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MUSIC VIDEOS
A music video is a short film that integrates a song with imagery, and produced for promotional or artistic purposes.[1] Modern music videos are primarily made and used as a
marketing device intended to promote the sale of music recordings . There are also cases where songs are used in tie-in marketing campaigns that allow them to become more than just a song. Tie-ins and merchandising can be used for toys or for food or other products. Although the origins of the music video date back to musical short films that first appeared in the 1920s, they again came into prominence in the 1980s when the channel MTV (originally "Music Television") based their format around the medium.
Prior to the 1980s, these kinds of videos were described by various terms including "illustrated song ", "filmed insert", "promotional (promo) film", "promotional clip", "promotional video", "song video", "song clip" or "film clip".
Music videos use a wide range of styles and contemporary video-making techniques,
including animation , live action , documentary, and non-narrative approaches such as abstract film . Some music videos combine different styles with the music, such as animation and live action.
Combining these styles and techniques has become more popular because of the variety for the audience.Many music videos interpret images and scenes from the song's lyrics, while others take a more thematic approach. Other music videos may not have any concept, being merely a filmed version of the song's live performance.
1950s: Early music clips
In his autobiography, Tony Bennett claims to have created "...the first music video" when he was filmed walking along the Serpentine in Hyde Park, London in 1956, with the resulting clip being set to his recording of the song "Stranger in Paradise ".The clip was sent to UK and US television stations and aired on shows including Dick Clark's
American Bandstand.
The oldest example of a promotional music video with similarities to more abstract, modern videos seems to be the Czech "Dáme si do bytu"
("Let's get to the apartment") created in 1958 and directed by Ladislav Rychman.
1974–1980: Beginnings of music television
The Australian TV shows Countdown and Sounds , both of which premiered in 1974, were significant in developing and popularizing the music video genre in Australia and other countries, and in establishing the importance of music video clips as a means of promoting both emerging acts and new releases by established acts. In early 1974, former radio DJ Graham Webb launched a weekly teen-oriented TV music show which screened onSydney's ATN-7 on Saturday mornings; this was renamed Sounds Unlimited in 1975 and later shortened simply to Sounds . In need of material for the show, Webb approached Seven newsroom staffer Russell Mulcahy and asked him to shoot film footage to accompany popular songs for which there were no purpose-made clips (e.g. Harry Nilsson's "Everybody's Talkin "). Using this method, Webb and Mulcahy assembled a collection of about 25 clips for the show. The success of his early efforts encouraged Mulcahy to quit his TV job and become a full-time director, and he made clips for several popular Australian acts including Stylus ,
Marcia Hines , Hush and AC/DC . As it gained popularity, Countdown talent coordinator Ian "Molly" Meldrum and producer Michael Shrimpton quickly realized that "film clips" were becoming an important new commodity in music marketing. Despite the show's minuscule budget,
Countdown' s original director Paul Drane was able to create several memorable music videos especially for the show, including the classic film-clips for the AC/DC hits "It's a Long Way to the Top (If You Wanna Rock 'n' Roll) " and "Jailbreak ".[After relocating to the UK in the mid-1970s, Mulcahy made successful music videos for several noted British pop acts—his early UK credits included
XTC 's "Making Plans for Nigel" (1979) and his landmark video for The Buggles ' "Video Killed the Radio Star " (1979), which became the first music video played on MTV in 1981.
1981–1991: Music videos go mainstream
In 1981, the U.S. video channel MTV launched, airing "Video Killed the Radio Star" and beginning an era of 24-hour-a-day music on television. With this new outlet for material, the music video would, by the mid-1980s, grow to play a central role in popular music marketing. Many important acts of this period, most notably Adam and the Ants, Duran Duran and Madonna , owed a great deal of their success to the skillful construction and seductive appeal of their videos.Two key innovations in the development of the modern music video were the development of relatively inexpensive and easy-to-use
video recording and editing equipment, and the development of visual effects created with techniques such as image
compositing .[ citation needed] The advent of high-quality color videotape recorders and portable video cameras coincided with the DIY ethos of the
new wave era, [citation needed] enabling many pop acts to produce promotional videos quickly and cheaply, in comparison to the relatively high costs of using film. However, as the genre developed,
music video directors increasingly turned to 35 mm film as the preferred medium, while others mixed film and video. During the 1980s, music videos had become de rigueur for most recording artists. The phenomenon was famously parodied by BBC television comedy program Not The Nine O'Clock News who produced a spoof music video "Nice Video, Shame About The Song".
In this period, directors and the acts they worked with began to explore and expand the form and style of the genre, using more sophisticated effects in their videos, mixing film and video, and adding a storyline or plot to the music video. Occasionally videos were made in a non-representational form, in which the musical artist was not shown. Because music videos are mainly intended to promote the artist, such videos are comparatively rare; three early 1980s examples are Bruce Springsteen 's "Atlantic City", directed by Arnold Levine , David Mallet's video for David Bowie and Queen 's "Under Pressure ", and Ian Emes ' video for
Duran Duran 's "The Chauffeur ". One notable later example of the non-representational style is Bill Konersman 's innovative 1987 video for
Prince 's "Sign o' the Times – influenced by Dylan's "Subterranean Homesick Blues" clip, it featured only the text of the song's lyrics.
In the early 1980s, music videos also began to explore political and social themes. Examples include the music videos for David Bowie's "China Girl " and "Let's Dance " (1983) which both explored race issues. In an 1983 interview, Bowie spoke about the importance of using music videos in addressing social issues, "Let's try to use the video format as a platform for some kind of social observation, and not just waste it on trotting out and trying to enhance the public image of the singer involved".
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