By Simon Frith, Andrew Goodwin, Lawrence Grossberg
Sound and imaginative and prescient is the 1st major number of new and vintage texts on video and brings jointly a few of the best foreign cultural and track critics writing this day. Addressing some of the most arguable types of pop culture within the modern global, Sound and imaginative and prescient confronts effortless interpretations of song video - as promotional cars, filmic pictures and postmodern tradition - to provide a brand new and ambitious figuring out of its position in pop tune, tv and the media industries. The ebook recognizes the background of the economic prestige of dad tune as an entire, in addition to its complicated kinfolk with different media. Sound and imaginative and prescient can be a necessary textual content for college kids of renowned tune and pop culture.
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Extra resources for Sound and Vision : The Music Video Reader
With music video, the now more heavily integrated music/film/ television industry reasserts its global and its domestic powers, above all the power to enter a space, anyone’s space, and to separate them from it. The story We are concerned here with the history of technology. The song is an early manifestation of a modern ‘cultural technology’, if we can understand that term to describe a mediation between a mode of address, the occasion of its reception, and its social and material consolidation as a technique (Mercer 1986).
If I was to do a real raunchy punk tune, I’d even be slick in the raunchiness. People are used to watching multimillion dollar productions, that’s the standard…. It’s an international business, and the only way to play international ball is with this type of entertainment/promotion. ) 4 ‘I think most pop promos are blatantly sexist, which I find incredibly offensive. They’re just masturbation fantasies for middle America. They just sit there with their cans of beer tossing off while all these scantily clad girls do this and that with men with their big electric guitars like prick extensions.
Figures are often placed in a smoky, hazy environment…the sudden, unexplained explosion is a common feature’ (Kaplan 1987:145). Concert-goers will of course recognize each of the ‘post-nuclear’ features of the rock video as elements in the staging of live rock shows. The ‘unexplained’ explosions remain unexplained only if your ears are closed—otherwise it will be noticed that they tend to coincide with the pulse of the music and occur at moments of dramatic crescendo. Elsewhere Kaplan uses film and postmodern theory to arrive at a classification of music video that is as unconvincing as it is original.