Soundtrack Music VideosThe Use of Music Videos as a Tool for Promoting Films

  1. David Selva-Ruiz 1
  2. Desirée Fénix-Pina 1
  1. 1 Universidad de Cádiz
    info

    Universidad de Cádiz

    Cádiz, España

    ROR https://ror.org/04mxxkb11

Revista:
Comunicación y sociedad = Communication & Society

ISSN: 2386-7876

Año de publicación: 2021

Volumen: 34

Número: 3

Páginas: 47-60

Tipo: Artículo

DOI: 10.15581/003.34.3.47-60 DIALNET GOOGLE SCHOLAR lock_openAcceso abierto editor

Otras publicaciones en: Comunicación y sociedad = Communication & Society

Resumen

The soundtrack music video is an audiovisual format used by the cultural industries of film and music as a commercial communication tool, since it is based on a song from the soundtrack of a film, so that both the artist that performs the song and the film itself obtain promotional benefits. This paper conceptualizes this poorly studied phenomenon of cross-promotion connecting the music and film industries and uses a content analysis of 119 music videos produced over a period of 33 years in order to study the importance of the artist and the movie in the video, the various strategies developed in order to accomplish its double promotional mission, and the specific formal and strategic features of this audiovisual format. Analysis reveals that the soundtrack music video has the distinctive feature of including promotional elements both for the musical artist and for the movie. Although the artist tends to be more prominent, the vast majority of music videos include images from the film or use various ways of integrating the artist’s identity with the film’s iconography or narrative. Anyway, it is a phenomenon characterized by diversity, with the common pattern of the dual promotional objective, but with different ways of implementing that pattern.

Referencias bibliográficas

  • Abt, D. (1987). Music Video: Impact of the Visual Dimension. In J. Lull (Ed.), Popular Music and Communication (pp. 98-111). Newbury Park, CA: Sage.
  • Banks, J. (1996). Monopoly Television: MTV’s Quest to Control the Music. Boulder, CO: Westview Press.
  • Denisoff, R. S. (2002). Inside MTV. New Brunswick, NJ: Transaction.
  • Frith, S. (1988). Music for Pleasure. New York, NY: Routledge.
  • Frith, S. (2006). La industria de la música popular. In S. Frith, W. Straw & J. Street (Eds.), La otra historia del rock (pp. 53-85). Barcelona: Ma Non Troppo.
  • Goodwin, A. (1992). Dancing in the Distraction Factory. Minneapolis, MN: University of Minnesota Press.
  • Gow, J. (1994). Mood and Meaning in Music Video: The Dynamics of AudioVisual Synergy. Southern Communication Journal, 59, 255-261. https://www.doi.org/10.1080/10417949409372943
  • Grossberg, L. (1993). The Media Economy of Rock Culture: Cinema, Post-Modernity and Authenticity. In S. Frith, A. Goodwin & L. Grossberg (Eds.), Sound and Vision: The Music Video Reader (pp. 185-209). London, UK: Routledge.
  • Guarinos-Galán, V. & Sedeño-Valdellós, A. (2018). Danza contemporánea y sincronía musicovisual en el videoclip musical actual. Revista Mediterránea de Comunicación, 9(2), 321-332. https://www.doi.org/10.14198/MEDCOM2018.9.2.3
  • Hubbert, J. (2013). The Compilation Soundtrack from the 1960s to the Present. In D. Neumeyer (Ed.), The Oxford Handbook of Film Music Studies (pp. 291-318). New York, NY: Oxford University Press.
  • Jenkins, H. (2006). Convergence Culture. New York, NY: New York University Press.
  • Kaplan, E. A. (1987). Rocking Around the Clock. New York, NY: Routledge.
  • Lewis, J. (1985). Purple Rain: Music Video Comes of Age. Jump Cut, 30. Retrieved from http://www.ejumpcut.org/archive/onlinessays/JC30folder/PurpleRain.html
  • Lynch, J. D. (1984). Music Videos: From Performance to Dada-Surrealism. Journal of Popular Culture, 18, 53-57. https://www.doi.org/10.1111/j.0022-3840.1984.1801_53.x
  • McClary, S. & Walser, R. (1990). Start Making Sense! Musicology Wrestles with Rock. In S. Frith & A. Goodwin (Eds.), On Record (pp. 277-292). London, UK: Routledge.
  • Mundy, J. (1999). Popular Music on Screen: From Hollywood Musical to Music Video. Manchester, UK: Manchester University Press.
  • Negus, K. (1992). Producing Pop. London, UK: Edward Arnold.
  • Pareles, J. (1989, December 10). After Music Videos, All the World Has Become a Screen. The New York Times. Retrieved from http://www.nytimes.com/1989/12/10/weekinreview/ideas-trends-after-music-videos-all-the-world-has-become-a-screen.html
  • Pérez-Rufí, J. P. (2020). La visibilidad de la autoría en el videoclip post-televisivo: La dignificación del vídeo musical a través de la reivindicación de los creadores en los créditos. Revista KEPES, 21, 145-170. https://www.doi.org/10.17151/kepes.2020.17.21.6
  • Pérez-Rufí, J. P. & Valverde-Maestre, A. M. (2019). The spatial-temporal fragmentation of live television video clips: analysis of the television production of the Eurovision Song Contest. Communication & Society, 33(2), 17-31. https://www.doi.org/10.15581/003.33.2.17-31
  • Sedeño Valdellós, A. M. (2002). Lenguaje del videoclip. Málaga: Universidad de Málaga.
  • Sedeño Valdellós, A. M., Rodríguez López, J. & Roger Acuña, S. (2016). El videoclip postelevisivo actual. Propuesta metodológica y análisis estético. Revista Latina de Comunicación Social, 71, 332-348. https://www.doi.org/10.4185/RLCS-2016-1098
  • Selva Ruiz, D. (2014). El videoclip. Comunicación comercial en la industria musical. Sevilla: Alfar.
  • Smith, J. (2013). The Tunes They Are A-Changing: Moments of Historical Rupture and Reconfiguration in the Production and Commerce of Music in Film. In D. Neumeyer (Ed.), The Oxford Handbook of Film Music Studies (pp. 270-290). New York, NY: Oxford University Press.
  • Vernallis, C. (2004). Experiencing Music Video. New York, NY: Columbia University Press.
  • Viñuela Suárez, E. (2009). El videoclip en España (1980-1995). Gesto audiovisual, discurso y mercado. Madrid: ICCMU.
  • Voces Fernández, J. (2012). La estructura videoclíptica y su inserción en el cine actual: el caso de El gran Lebowski (Joel Coen, 1998). Fonseca, Journal of Communication, 4, 23-59. Retrieved from https://revistas.usal.es/index.php/2172-9077/article/view/12046
  • Wyver, J. (1992). La imagen en movimiento. Valencia: Filmoteca de la Generalitat Valenciana.