arabic for god—on it in her Dark Horse video. What received less attention was her destruction of Orientalized men of color in Dark Horse. Informed by postcolonial scholarship and research on music videos, this qualitative textual analysis examines how Orientalism manifests in Katy Perry’s video. It uncovers a framing of Egypt as a mute object designed for consumption as well as a narrative that portrays men of color as a threat to Perry’s liberated, Western, female pharaoh.

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Music video, songs, sound: experience, technique and emotion in Eternal Sunshine of the Spotless Mind

Cited by 35 publications

References 0 publications

Music technology-mediated teaching and learning approach for music education: A case study from an elementary school in South Korea

Music technology-mediated teaching and learning approach for music education: A case study from an elementary school in South Korea

El Mal Querer como álbum visual: simbología de lo español, apropiación y narrativa transmedia en los videoclips de Rosalía

Dissolving the Other: Orientalism, Consumption, and Katy Perry’s InsatiableDark Horse

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