Literaturnachweis - Detailanzeige
| Autor/in | Burns, Gary |
|---|---|
| Titel | Dreams and Mediation in Music Video. |
| Quelle | (1986), (41 Seiten)
PDF als Volltext kostenfreie Datei |
| Beigaben | Tabellen |
| Sprache | englisch |
| Dokumenttyp | gedruckt; online; Monographie |
| Schlagwörter | Tagungsbericht; Audiences; Fantasy; Films; Imagery; Mass Media; Popular Culture; Popular Music; Television Viewing; Theories; Visual Stimuli |
| Abstract | The most extensive use of dream imagery in popular culture occurs in the visual arts, and in the past five years it has become evident that music video (a semi-narrative hybrid of film and television) is the most dreamlike media product of all. The rampant depiction and implication of dreams and media fantasies in music video are often strongly encouraged by the lyrics and soundtrack, formal requirements. Song lyrics, sometimes fragmented and rarely telling a coherent story, encourage elliptical video narratives, arbitrary and/or unrealistic settings, and direct address to the camera. The visuals often imply that the singer is thinking or dreaming the soundtrack. An informal analysis yields several key nonverbal indicators of dream in pop records, such as whispering, frequency filter effects, echo, reverberation, tremolo, sounds played backwards, a tendency to take liberties with rhythm, instrumental improvisation, and sometimes a background drone effect. The theory of dream imagery and mediation aids in explaining some of the more mysterious features of several popular videos, such as (1) "Shame" (Motels), (2) "Don't Come Around Here No More" (Tom Petty and the Heartbreakers), (3) "Heaven" (Bryan Adams), (4) "Undercover of the Night" (Rolling Stones), and (5) "Good Lovin'" (Young Rascals). (Lyrics for these five songs are included, and footnotes and an extensive selected bibliography are appended.) (NKA) |
| Erfasst von | ERIC (Education Resources Information Center), Washington, DC |
| Update | 2004/1/01 |
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