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Music Video and the Politics of Representation$
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Diane Railton and Paul Watson

Print publication date: 2011

Print ISBN-13: 9780748633227

Published to Edinburgh Scholarship Online: September 2012

DOI: 10.3366/edinburgh/9780748633227.001.0001

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Genre and Music Video: Configurations and Functions

Genre and Music Video: Configurations and Functions

Chapter:
(p.41) 2. Genre and Music Video: Configurations and Functions
Source:
Music Video and the Politics of Representation
Author(s):

Diane Railton

Paul Watson

Publisher:
Edinburgh University Press
DOI:10.3366/edinburgh/9780748633227.003.0003

This chapter describes four genres of music video — the pseudo-documentary music video, the ‘art’ music video, the narrative music video and the staged performance video — identifying their key generic codes and the differing legitimating functions they perform. Any particular music video's own generic properties are often subsumed under the genre of music that it is promoting. Although genre works as a framework of signs in relation to which difference and variation can be both produced on the one hand and read and understood on the other, music genres do not provide such a framework for the production or consumption of music videos. The four genres examined here describe the formal and aesthetic features of an important number of both historic and contemporary music videos. Genres of music video, and the edges between them, are every bit as contingent as those in film, literature and popular music itself.

Keywords:   pseudo-documentary music video, art music video, narrative music video, staged performance video, generic properties

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