The marvel of music video online has been brought
upon by the “process whereby new technologies are accommodated by existing media
and communication industries and cultures” (Dwyer 2006:2), otherwise known as the
phenomenon of digital media convergence. A fundamental shift from music video
television to music video online has occurred over the past decade which has
aided the success of online delivery methods such as ‘YouTube’ and ‘VEVO’. Herein,
the argument can be made that the classic television programs and channels for
music video like ‘Rage’ and ‘MTV’ have now taken a back seat to the succeeding
online approaches. Therefore, Alex Munt’s article “New Directions in Music
Video” is appropriately titled and the content within it aptly postulated that
music video has indeed been directed onto a different path.
In
order to effectively discuss the dynamics of music video online, the inception
of music video television in the 1980’s must be evaluated to soundly understand
this shift to the preferred modern online methods. Specifically, the launch of
MTV in 1981 allowed artists to showcase their latest hits on television in a
video clip. The proclaimed ‘King of Pop’ Michael Jackson, completely and
utterly revolutionised the production of music videos with his ever so famous
“Thriller” clip. His explicitly unique and distinct style inspired a generation
permitting for break-through artists for the future. A clear modern day example
of this can be seen through R&B producer and recording artist Usher.
At
the time Usher arguably produced his most famous record in Confessions, MTV and
music video television were of high popularity and due to this it is almost
impossible not to listen to the song without recollecting the renowned mirror
shattering scene towards the end of his video clip. In such a poignant song
where Usher is literally on his knees confessing all of his wrongdoings, the
shattering of the mirror represents a flawless personification of the world
crumbling down on him. Nevertheless, digital media convergence has produced an
exponential growth in music video online because of the “increasing
availability of broadband coupled with the difficulty of streaming longer
videos through the current Internet technology” (Munt 2007: 3). Consequently,
this has seemingly altered the way music videos are now produced.
The
“viral spread of music video on portals such as YouTube and Vimeo is consistent
with ‘the rise of clip culture’ online” (Geist 2007) has generated for new
artists and with that, an utterly innovative method of music video online.
Weird Al Yankovic is a prime artist who has successfully played on this new era
of music video. Weird
Al has been noted for his humorous parody of rap star Chamillionaire’s hit
record “Ridin’ Dirty” with his version “White and Nerdy”. This music video of
‘White and Nerdy’, although being a sheer mockery of the original entwined with
its low-budget capacity, has caught the attention of millions with an
astounding 72 000 000 hits on YouTube. Interestingly, this is 53 000 000 more
hits than the original ‘Ridin’ Dirty’.
Despite
this shift to music video online and its distinctive style, elements from
previous ways of presenting music videos, primarily music video television,
have been retained. Just like on the all night music television program ‘Rage’
whereby you are able to submit clips to be aired, digital media convergence has
allowed for user-generated sites like YouTube to upload any video that you
desire. One
of the most prosperous examples of this in modern day context is the music
video of “Here It Goes Again” by OK Go. The financial side in constructing this
video would be close to nothing as the only significant monetary factor needed
to be allocated would be the hiring of the treadmills. Nonetheless, despite the
minimal effort contributed towards making the music video, it has received a
staggering 14 458 966 hits on YouTube reflecting the sheer popularity in this
different style of online music video.
The significance of Jenkins’ (2008:13)
statement that "old media never die—and they don't even necessarily fade
away” is prominent in understanding this shift towards music video online. In
agreement with Jenkins, Austerlitz (2008:13) boldly clarifies any ambiguity by asserting
that ‘the music video did not die; it merely mutated, onto a new host: the
Internet’. Moreover, Shani Orgad contends the argument of ‘Mobile TV’. As
technological factors have advanced and it is now possible to access internet
via your mobile phone, the genius of accessing music video on smart phones have
risen in popularity. According to Orgad (2009:198), “more than half a billion
customers subscribed to video services on their mobile phones in 2011”. This meritoriously
renders the effects of digital media convergence for the future of music video.
Ultimately, music video has undergone
significant changes over the past three decades primarily from being aired on
television channels and programs such as ‘MTV’ and ‘Rage’ to online delivery methods.
These approaches have been successful through user-generated websites like
YouTube and Google Videos which have presented the industry with an utterly unique
style of music video because of digital media convergence. Herein the flair,
effort and passion that went into music videos with the likes of pop and
R&B icons in Michael Jackson and Usher have now been altered with online methods
producing low-budget handmade videos such as “Here it Goes Again” by OK Go.
References
Austerlitz, Saul 2008 Money for
Nothing: A history of the music video from the Beatles to the White Stripes,
New York: Continuum
Dwyer, T 2010, Media Convergence, McGraw Hill, Berkshire, pp 1-23.
Giest, Michael 2007 ‘The Rise of Clip
Culture Online’, BBC News, at http://news.bbc.co.uk/2/hi/technology/4825140.stm,
March 2006 (accessed 1 November 2010)
Jenkins, Henry 2008 Convergence
Culture: Where old and new media collide, New York: New York University
Press
Munt, Alex 2011 New directions in music video : Vincent Moon and the ‘ascetic
aesthetic’, Australia: Australasian Association of Writing Progams
Orgad, Shani 2009 Mobile TV : Old and new in the construction of an emergent technology
Convergence, vol 15 no 2 pp 197 – 214 http://con.sagepub.com.simsrad.net.ocs.mq.edu.au/content/15/2/197.full.pdf+html
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