Music videos of the MTV era often use gothic visual signifiers as decorative elements or creative expressions of the musician’s star persona or latest record. But several video clips from the early ...1980s adapt the figure of gothic monstrosity, and in particular, the images and stories of the undead or beastly Other, in ways that dramatize the music video’s evolving aesthetic, commercial, and technological character and its unpredictable relation to Gothic. In this article, I look closely at the narrative elements of two important configurations of gothic-themed video clips: “Don’t Go” (1982) by Yazoo, “Telefone (Long Distance Love Affair)” (1983) by Sheena Easton, and “Mary Jane’s Last Dance” (1993) by Tom Petty and the Heartbreakers, which creatively adapt textual elements of Mary Shelley’s 1818 novel Frankenstein and its various film adaptations and parodies and its cultural significance in the modern Western imaginary; and “Thriller” (1983) by Michael Jackson and “Heads Will Roll” (2009) by the Yeah Yeah Yeahs, which likewise adapt and reimagine aspects of John Landis’s 1981 horror comedy film An American Werewolf in London and its afterlife in the modern media ecosystem. These videos, I argue, trouble conventional understandings of the practice of adaptation as a one-to-one line of inheritance between source material and destination text. In so doing, furthermore, these clips amplify and elaborate certain socio-cultural anxieties about gender and race, personal and professional identity and autonomy, and technological innovation and automation that animate their source materials.
The British rave scene of the late 1980s and early 1990s is widely remembered as a moment of elation and bliss. Contemporary cultural representations position the Second Summer of Love of 1989 – when ...thousands of young people attended illegal parties, experienced the hypnotic beats of house music and had their first brush with the drug ecstasy – as an object of nostalgia. I argue that rave nostalgia is suspended between two dispositions: the afterglow and the hangover. Whereas the former involves happiness, reversibility and continuity, the latter is defined by melancholia, irreversibility and discontinuity. On this basis, I consider two texts that creatively combine these dispositions in their evocation of rave: the music video for The Streets’s ‘Weak Become Heroes’ and Jeremy Deller’s documentary Everybody in the Place. Finally, I assess how the euphoria associated with rave nostalgia helps to augment and advance the recent turn to joy in memory studies.
Using the term “bricolage”, this article examines the articulation of religious imagery in the visual language of extreme metal. Transgression and bricolage, which describes a specific mode of ...reusing elements of cultural repertoire to fashion new expressions, have their own history and tradition in heavy metal. Any implementation of its visual language relies accordingly on shared knowledge of scene traditions and patterns to decode, but disembedded religious images and religious patterns are abundant in pop cultural bricolage by itself. Analysing intermedia, here using music videos as an example, shows how media characteristics restrict and expand the possibilities in implementing bricolage. In extreme metal music videos – already pop-culturally disembedded – religious images are placed in allegorical, socially critical or philosophical contexts, but can also be re-embedded into religious freeform. Any repetition of a variation of religious imagery from the cultural repertoire that relies on the religious context to empower the bricolage solidifies this application in the visual language – even as this sedimentation further removes it from specific religious meanings.
This article analyses the 2015 music video for the song 'Dope' by South Korean 'K-pop' boy-band BTS, which had attracted over 200 million YouTube views by mid-2017. We contend that such K-pop music ...videos draw on established genre conventions to facilitate the global commercialization of their artists. These videos act as a platform to promote, legitimize, authenticate, and consolidate the artists' place within the K-pop music industry, while facilitating artist-audience connections. As a relatively new cultural product, K-pop has emerged over the last 20 years as part of the global cultural phenomenon known as the Korean Wave, or Hallyu. The K-pop industry dates back much earlier, however, with today's K-pop representing a culmination of political, cultural, technological, and commercial factors aimed at making K-pop an integral part of South Korea's economy. By 2018, K-pop group BTS had achieved global success including top position on the Billboard charts and an invitation to address a General Assembly of the United Nations in New York. Careful design and marketing of music videos has made K-pop an important player in the global success of the Hallyu industry.
Objectives
To observe the effect of music video (MV) therapy on early postoperative pain in preschool children after cardiothoracic surgery.
Methods
116 preschool children undergoing cardiothoracic ...surgery were randomly divided into the MV and control groups from June 2019 to March 2020. The related vital signs parameters, the Wong–Baker FACES pain rating scale, the FLACC scale, the number of postoperative PCA press and the cumulants of sufentanil use were recorded and analyzed.
Results
There were no statistically significant differences in general characteristics and preintervention data between the two groups. However, there were significantly lower in the heart rate, mean arterial pressure, respiratory rate, the number of postoperative PCA press, and the dosage of sufentanil in the MV group than those in the control group after the intervention. The Wong–Baker FACES and FLACC scales in the MV group were significantly lower than those in the control group at the time point of immediately after the first intervention, 1 day, and 2 days after the intervention. The two pain scores showed a downward trend over time, and the corresponding scores in the MV group were better than those in the control group.
Conclusion
MV therapy can be an effective nonpharmaceutical intervention in the clinical to relieve children's postoperative pain after cardiothoracic surgery.
AMV(Anime Music Video) was created by Amateur editors from 1980s 1 .The videos are often based on existing anime footage and a popular song. The harmonization between music and animation of AMV may ...have a positive effect on psychological recuperation for human emotion. This paper describes a analysis of AMV Harmonious-Characteristics by comparing objective evaluation based on harmony calculation model 4 and subjective harmony evaluation. As experimental results, this model extracts a stable harmonization, but the classification accuracy is not enough to discriminate AMV categories and original images.
How do we understand a concert video in the context of a cultural industry's alternative product? The DVD included in the Super Deluxe box set of the Sign o' the Times (SOTT) album, released in 2020, ...has a two-hour-and-fifteen-minute concert video known as
Live at Paisley Park and three official music videos. The audio-visual aesthetic was one of the main weapons of a multi-artist who always tried to extrapolate the musical element, not only in his films or his music videos but also in live concerts. Many possible reasons can explain
the presence of the New Year's Eve concert in the package and not the official film directed by the artist himself. The most concrete explanation is that the rights of the film Sign o' the Times currently belong to a company not involved in this project. It might not be
an insurmountable hurdle, but a more accurate comparison between the two audio-visual products can help one understand that the Paisley Park video is more genuine in many senses, and the lighting is one of the most evident signs of it, building a veritable apotheosis of music and dance.
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