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Le vidéoclip, un art populaire intermédial à l’ère numérique : Perspectives épistémologiques

Abstract : This article is based on two complementary definitions of the music video : as a media and cultural format on the one hand ; and as a principle of musical and visual creation on the other hand. These two definitions refer, respectively, to two distinct « cultural series » : the « visualization of musical performance » and « music as a source of motion pictures ». From this theoretical distinction, our paper will focus on contemporary issues of research on music video as a popular and intermedial art form. By presenting several lines of inquiry around scanning and remediation of music video on the Internet, it raises the question of the relationship between theoretical conceptualization and field survey. Its premise is that we can’t fully understand the global phenomenon of the music video (its history, its forms, its industry as well as its public) if we fail to raise the issue of upstream expressive singularity – that is, if we continue to consider music video as « an audiovisual message as another », to reduce it to its semantic content and to ignore the particular aesthetic experience it provides to its audio-goers : that of a specific association between music and images, placed a t the very core of various contemporary media arrangements.
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Submitted on : Friday, October 28, 2016 - 5:56:46 PM
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Antoine Gaudin. Le vidéoclip, un art populaire intermédial à l’ère numérique : Perspectives épistémologiques. MEI - Médiation et information, L'Harmattan, 2015, LE LEVAIN DES MÉDIAS : FORME, FORMAT, MÉDIA, pp.167-176. ⟨hal-01385712⟩



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