A era MTV: análise da estética de videoclipe (1984- 2009)

• Ano de defesa: 2011
• Autor(a) principal: Trevisan, Michele Kapp
• Orientador(a): Rüdiger, Francisco Ricardo
• Tipo de documento: Tese
• Tipo de acesso: Acesso aberto
• Idioma: por
• Instituição de defesa: Pontifícia Universidade Católica do Rio Grande do Sul; Porto Alegre
• Palavras-chave em Português: COMUNICAÇÃO SOCIAL; COMUNICAÇÃO DE MASSA; VIDEOCLIPE - CRÍTICA E INTERPRETAÇÃO
• Link de acesso: http://hdl.handle.net/10923/2248

One of the most important developments in the realm of scene mass music phenomenon was the emergence of video clip. This is an audiovisual format that changed the way of "seeing" music. However, it was the station Music Television, created in the 80s, which gave due importance to this, becoming an aesthetic reference. Thus, this paper aims to analyze the aesthetics of music video during the MTV era, from the observation of the winning videos in the main categories of the event created by the broadcaster, the Video Music Awards since 1984, first edition. To do so, it will be first presented an introductory chapter covering music video format settings and the context in which it operates. Next, we shall discuss three major works in the literature (KAPLAN, 1989; GOODWIN, 1992; SOARES, 2004) show that some cuts have to research on the music video in order to guide the analysis. To discuss the video clips, Kaplan (1987) draws on concepts relating to the historical subject, contemporary theories on the cinema, aesthetics of videos, clips on existing ideologies, addressing issues of gender and the different perspectives that exist in that format. Already Goodwin (1992), contributing around, it's music video, proposing an interdisciplinary approach in an institutional history analysis / economic, in a textual analysis based on studies of film and television and an analysis of what he calls musicology (with respect to contemporary forms of popular music). Soares (2004) seeks to demonstrate various aspects of the music video, as the constituents of his language, early experiences in the relationship between music and image, passing through more structural approaches, noting that the clip includes in its structure notions of conflict in the assembly, and categorizes the video from three views: the hybridism, the Neo-Baroque and transtemporal. It also presents a historical survey wich will be pointed out earlier forms that gave rise to the shape of music video, as it appears in the MTV era. From an election observation criteria, based on subsidies found in the literature, we proposed a configuration of sample analysis. It was discovered that there are three dominant types that represent the aesthetics of music video during the MTV era (1984 to 2009). Finally, using the same theme guiding the study raises is a question about the relationship of such aesthetic with the concept of kitsch.