Today Media Convergence is
defined as;
“the process whereby new technologies are accommodated by existing media and communication industries and cultures” (Dwyer 2006:2).It's an adaptation involving old and new media forms. The digital revolution has emerged from the ever-changing media practices of social, political, economical, cultural and technological factors,
This discussion unveils the recent
shift from music video television to music video online.
Firstly, Music video in the
1980’s caused major changes in the music related industry during this period. This
is apparent with pop star artist Michael Jackson as he revolutionized the way
music videos were produced.
It is also argued that the recent
shift of music video online has demeaned music video television. This discussion
examines the work from Vincent Moon and his interrelated concepts of the state
and status of music.
Thirdly, the additional layers
regarding highly sexualized music video programming, in such a case where minors
are likely to be the victims, is discussed. In addition, ‘The rise of clip
culture online' (Geist 2006) also discourses convergent screen media.
 |
| (Mikey 2009) |
Admittedly, music video online, has
ramifications towards music television. Even so, it is however, important to
note the undeniable factors that devalue original music video. These factors
include authenticity, the idea of on- demand media and user- generated media.
The evolution of music
convergence online poses questions of what is considered authentic in music
videos as opposed to live performances. Media networks such as YouTube have
made clear that authenticity is forever changing.
Authenticity is argued that in
contemporary music video it's only "style- celebrated over
authenticity"(Grossberg 1993:174)
and the principles of authenticity are lost. Lawrence Grossberg argues that the
importance of live performance exposes the realistic sound and emotions. A
relevant example is that of Vincent Moon's videos that feature Phoenix ('1901'
and 'Lizstomania/one too many'). Here Moon engages with the 'ideology of
authenticity' by offering a new paradigm for music video that captures the
emotional aspects of live performances. He creates this authentic atmosphere by
capturing the performance in a public space. Sara Kanowski interviews Amelia Tovey and Vincent Moon on Radio National "their unique approach to making music videos using a 'one take' method and filming artists in a natural environment" (Kanowski 2012).
As follows, it can therefore be
argued that Moon’s projects present a return of authenticity on music videos
within rock cultures, isolated from the postmodern MTV model. Grossberg
expanded on this perspective by arguing if contemporary music video production
is intended purely for publicity clips, then Moon’s projects take a rebellious
approach. This is distinctively seen in his Takeaway Shows where he captures high profile, independent bands.
In accordance with Moon's
Takeaway Shows, media theorist Henry Jenkins explores the notion of the rise of
user-generated media. Jenkins (2006) articulates participatory culture in
relation to media convergence, caused by a cultural shift.
Over many years it has become
apparent that old media and technology will never die. However, as new advanced
technology is amongst us, it would appear that the way in which we access our
media content has evolved. For example Walter Isaacson (2011) quotes Steve Jobs
on the technology industry as a “digital hub that coordinated a variety of
devices that would manage your digital lifestyle”. Jeff Greenfield expands on
this theory in his CBS interview as shown;
As illustrated, Jeff Greenfield
shows an interesting discussion as he emphasizes how, in the past, the
development of technology has transformed the way we receive our information
and how it is delivered to us. This further supports the quote by Steve Jobs as
it shows the escalating range of old media combined with the new. This
ultimately results in the production of compatible devices that have reconstructed
the relationship between existing technologies.
As new technology intersects with
new platforms, it is evident that media convergence has dispersed across the
media networks, such as YouTube. This coincides with "The rise of clip
culture online" (Geist 2006) as the viral spread of music videos is
rapidly transforming the distribution and consumption of media. This issue of
videos being omnipresent presents new and unfolding challenges, as consumer
demand is high in relation to sharing and re-creating clips.
In agreement with Michael Geists’
disposition, he puts forward an intriguing perspective of how the appearance of
video sharing is an issue in the media arena. Before the evolution of media
convergence, music video production was expensive with high-production values
and performances that were genuinely original, to now a dramatic shift to
cheap, easily accessible and universal productions. Geist expands on this point
by saying that broadcasters "embrace the benefit of free publicity and
cost-free distribution" (Geist 2006). He emphasizes that the on-demand
media is creating attention in the field of inappropriate media content. He
raises the point that user- generated content was originally unavailable to the
general public, where now large audiences are enticed by video screening today.
To conclude, digital convergence
is one of the defining trends of the modern media environment. In particular,
Michael Jackson inspired his audiences to go beyond the racial boundaries of black
and white music. Similarly, Moons Takeaway Shows expressed authentic
entertainment as musicians were placed in unusual settings to reinforce the
intimacy and energy of live performances. On the contrary, music video today
raises issues of piracy and exploitation as media content is easily accessed
over any media platform. Consequently, cases where minors are the victims to inappropriate
media can raise attention to legal broadcasting reforms. To conclude, Tim Dwyer (2010) describes this process of old and new media merging together to recombine
devices with multiple layers and platforms. Above all, this creates ideologies
for new ways of thinking in the age of media convergence.
References:
Canadian Radio-television and
Telecommunications Commission 2011, Environmental
Scan of Digital Media Convergence Trends: Disruptive Innovation, Regulatory
Opportunities and Challenges, CRTC, Queen’s University, viewed 12 march
2012, <http://www.crtc.gc.ca/eng/publications/reports/rp110929.htm#s16
Chryde,
2009, Pheonix, Music Video, La
Blogotheque
Dwyer, T
2010, ‘Introduction’, Media Convergence, Open
University Press, England, pp. 2-3
Geist, M 2006, ‘The rise of clip culture’, BBC News, viewed 14 March 2012, <http://news.bbc.co.uk/2/hi/technology/4825140.stm
Greenfield,
J 2009, Media Convergence, Online
Video, CBS
Grossberg,
L 1993, ‘The Media Economy of Rock Culture: Cinema, Post- Modernity and
Authenticity, in Frith S, Goodwin A, Grossberg L (ed.), Sound and Vision: The Music Video Reader, Routledge London, pp. 174-77
Huey, S n.d.,
Michael Jackson Biography, Artist
Direct, viewed 17 March 2012, <http://www.artistdirect.com/artist/bio/michael-jackson/448122
Isaacson,
W 2011, ‘The Digital Hub’, Steve Jobs, Simon
& Schuster, Little, Brown, USA, Great Britain, pp. 379
Jenkins, H
2006, ‘Introduction:Worship at the Altar of Convergence’, Convergence Culture: Where old and new media collide, New York
University Press, New York and London, pp. 1-24
Kanowski,
S 2012, Vincent Moon and Amelia Tovey, ABC
RadioNational, viewed 12 March 2012, <http://www.abc.net.au/radionational/programs/weekendarts/vincent-moon-and-amelia-tovey/3796932
Kanowski, S 2012, Vincent Moon and Amelia Tovey, Podcast, ABC, viewed 14 March 2012,
<http://www.abc.net.au/radionational/programs/weekendarts/vincent-moon-and-amelia-tovey/3796932
Mikey, M 2007, Michael
Jackson- Picture 12 of 3149, CBS Interactive Music Group, last.fm
Munt, A 2011, ‘Vincent Moon and the ascetic
aesthetic’, New Directions in Music
Video, issue. 11, viewed 12 March 2012, <http://www.textjournal.com.au/speciss/issue11/Munt.pdf
Powers, A
2009, Ann Powers on Michael Jackson: A
performer who kept transcending boundaries, Los Angeles Times, The L.A.
Times Music Blog, viewed 17 March 2012, <http://latimesblogs.latimes.com/music_blog/2009/06/michael-jackson-a-performer-who-kept-transcending-boundaries.html
Tovey, A,
Wald, J 2012, About Us, Shoot the
Player, viewed 12 March 2012, <http://shoottheplayer.com/blog/about/
No comments:
Post a Comment