Music videos as cultural artefacts of the eighties
A overview of the development of movements in art and music during the twentieth century is given to place music videos in perspective as cutural phenomena reflecting certain artistic, philosophical and social tendencies of the present. Music videos, are seen against the back ground of the semiolog...
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| Format: | Article |
| Language: | English |
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University of Johannesburg
2022-11-01
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| Series: | Communicare |
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| Online Access: | https://journals.uj.ac.za/index.php/jcsa/article/view/1986 |
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| _version_ | 1832593824473415680 |
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| author | Retha Van Niekerk |
| author_facet | Retha Van Niekerk |
| author_sort | Retha Van Niekerk |
| collection | DOAJ |
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A overview of the development of movements in art and music during the twentieth century is given to place music videos in perspective as cutural phenomena reflecting certain artistic, philosophical and social tendencies of the present. Music videos, are seen against the back ground of the semiological view that a cultural artefact does not simply reflect society, it also acts as a "signifying practice with its own determinate product: meaning" (Hall 1980:30). A semiological approach Incorporating concepts from structuralism, psychoanalysis, feminism and post-structuralism is used to construct a theoretical model for the analysis of meanings in the visual images of music videos. In the theoretical model three levels of meaning, namely denotative, connotative and mythical, are distinguished with certain qualititative elements defined on each level The denotative level or the level of reality contains iconic signs, indexical signs and symbolical signs. Other qualitative elements include characters, setting, and descriptions of primary movements. The connotative level or the level of representation includes television codes (non-filmic and filmic), narrative codes and intertextual codes The level of myth or the level of ideology includes stylistic or textual devices such as metaphors, allegories, fetishism, voyeurism and parody. This article is that music videos function as mod- ern artefacts which have the potential to express complex cultural meanings to signal a new Weltanschauung (Lorch 1988:143)
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| format | Article |
| id | doaj-art-6da5ff92cb114097ae17518dd714456c |
| institution | Kabale University |
| issn | 0259-0069 2957-7950 |
| language | English |
| publishDate | 2022-11-01 |
| publisher | University of Johannesburg |
| record_format | Article |
| series | Communicare |
| spelling | doaj-art-6da5ff92cb114097ae17518dd714456c2025-01-20T08:46:46ZengUniversity of JohannesburgCommunicare0259-00692957-79502022-11-0111110.36615/jcsa.v11i1.1986Music videos as cultural artefacts of the eightiesRetha Van Niekerk0North-West University A overview of the development of movements in art and music during the twentieth century is given to place music videos in perspective as cutural phenomena reflecting certain artistic, philosophical and social tendencies of the present. Music videos, are seen against the back ground of the semiological view that a cultural artefact does not simply reflect society, it also acts as a "signifying practice with its own determinate product: meaning" (Hall 1980:30). A semiological approach Incorporating concepts from structuralism, psychoanalysis, feminism and post-structuralism is used to construct a theoretical model for the analysis of meanings in the visual images of music videos. In the theoretical model three levels of meaning, namely denotative, connotative and mythical, are distinguished with certain qualititative elements defined on each level The denotative level or the level of reality contains iconic signs, indexical signs and symbolical signs. Other qualitative elements include characters, setting, and descriptions of primary movements. The connotative level or the level of representation includes television codes (non-filmic and filmic), narrative codes and intertextual codes The level of myth or the level of ideology includes stylistic or textual devices such as metaphors, allegories, fetishism, voyeurism and parody. This article is that music videos function as mod- ern artefacts which have the potential to express complex cultural meanings to signal a new Weltanschauung (Lorch 1988:143) https://journals.uj.ac.za/index.php/jcsa/article/view/1986development of movements in art and musicMusic videostructuralism, psychoanalysis, feminism and post-structuralism |
| spellingShingle | Retha Van Niekerk Music videos as cultural artefacts of the eighties Communicare development of movements in art and music Music videos tructuralism, psychoanalysis, feminism and post-structuralism |
| title | Music videos as cultural artefacts of the eighties |
| title_full | Music videos as cultural artefacts of the eighties |
| title_fullStr | Music videos as cultural artefacts of the eighties |
| title_full_unstemmed | Music videos as cultural artefacts of the eighties |
| title_short | Music videos as cultural artefacts of the eighties |
| title_sort | music videos as cultural artefacts of the eighties |
| topic | development of movements in art and music Music videos tructuralism, psychoanalysis, feminism and post-structuralism |
| url | https://journals.uj.ac.za/index.php/jcsa/article/view/1986 |
| work_keys_str_mv | AT rethavanniekerk musicvideosasculturalartefactsoftheeighties |