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admirateur de musique
MEDIA AND PHILOSOPHY
( yes i could not think of anything better)
“Fandom, after all, is born of a balance between fascination and frustration: if media content didn't fascinate us, there would be no desire to engage with it; but if it didn't frustrate us on some level, there would be no drive to rewrite or remake it.”
― Henry Jenkins
Our (real) world and the philosophical world are not the same. When I read theories, I feel as if I've entered a different dimension. But are philosophical theories always correct? In this theoretical world where Sven E. Carlson, Andrew Goodwin, and Laura Mulvey are the gods of Televised Bards, Thoughtbeats, and Vogueurism in that order, it is philosophy that declares victory.
According to Michael Shore, anyone who makes music videos has no original ideas and creates completely recycled garbage (i guess people are more conscious about their environment now). According to Shore, the videos feature recycled styles and information overload, and are almost always designed to appeal to adolescent male fantasies. The videos' use of speed, power, girls, and wealth translates into soft core pornography and cliched imagery. He did, however, define some other aspects of a music video, such as image assault and outré people, surface without substance, classical storytelling motifs, anaesthetisation of violence through chic, and instant gratification. Using his work to analyse existing media works, the majority of his theory is usually visible in pop music videos, R&B and rap.
Laura Mulvey advances the approach to how women are portrayed in music videos, namely as dismembered body parts sexualized for the male audience. She believes that women are viewed as sexual objects used as props in music videos to accompany men who are viewed as whole. Most (if not all) of Pitbull's music videos are examples of this theory. (even though i hate to admit it but there is something known as the "female gaze" too)
Sven E. Carlson claims that music videos are a type of low culture that decide to use binary opposites to advance their story. Carslon suggests that music videos can either be conceptual or performative in order to continue this line of reasoning. Any music video that features a performer singing or dancing is, in his opinion, performative. Three branches are further divisions of these performances. The commercial exhibitionist comes first.This is comparable to the Star Image hypothesis, in which an artist markets their appearance and personality to promote themselves and their way of life. The next performance is called Televise Bard, in which the artist takes us through a narrative or tale while performing in a different setting. The last song, Electronic Shaman, features the artist's voice but no visuals. Although his idea is unquestionably true, it does not apply to all music videos.
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Andrew Goodwin concentrated on the music in the music videos and the imagery it could provide to the audience in its purest form. The foundation for visualising images stems from a psychological process known as synaethesia, in which you imagine sounds in your mind's eye. According to Goodwin, music videos use visual associations from the soundtrack to connect with the audience.
Moving on to discuss the star image of well-known artists, Goodwin believes that artists create stories about their personal lives and use them to create one large meta narrative known as their star image, which they then use to advertise themselves in their music videos or even publicise their music videos.
Music videos, according to Goodwin, use Fuzz narratives (incomplete narratives) to provide the repeatability factor seen in advertisement videos.
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