How can we engage critically with music video and its role in popular culture? What do contemporary music videos have to tell us about patterns of cultural identity today? Based around an eclectic ...series of vivid case studies, this fresh and timely examination is an entertaining and enlightening analysis of the forms, pleasures, and politics that music videos offer. In rethinking some classic approaches from film studies and popular music studies and connecting them with new debates about the current 'state' of feminism and feminist theory, Railton and Watson show why and how we should be studying music videos in the twenty-first century. Through its thorough overview of the music video as a visual medium, this is an ideal textbook for Media Studies students and all those with an interest in popular music and cultural studies. Key Features* Provides a framework for how to describe and analyse a music video.* Uses case studies from internationally well-know artists, such as Kylie, Shakira and Beyoncé to explore issues of representation of gender, sexuality and ethnicity.* Draws on classic and contemporary videos from a range of musical styles, from Lady Gaga and Christina Aguilera to Gorillaz and Metallica.
This essay follows the making of a queer of colour aesthetic space in the form of a music video entitled Brother, within a largely homogenous white University. The video places white ...heteronormativity on the periphery whilst intersectional brown bodies take the centre. It inverts racist and fetishistic tropes in music video culture and reverses the white male gaze. The making of the video created a small brown island in a sea of white as a vision of a future brown space protected from the ubiquitous, ambivalently festishizing white gaze; a gaze that projects its own narrative onto bodies of colour. It puts forward a thesis of racial agency, whereby the performance of “race” is scripted by the person of colour and not provoked by the construct of whiteness.
Affective computing is an emerging area of research that aims to enable intelligent systems to recognize, feel, infer and interpret human emotions. The widely spread online and off-line music videos ...are one of the rich sources of human emotion analysis because it integrates the composer’s internal feeling through song lyrics, musical instruments performance and visual expression. In general, the metadata which music video customers to choose a product includes high-level semantics like emotion so that automatic emotion analysis might be necessary. In this research area, however, the lack of a labeled dataset is a major problem. Therefore, we first construct a balanced music video emotion dataset including diversity of territory, language, culture and musical instruments. We test this dataset over four unimodal and four multimodal convolutional neural networks (CNN) of music and video. First, we separately fine-tuned each pre-trained unimodal CNN and test the performance on unseen data. In addition, we train a 1-dimensional CNN-based music emotion classifier with raw waveform input. The comparative analysis of each unimodal classifier over various optimizers is made to find the best model that can be integrate into a multimodal structure. The best unimodal modality is integrated with corresponding music and video network features for multimodal classifier. The multimodal structure integrates whole music video features and makes final classification with the SoftMax classifier by a late feature fusion strategy. All possible multimodal structures are also combined into one predictive model to get the overall prediction. All the proposed multimodal structure uses cross-validation to overcome the data scarcity problem (overfitting) at the decision level. The evaluation results using various metrics show a boost in the performance of the multimodal architectures compared to each unimodal emotion classifier. The predictive model by integration of all multimodal structure achieves 88.56% in accuracy, 0.88 in f1-score, and 0.987 in area under the curve (AUC) score. The result suggests human high-level emotions are automatically well classified in the proposed CNN-based multimodal networks, even though a small amount of labeled data samples is available for training.
Streaming music videos on the internet is an increasingly popular music listening activity that has remained virtually unexplored within music psychology. Studies of the role of music in film, as ...well as empirical research investigating the influence of audio-visual media and memory, have shown that visual information can have a profound effect on how music is perceived and remembered. The current study aimed to create a framework for understanding music video (MV) experiences by finding out when and why individuals choose to engage with this form of media, how these experiences contribute to the perception of musical meaning and influence affective outcomes, and whether these effects carry over to subsequent listening experiences. An online questionnaire study was designed, and data were collected from 34 participants with a mean age of 22.4 years (SD = 2.79). Abductive analysis of the qualitative data was conducted based on theories derived from topical areas of music psychology research. A framework was devised which illustrates MV listening experiences over four temporal stages: Intention, Attention, Reaction, and Retention (IARR). The IARR framework provides novel insights into MV listening experiences and outcomes by shedding light on how extra-musical information can have a long-term influence on the perception of music's meaning and affective quality.
Emotion recognition based on multi-channel electroencephalograph (EEG) signals is becoming increasingly attractive. However, the conventional methods ignore the spatial characteristics of EEG ...signals, which also contain salient information related to emotion states. In this paper, a deep learning framework based on a multiband feature matrix (MFM) and a capsule network (CapsNet) is proposed. In the framework, the frequency domain, spatial characteristics, and frequency band characteristics of the multi-channel EEG signals are combined to construct the MFM. Then, the CapsNet model is introduced to recognize emotion states according to the input MFM. Experiments conducted on the dataset for emotion analysis using EEG, physiological, and video signals (DEAP) indicate that the proposed method outperforms most of the common models. The experimental results demonstrate that the three characteristics contained in the MFM were complementary and the capsule network was more suitable for mining and utilizing the three correlation characteristics.
One approach to studying music videos is through the framework of diegesis, which considers the relation of sounds to narrative structure in film. Unlike most visual media, music videos flip the ...diegetic picture as image functions to support music, allowing for new narrative interpretations. Narratological possibilities of several 360° pop music videos are examined to demonstrate pop music diegesis, which operates through navigational agency and diegetic immersion. The viewer of an immersive music video is a staged element of compositional design, implied by agency afforded through interaction and envelopment. Moreover, the essay expounds discourses on popular music in immersive media.
Tourism risk perception is proven to have significant influence on tourists’ decision-making behaviors, however, the impact of the place image depicted in the cultural media of destinations on it ...needs to be further studied. The study explores the mechanism of potential tourists’ risk perception in severe COVID-19 epidemics with the antecedent effects of the place image depicted in anti-epidemic music videos, and the impact of risk perception on potential tourists’ place attachment and travel intention, based on the risk perception theory. This study also explores the moderating effect of the visiting history on balancing risk perception, place attachment, and travel intention. With empirical research, the study result indicates that in severe epidemics: (1). The place image depicted in anti-epidemic music videos has a significant negative effect on tourism risk perception; tourism risk perception has a significant negative effect on potential tourists’ place attachment and travel intention; (2). The tourism risk perception mediates between the place image depicted in the music videos and potential tourists’ place attachment and travel intention; (3). Visiting history modulates the influence of tourism risk perception, potential tourists’ place attachment, and travel intention. This research would be helpful if it enriches the theoretical content of risk perception, expands the theoretical foundation of tourists’ decision making, promotes the application of music videos in tourism research, and proposes empirical risk management countermeasures of tourism destination.
This paper examines the audiovisual genre of Hindutva pop and its connections to Hindu right-wing violence in India. Hindutva pop music videos instigate violence against Muslims and advocate the ...establishment of a Hindu state. Examining the YouTube channels on which these songs circulate, as well as the textual aspects of music videos, I argue that the genre becomes a machine for the transmission of political affect. Consequently, I argue for what I call "violent spectating" - a visceral and affective politics of spectacularized hatred that takes advantage of digital platforms but exists in constant dialogue and exchange with right-wing extremism offline.
This article analyzes norteño corporeality, or how bodies physically engage with norteño music and visually display norteño identities. Through a comparison of more than 75 mainstream videos, it ...explains how current norteño corporeality differs from earlier corporealities, why it differs from tejano ones, and why it strongly resembles those of gangsta rap. Using an interdisciplinary approach, the article focuses on the banal and the ordinary in musical performance; in so doing it shows how gender and race interact with and are affected by neoliberalism in the US-Mexico border area.
This article analyses the circulation of Timaya's 2019 music video I Can't Kill Myself as a means of contemplating contemporary media consumption in Nigeria. Beginning with the premise that media ...forms are best understood as taking part in a complex web of interactive relationships, the article examines the form, content, and relevance of short videos uploaded on YouTube in response to Timaya's work. The videos provide a means of charting audience engagement with the diverse kinds of audio and visual materials vying for attention in a milieu characterised by sped-up access to means of audio-visual production and dissemination. By tracking such productions, we are able to grasp the socio-political issues that constitute predominant concerns for the prosumers and their target audience, such as the increasing unaffordability of certain food items in the country. Also, the comic representation of food and eating featured in the videos enables us to contemplate the cohesive capacity of humour.
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