The VMA’s Video of the Year category as a definer of the music video conventions
The paper aims to understand how an award category operates in the consolidation of the structural features of the video clip. To do so, it analyzes the first 30 winners, from 1984 to 2014, of the most important award for video clips, the VMA’s Video of the Year, in order to perceive the conventions...
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| Tipo de recurso: | artículo |
| Estado: | Versión publicada |
| Fecha de publicación: | 2017 |
| País: | Brasil |
| Institución: | Pontifícia Universidade Católica do Rio Grande do Sul (PUCRS) |
| Repositorio: | Revista FAMECOS: Mídia cultura e tecnologia |
| Idioma: | portugués |
| OAI Identifier: | oai:ojs.revistaseletronicas.pucrs.br:article/24311 |
| Acceso en línea: | https://revistaseletronicas.pucrs.br/revistafamecos/article/view/24311 |
| Access Level: | acceso abierto |
| Palabra clave: | Music video Audiovisual Communication Videoclip Comunicación Videoclipe Comunicação Cultura |
| Sumario: | The paper aims to understand how an award category operates in the consolidation of the structural features of the video clip. To do so, it analyzes the first 30 winners, from 1984 to 2014, of the most important award for video clips, the VMA’s Video of the Year, in order to perceive the conventions that the award helps to consolidate. The central argument considers the Video of the Year category as a key element of video clip development, especially on two fronts: 1) it enhances the perception of video clip as an artistic product and 2) help to naturalize characteristics related to gender language. However, this consolidation takes place through various strategies implemented by MTV, creator of the award, aimed at its own legitimacy. |
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