Music video at times of reconfigurations
Since its origins in the 70s, the music video is considered an eminently television genre which depends on the musical channels, like MTV. However, recently this scenario has begun to change. Especially because of the YouTube, the Internet is now the fundamental vehicle for dissemination of the musi...
| Autores: | , |
|---|---|
| Tipo de recurso: | artículo |
| Estado: | Versión publicada |
| Fecha de publicación: | 2009 |
| 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/5841 |
| Acceso en línea: | https://revistaseletronicas.pucrs.br/revistafamecos/article/view/5841 |
| Access Level: | acceso abierto |
| Palabra clave: | Music video internet reconfiguration Videoclipe representação |
| Sumario: | Since its origins in the 70s, the music video is considered an eminently television genre which depends on the musical channels, like MTV. However, recently this scenario has begun to change. Especially because of the YouTube, the Internet is now the fundamental vehicle for dissemination of the music videos. This paper will discuss the change of the dissemination circuit and how it has modified the production, the aesthetic, and the audience of the music videos. To comprehend this new situation and to find out some of its consequences, we will analyse the music videos of NX Zero, a Brazilian adolescent rock band that uses the Internet as a significant support for his job. |
|---|