Luz, câmera, som: uma análise da produção de vídeos musicais na música independente de São Luís – MA entre 2012 e 2018.

• Ano de defesa: 2019
• Autor(a) principal: BATISTA, Rafael Figueiredo da Silva
• Orientador(a): ZORZAL, Ricieri Carlini
• Banca de defesa: ZORZAL, Ricieri Carlini , FREITAS, Flávio Luiz de Castro , RODRIGUES, Sannya Fernanda Nunes , COSTA, Marcio Leonardo Monteiro
• Tipo de documento: Dissertação
• Tipo de acesso: Acesso aberto
• Idioma: por
• Instituição de defesa: Universidade Federal do Maranhão
• Programa de Pós-Graduação: PROGRAMA DE PÓS-GRADUAÇÃO EM CULTURA E SOCIEDADE/CCH
• Departamento: DEPARTAMENTO DE ARTES/CCH
• País: Brasil
• Palavras-chave em Português: vídeo musical; produção audiovisual; música independente; materialismo cultural; empreendedorismo cultural
• Palavras-chave em Inglês: music video; filmmaking; independent music; cultural materialism; cultural entrepreneurship
• Área do conhecimento CNPq: Música
• Link de acesso: https://tedebc.ufma.br/jspui/handle/tede/2831

This study intends to analyze music video production related to the independent music scenario in São Luís – MA over the years 2012 to 2018. Therefore, we engaged the development of a music video list from what was produced throughout those years to verify if its growth is related to the technologicals updates which we understand has favored access to the means of production and distribution of cultural products. The study is based on the theoretical approach of cultural materialism by Raymond Williams (1960, 1979, 2001, 2011) to see the audiovisual production as a cultural product and as a production process of that kind of product. Looking for realize that production as a consequence of changes in the social, cultural and economic structure that refers to the practices of independent music, we have call upon the idea of structure of feeling – from cultural materialism thesis – to understand those transformations. We turn to a brief history of the production of music videos that migrated from television to virtual platforms, especially YouTube. In order to understand the articulations in the virtual space, we address the comprehension of the media bios proposed by Sodré (2012) questioning democratization of the cultural goods. The social, cultural and economic transformations come from technological advances and the democratization of the means of production and distribution of cultural goods; these "new combinations" unbalance the economic logic of supply and demand. Thereby, it is necessary to understand the agents of culture - artists, musicians and audiovisual producers - as cultural entrepreneurs, managers of their own careers, perceiving art as business. Based on the discussion of cultural materialism and cultural entrepreneurship, we intend to base the analysis of the data obtained from the crossing of records of the festivals Guarnicê (1989-2011, 2019) and Maranhão na Tela (2017, 2018), the Prêmio Universidade (2010-2016) with research on YouTube from the records obtained, in order to evaluate the growth and relevance of the production of musical videos in the local scenario.