Digital media convergence in relation to music video online.
According to Dywer (2010, pp.6), the introduction and distribution of DMC across technologically advanced societies has created profound changes in the nature and organization of contemporary mediated communication. This profound change can be seen in the music video industry. The current music video industry is directly affected by the modern day consumer. The modern day consumer demands entertainment in speedy and convenient amounts through the course of the day. Thus, the industry has developed a new way to meet the needs of this consumer through mediums of portable web-browsing devices and Internet software programs such as MediaFire, YouTube and Vimeo.
The development of such programs has generated a rebirth of the music video industry. Despite the modernistic and convenient approach to music videos, the industry still had to consider original means of producing music videos.
Steered by DMC in the modern era of music video development, the phenomenon of User generated content was created. User generated content, also known as participatory media, shows the cultural shift that emphasizes literacy from self-expression to societal involvement (Murugesan, 2007, pp.24-26). This cultural transition can be linked to the expansion of modern digital technologies, e.g. YouTube, which allows poor quality viewing onto networking sites. The growth of these technologies allows individuals to artistically express themselves within a formal media environment. Through this, the barriers between artist, filmmakers and consumers have been blurred (Barker, 2010, pp.142-144).
User generated content allows individuals to express themselves by extracting inspiration from other means. YouTube star Keenan Cahill, is a prominent example of how user generated content is linked to music video. The video uploaded by Cahill created with only the use of his laptop, has generated a total of 425,814,196 views since his first released video on the 25th October 2009. Cahill’s videos communicate an idea that DMC is the impact of individuals taking media into their own hands. Entertainment is no longer a diversion deigned to deliver pleasure or amusement (Singhal, 1999, pp.181). DMC impact across cultures involved the lives of those who consume it and in-turn, they become a phenomena within society (Jenkins, 2006, pp.167)
This escalation in participatory media has caused a major increase in the extent of content that exist on the Internet. Modern substandard generated content surpasses the number of professionally produced videos (sexton, 2007, pp. 8-20). However, both hybrid and low fi music videos must come up with innovated methods of attracting the attention of audiences.
Professional videos now use Lo fi production as a technique of creating a homemade movie effect. This allows the artist to emphasize the notions of the video, in opposed to the video equipment or its production (Barker, 2010, pp. 142-144). The intent of this effect is to generate a viral effect where consumers of the music video feel the need to share the video through mediums such as email chains or social network sites (Vega, 2011- podcast).
The video Buttons by Sia directed by Kris Moyes is an example of film which uses an extent of Lo-fi techniques. The video is a comprised of jump cuts, odd facial distortion techniques and a painted background recorded on a single video recording device. The video was creative used quirky means rather than an expensive budget to catch the attention of the audience. The artist became viral after famous blogger Perez Hilton posted the video on his site, generating 300,000 views in a single day. Without the impact of DMC on music videos, there would no longer be an ability to gain a level of attention in a mass media environment (Kulash, 2010).
Mathew Cullen, in contrast to Moyes, uses hybrid production in his music video titled California Gurls by Katy Perry to gain the attention of audiences by visually stimulating the audience. He uses a mixture of bright colors, expensive digital effect and production and sex appeal to generate attention from mass audiences. The video came was greeted with a mixture of comments from positive to negative, however, the video still managed to generate 51,692,530 views. This form of DMC has shown how hybrid videos are still able to generate attention despite the range of Lo fi user content.
The new era of DMC has not only shifted the creation of creation and viewing of music video, it also has altered the way we perceive subject matter. Hybrid music video is still the dominant form of music video. Geoff Mcfetridge sees an example of this in the video Plaid by Itsu. The music video utilizes a parametric element between imagination, such as architecture and the music video itself. The production blends live and virtual action space creating a paranormal effect. In using a variety of mediums the consumers viewing experience is enhanced and the creator of the video is able to escape the generic music media videos (Manovich, 2007)
Through the analysis of contemporary music videos and their trends, a distinct impact can be see on the effects of DMC on music videos. It has transformed the process of creating, recording, producing and consuming music videos. Modern music videos now live in a technologically advanced world where individuality, personalization and creativity set a high caliber for success. In this contemporary media environment, we are able to see that DMC has completely altered the classical music industry and music is no longer driven by television or record labels; rather, the individual drives it.
References
Videos
This escalation in participatory media has caused a major increase in the extent of content that exist on the Internet. Modern substandard generated content surpasses the number of professionally produced videos (sexton, 2007, pp. 8-20). However, both hybrid and low fi music videos must come up with innovated methods of attracting the attention of audiences.
Professional videos now use Lo fi production as a technique of creating a homemade movie effect. This allows the artist to emphasize the notions of the video, in opposed to the video equipment or its production (Barker, 2010, pp. 142-144). The intent of this effect is to generate a viral effect where consumers of the music video feel the need to share the video through mediums such as email chains or social network sites (Vega, 2011- podcast).
The new era of DMC has not only shifted the creation of creation and viewing of music video, it also has altered the way we perceive subject matter. Hybrid music video is still the dominant form of music video. Geoff Mcfetridge sees an example of this in the video Plaid by Itsu. The music video utilizes a parametric element between imagination, such as architecture and the music video itself. The production blends live and virtual action space creating a paranormal effect. In using a variety of mediums the consumers viewing experience is enhanced and the creator of the video is able to escape the generic music media videos (Manovich, 2007)
Through the analysis of contemporary music videos and their trends, a distinct impact can be see on the effects of DMC on music videos. It has transformed the process of creating, recording, producing and consuming music videos. Modern music videos now live in a technologically advanced world where individuality, personalization and creativity set a high caliber for success. In this contemporary media environment, we are able to see that DMC has completely altered the classical music industry and music is no longer driven by television or record labels; rather, the individual drives it.
References
Dwyer, T (2010) Media convergance.
McGraw Hill, Berkshire. Pp.4-6
Murygesan, S. (2007) Understanding
web 2.0, Inspec, Vol 9, pp 24-41
Barker, D. (2010) Internet
Saved the Video Star: The Renaissance of the Music Video, in Metro Magazine,
Vol 160, pp 142-144
Jenkins, H. (2006) Convergence
Culture: Where New and Old Media Collide, New York University Press, pp 16-17.
Sexton, J. (2007). Music, Sound
and multimedia: from the live to the virtual, Edinburgh University Press Ltd,
pp. 8-20.
Vega, T "Tech Talk
Podcast: Viral Marketing":
http://bits.blogs.nytimes.com/2011/03/23/tech-talk-podcast-viral-marketing/
Kulash, D. (2010) "Whose
tube" New York Times:
http://www.nytimes.com/2010/02/20/opinion/
Manovich, L. (2007),
"Understanding Hybrid Media", Animated Paintings (San Diego: San
Diego Museum of Art
Singhal, Al (1999)
"Entertainment: a communication strategy for social change," Lawrence
Erlbaum (1999) pg 181
Videos
Down on me- Keenan Cahill ft. 50 cent:
http://www.youtube.com/watch?v=Dwimc4cvUmQ
Sia- Buttons:
http://www.youtube.com/watch?v=JhW1Spd4GlE
Katy Perry- California Gurls ft. Snoop Dog: http://www.youtube.com/watch?v=F57P9C4SAW4
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