In week 6, we discussed the thought of Music videos as a form of post cinema.  With the introduction of MTV in 1981, the music industry forever changed as the platform quickly gained traction and solidified itself as the “dominant mechanism for the promotion and circulation of popular music.” (Arnold, p. 2, 2017) The music video, shown on MTV soon became a necessary promotional tool in the selling of songs and, therefore, the artists. Paralleling film’s change with the introduction to new technologies, music video’s faced some of the similar changes.  With the introduction to new modes of music video distribution (through platforms such as youtube), the music video is now more popular than ever, also changing the production of these videos.  Vernallis suggests editing has changed significantly with this shift to digital platforms.  This can be seen when comparing a popular MTV music video from its more modern brother. Taking Michael Jackson’s Thriller for example, the music video begins with dialogue mimicking that of cinema’s traditional horror trope, adding to the overall vibe and emotion of the song. In a more modern example of a narrative expressed through music videos.  Lady Gaga and Beyonce’s ‘Telephone’ expresses a similar narrative plot, however, this music video supersedes its predecessor by including over 3 minutes before the song even begins. It’s safe to say as a viewer I cannot think of both of those songs without picturing the imagery of the videos which go along with them.  

It is here where I connect the concept of the music video to post cinema. The (mostly) 3 minute long videos, which now (most likely) include some sort of brand promotion as well along with facing the same changes with introduction to new technologies seen in both the distribution and production / post-production puts music videos under the post cinematic umbrella. 

References

Arnold, G. et al. (2017) Music/video histories, aesthetics, media. New York: Bloomsbury Academic.

By John-Michael LaDage

(Written Week 6)