User:سائغ/N5

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A music video is a video of variable length, that integrates a music song or music album with imagery that is produced for promotional or musical artistic purposes. Modern music videos are primarily made and used as a music marketing device intended to promote the sale of music recordings. There are also cases where music songs are used in tie-in music marketing campaigns that allow them to become more than just a song. Tie-ins and music merchandising can be used for toys or for food or other products.

Although the origins of music videos date back to musical short films that first appeared, they again came into prominence when MTV based its format around the medium. 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," "film clip," or simply "video."

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 music, such as animation and live-action. Combining these styles and techniques has become more popular due to 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 only a filmed version of the song's live concert performance.[1]

History and development[edit]

Development of the music video

In 1894, sheet music publishers Edward B. Marks and Joe Stern hired electrician George Thomas and various artists to promote sales of their song "The Little Lost Child".[2] Using a magic lantern, Thomas projected a series of still images on a screen simultaneous to live performances. This would become a popular form of entertainment known as the illustrated song, the first step toward music video.[2]

Talkies, soundies, and shorts[edit]

With the arrival of "talkies" many musical short films were produced. Vitaphone shorts (produced by Warner Bros.) featured many bands, vocalists, and dancers. Animation artist Max Fleischer introduced a series of sing-along short cartoons called Screen Songs, which invited audiences to sing along to popular songs by "following the bouncing ball," which is similar to a modern karaoke machine. Early 'cartoons featured popular musicians performing their hit songs on camera in live-action segments during the cartoons. The early animated films by Walt Disney, such as the Silly Symphonies shorts and especially Fantasia, which featured several interpretations of classical pieces, were built around music. The Warner Bros. cartoons, even today billed as Looney Tunes and Merrie Melodies, were initially fashioned around specific songs from upcoming Warner Bros. musical films. Live-action musical shorts, featuring such popular artists as Cab Calloway, were also distributed to theaters.

Blues singer Bessie Smith appeared in a two-reel short film called St. Louis Blues ft. a dramatized performance of the hit song. Numerous other musicians appeared in short musical subjects during this period.

Soundies, produced and released for the Panoram film jukebox, were musical films that often included short dance sequences, similar to later music videos.

Musician Louis Jordan made short films for his songs, some of which were spliced together into a feature film, Lookout Sister. These films were, according to music historian Donald Clarke, the "ancestors" of music video.[3]

Musicals of the 1950s led to short-form music videos

Musical films were another important precursor to a music video, and several well-known music videos have imitated the style of classic Hollywood musicals from the 1930s-50s. One of the best-known examples is Madonna's 1985 video for "Material Girl" (directed by Mary Lambert)[4] which was closely modelled on Jack Cole's staging of "Diamonds Are a Girl's Best Friend" from the film Gentlemen Prefer Blondes. Several of Michael Jackson's videos show the unmistakable influence of the dance sequences in classic Hollywood musicals, including the landmark "Thriller" and the Martin Scorsese-directed "Bad", which was influenced by the stylized dance "fights" in the film version of West Side Story. According to the Internet Accuracy Project, DJ/singer J. P. "The Big Bopper" Richardson was the first to coin the phrase "music video", in 1959[5]

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, with the resulting clip being set to his recording of the song "Stranger in Paradise".[6] The clip was sent to UK and US television stations and aired on shows including Dick Clark's American Bandstand.[7]

The oldest example of a promotional music video with similarities to more abstract, modern videos seems to be the Czechoslovakia "Dáme si do bytu" ("Let's get to the apartment") created and directed by Ladislav Rychman.[8][9]

1960–1973: Promotional clips[edit]

In the late 1950s[10] the Scopitone, a visual jukebox, was introduced in France and short films were produced by many French artists, such as Serge Gainsbourg, Françoise Hardy, Jacques Dutronc, and the Belgian Jacques Brel to accompany their songs. Its use spread to other countries, and similar machines such as the Cinebox in Italy and Color-sonic in the USA were patented.[10] In 1961, for the Canada-produced show Singalong Jubilee, Manny Pittson began pre-recording the music audio, went on-location and taped various visuals with the musicians lip-synching, then edited the audio and video together. Most music numbers were taped in-studio on stage, and the location shoot "videos" were to add variety.[11] In 1964, Kenneth Anger's experimental short film, Scorpio Rising used popular songs instead of dialogue.

In 1964, The Moody Blues producer Alex Murray wanted to promote his version of "Go Now". The short film clip he produced and directed to promote the single has a striking visual style that predates Queen's similar "Bohemian Rhapsody" video by a full decade. It also predates what the Beatles did with promotional films of their single "Paperback Writer" and B-Side "Rain" both released in 1966.

Also in 1964, the Beatles starred in their first feature film, A Hard Day's Night, directed by Richard Lester. Shot in black-and-white and presented as a mock documentary, it interspersed comedic and dialogue sequences with musical tones. The musical sequences furnished basic templates on which numerous subsequent music videos were modeled. It was the direct model for the successful US TV series The Monkees (1966–1968), which was similarly composed of film segments that were created to accompany various Monkees songs.[12] The Beatles' second feature, Help! (1965), was a much more lavish affair, filmed in color in London and on international locations. The title track sequence, filmed in black-and-white, is arguably one of the prime archetypes of the modern performance-style music video, employing rhythmic cross-cutting, contrasting long shots and close-ups, and unusual shots and camera angles, such as the shot 50 seconds into the song, in which George Harrison's left hand and the neck of his guitar are seen in sharp focus in the foreground while the completely out-of-focus figure of John Lennon sings in the background.

In 1965, the Beatles began making promotional clips (then known as "filmed inserts") for distribution and broadcast in different countries—primarily the USA—so they could promote their record releases without having to make in-person appearances. Their first batch of promo films shot in late 1965 (including their then-current single, "Day Tripper"/"We Can Work It Out"), were fairly straightforward mimed-in-studio performance pieces (albeit sometimes in silly sets) and meant to blend in fairly seamlessly with television shows like Top of the Pops and Hullabaloo. By the time the Beatles stopped touring in late 1966, their promotional films, like their recordings, had become highly sophisticated. In May 1966 they filmed two sets of colour promotional clips for their current single "Rain"/"Paperback Writer" all directed by Michael Lindsay-Hogg,[13] who went on to direct The Rolling Stones Rock and Roll Circus and the Beatles' final film, Let It Be. The colour promotional clips for "Strawberry Fields Forever" and "Penny Lane", made in early 1967 and directed by Peter Goldman,[14] took the promotional film format to a new level. They used techniques borrowed from underground and avant-garde film, including reversed film and slow motion, dramatic lighting, unusual camera angles, and color filtering added in post-production. At the end of 1967 the group released their third film, the one hour, made-for-television project Magical Mystery Tour; it was written and directed by the group and first broadcast on the BBC on Boxing Day 1967. Although poorly received at the time for lacking a narrative structure, it showed the group to be adventurous music filmmakers in their own right.

The Beatles in Help!

Concert films were being released in the mid-1960s, at least as early as 1964, with the T.A.M.I. Show.

The monochrome 1965 clip for Bob Dylan's "Subterranean Homesick Blues" filmed by D. A. Pennebaker was featured in Pennebaker's Dylan film documentary Dont Look Back. Eschewing any attempt to simulate performance or present a narrative, the clip shows Dylan standing in a city back alley, silently shuffling a series of large cue cards (bearing key words from the song's lyrics).

Besides the Beatles, many other UK artists made "filmed inserts" so they could be screened on TV when the bands were not available to appear live. The Who featured in several promotional clips, beginning with their 1965 clip for "I Can't Explain". Their plot clip for "Happy Jack" (1966) shows the band acting like a gang of thieves. The promo film to "Call Me Lightning" (1968) tells a story of how drummer Keith Moon came to join the group: The other three band members are having tea inside what looks like an abandoned hangar when suddenly a "bleeding box" arrives, out of which jumps a fast-running, time lapse, Moon that the other members subsequently try to get a hold of in a sped-up slapstick chasing sequence to wind him down. Pink Floyd produced promotional films for their songs, including "San Francisco: Film", directed by Anthony Stern, "Scarecrow", "Arnold Layne" and "Interstellar Overdrive", the latter directed by Peter Whitehead, who also made several pioneering clips for The Rolling Stones between 1966 and 1968. The Kinks made one of the first "plot" promotional clips for a song. For their single "Dead End Street" (1966) a miniature comic movie was made. The BBC reportedly refused to air the clip because it was considered to be in "poor taste".[15]

The Rolling Stones appeared in many promotional clips for their songs in the 1960s. In 1966, Peter Whitehead directed two promo clips for their single "Have You Seen Your Mother, Baby, Standing In The Shadow?"[16] In 1967, Whitehead directed a plot clip colour promo clip for the Stones single "We Love You", which first aired in August 1967.[17] This clip featured sped-up footage of the group recording in the studio, intercut with a mock trial that clearly alludes to the drug prosecutions of Mick Jagger and Keith Richards underway at that time. Jagger's girlfriend Marianne Faithfull appears in the trial scenes and presents the "judge" (Richards) with what may be the infamous fur rug that had featured so prominently in the press reports of the drug bust at Richards' house in early 1967. When it is pulled back, it reveals an apparently naked Jagger with chains around his ankles. The clip concludes with scenes of the Stones in the studio intercut with footage that had previously been used in the "concert version" promo clip for "Have You Seen Your Mother, Baby". The group also filmed a color promo clip for the song "2000 Light Years From Home" (from their album Their Satanic Majesties Request) directed by Michael Lindsay-Hogg.[16] In 1968, Michael Lindsay-Hogg directed three clips for their single "Jumpin' Jack Flash" / "Child Of The Moon"—a color clip for "Child Of The Moon" and two different clips for "Jumpin' Jack Flash". In 1968, they collaborated with Jean-Luc Godard on the film Sympathy for the Devil, which mixed Godard's politics with documentary footage of the song's evolution during recording sessions.

In 1966, Nancy Sinatra filmed a clip for her song "These Boots Are Made for Walkin'". Roy Orbison appeared in promotional clips, such as his 1968 hit, "Walk On".[18]

During late 1972–73 David Bowie featured in a series of promotional films directed by pop photographer Mick Rock, who worked extensively with Bowie in this period. Rock directed and edited four clips to promote four consecutive David Bowie singles—"John, I'm Only Dancing" (May 1972), "The Jean Genie" (November 1972), the December 1972 US re-release of "Space Oddity" and the 1973 release of the single "Life on Mars?" (lifted from Bowie's earlier album Hunky Dory). The clip for "John, I'm Only Dancing" was made with a budget of just US$200 and filmed at the afternoon rehearsal for Bowie's Rainbow Theatre concert on August 19, 1972. It shows Bowie and band mimicking to the record intercut with footage of the Lindsay Kemp mime troupe, dancing on stage and behind a back-lit screen. The clip was turned down by the BBC, who reportedly found the homosexual overtones of the film distasteful, accordingly Top of the Pops replaced it with footage of bikers and a dancer.[19] The "Jean Genie" clip, produced for just US$350, was shot in one day and edited in less than two days. It intercuts footage of Bowie and band in concert with contrasting footage of the group in a photographic studio, wearing black stage outfits, and standing against a white background. It also includes location footage with Bowie and Cyrinda Foxe (a MainMan employee and a friend of David and Angie Bowie) shot in San Francisco outside the famous Mars Hotel, with Fox posing provocatively in the street while Bowie lounges against the wall, smoking.[20]

Country music also picked up on the trend of promotional film clips to publicize songs. Sam Lovullo, the producer of the television series Hee Haw, explained his show presented "what were, in reality, the first musical videos,"[21] while JMI Records made the same claim with Don Williams' 1973 song "The Shelter of Your Eyes".[22] Country music historian Bob Millard wrote that JMI had pioneered the country music video concept by "producing a 3-minute film" to go along with Williams' song.[22] Lovullo said his videos were conceptualized by having the show's staff go to nearby rural areas and film animals and farmers, before editing the footage to fit the storyline of a particular song. "The video material was a very workable production item for the show," he wrote. "It provided picture stories for songs. However, some of our guests felt the videos took attention away from their live performances, which they hoped would promote record sales. If they had a hit song, they didn't want to play it under comic barnyard footage." The concept's mixed reaction eventually spelled an end to the "video" concept on Hee Haw.[21] Promotional films of country music songs, however, continued to be produced.

1974–1980: Beginnings of music television[edit]

The Australian TV shows Countdown and Sounds, both of which premiered in 1974, were significant in developing and popularizing what would later become the music video genre in Australia and other countries, and in establishing the importance of promotional film 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 on Sydney'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.[23] 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".[23] After relocating to the UK in the mid-1970s, Mulcahy made successful promo films for several noted British pop acts—his early UK credits included XTC's "Making Plans for Nigel" (1979) and his landmark video clip for The Buggles' "Video Killed the Radio Star" (1979), which became the first music video played on MTV in 1981.[24]

Footage of Freddie Mercury in the "Bohemian Rhapsody" music video during a Queen + Adam Lambert concert at the United Center, Chicago

In 1975, Queen employed Bruce Gowers to make a promotional video to show their new single "Bohemian Rhapsody" on the BBC music series Top of the Pops. According to rock historian Paul Fowles, the song is "widely credited as the first global hit single for which an accompanying video was central to the marketing strategy".[25] Rolling Stone has said of "Bohemian Rhapsody": "Its influence cannot be overstated, practically inventing the music video seven [sic] years before MTV went on the air."[26]

Video Concert Hall, created by Jerry Crowe and Charles Henderson and launched on November 1, 1979, was the first nationwide video music programming on American television, predating MTV by almost two years.[27][28][29][30] The USA Cable Network program Night Flight was one of the first American programs to showcase these videos as an art form.

In 1980, the music video to David Bowie's "Ashes to Ashes" became the most expensive ever made, having a production cost of $582,000 (equivalent to $2.15 million in 2023), the first music video to have a production cost of over $500,000.[31] The video was made in solarized color with stark black-and-white scenes and was filmed in different locations, including a padded room and a rocky shore.[32] The video became one of the most iconic ever made at the time, and its complex nature is seen as significant in the evolution of the music video.

The same year, the New Zealand group Split Enz had major success with the single "I Got You" and the album True Colours, and later that year they produced a complete set of promo clips for each song on the album (directed by their percussionist, Noel Crombie) and to market these on videocassette. This was followed a year later by the video album, The Completion Backward Principle by The Tubes, directed by the group's keyboard player, Michael Cotten, which included two videos directed by Russell Mulcahy ("Talk to Ya Later" and "Don't Want to Wait Anymore").[33] Among the first music videos were clips produced by ex-Monkee Michael Nesmith, who started making short musical films for Saturday Night Live.[12] In 1981, he released Elephant Parts, the first winner of a Grammy for music video, directed by William Dear. Billboard credits[27] the independently produced Video Concert Hall as being the first with nationwide video music programming on American television.[28][29][30]

  1. ^ Cutietta, Robert (1985). "Using Rock Music Videos to Your Advantage". Music Educators Journal. 71 (6): 47–49. doi:10.2307/3396475. JSTOR 3396475. S2CID 143833289.
  2. ^ a b "Music Video 1900 Style". PBS. 2004. Archived from the original on January 4, 2010.
  3. ^ Clarke, pg. 39
  4. ^ "Music Video Database - "Material Girl"". Mvdbase.com. Archived from the original on January 15, 2019. Retrieved June 13, 2013.
  5. ^ "J. P. "The Big Bopper" Richardson". Internet Accuracy Project. Retrieved January 21, 2007.
  6. ^ Cole, Clay (October 1, 2009). Sh-Boom!: The Explosion of Rock 'n' Roll (1953-1968). Morgan James Publishing. p. 238. ISBN 9781600377686. Retrieved June 8, 2014.
  7. ^ Bennett, Tony (December 7, 2010). The Good Life: The Autobiography Of Tony Bennett. Simon and Schuster. ISBN 978-1416573661.
  8. ^ "History of Czechoslovak music clips before 1989". ceskatelevize.cz.
  9. ^ "The best of duets". ceskatelevize.cz.
  10. ^ a b Almind, Gert J. "Jukebox History 1952-1998".
  11. ^ Ernest J. *** (October 1, 2004). Remembering Singalong Jubilee. Formac Publishing Company. ISBN 978-0-88780-642-1.
  12. ^ a b Lefkowitz, Eric (1989) [1990]. Monkees Tale. Berkeley, CA: Last Gasp. pp. 4, 10, 26, 66, 76. ISBN 0-86719-378-6.
  13. ^ "Music Video Database". Mvdbase.com. Archived from the original on November 19, 2012. Retrieved June 13, 2013.
  14. ^ "Music Video Database - Peter Goldman". Mvdbase.com. Archived from the original on November 19, 2012. Retrieved June 13, 2013.
  15. ^ "Dave Emlen's Kinks Website - Kinks Music Videos". Kinks.it.rit.edu. Archived from the original on February 17, 2009. Retrieved June 13, 2013.
  16. ^ a b "Music Video Database - The Rolling Stones". Mvdbase.com. Archived from the original on October 6, 2012. Retrieved June 5, 2014.
  17. ^ "Music Video Database - "We Love You"". Mvdbase.com. Archived from the original on August 26, 2013. Retrieved June 13, 2013.
  18. ^ Archived at Ghostarchive and the Wayback Machine: "Roy Orbison - 'Walk On.'". YouTube.com. October 3, 2009. Retrieved June 15, 2017.
  19. ^ "The Ziggy Stardust Companion – "John I'm Only Dancing"". 5years.com. Archived from the original on August 27, 2013. Retrieved June 13, 2013.
  20. ^ "The Ziggy Stardust Companion – "The Jean Genie"". 5years.com. Archived from the original on August 26, 2013. Retrieved June 13, 2013.
  21. ^ a b Lovullo, Sam, and Mark Eliot, "Life in the Kornfield: My 25 Years at Hee Haw," Boulevard Books, New York, 1996, p. 34. ISBN 1-57297-028-6
  22. ^ a b Millard, Bob, Country Music: 70 Years of America's Favorite Music, HarperCollins, New York, 1993, p. 179. ISBN 0-06-273244-7
  23. ^ a b "Dino Scatena: "Clip go the years"". Sydney Morning Herald. February 26, 2005. Retrieved June 13, 2013.
  24. ^ Biography for Russell Mulcahy at IMDb
  25. ^ Fowles, Paul (2009). A Concise History of Rock Music. Mel Bay Publications, Inc. p. 243. ISBN 978-0-7866-6643-0.
  26. ^ Sutherland, Mark (October 30, 2015). "Party On: Queen's Brian May Remembers 'Bohemian Rhapsody' on 40th Anniversary". Rolling Stone. Retrieved January 4, 2016.
  27. ^ a b McCullaugh, Jim. "Atlanta Firm Claims First Ever Nationwide Cable Music Show." Billboard Magazine. March 3, 1980 p. 1, p. 38
  28. ^ a b King, Bill, "Atlantans Pioneering Cable Video Music Show," The Atlanta Constitution, June 3, 1980, p. 1-B, p. 10-B
  29. ^ a b Werts, Dianne, "Din of Modern Hit Parade Invades Cable Homes," The Dallas Morning News, May 23, 1980,
  30. ^ a b Denisoff, Serge R. Tarnished Gold: The record industry revisited. Oxford, UK: Transaction books, 1986. p. 369
  31. ^ David Buckley (1999). Strange Fascination – David Bowie: The Definitive Story: pp.366–369
  32. ^ "David Bowie, Master of the Music Video". The New York Times. January 11, 2016. Retrieved March 13, 2016.
  33. ^ "Russell Mulcahy". mvdbase.com. June 23, 1953. Retrieved June 13, 2013.
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