A music video is a short film or video that accompanies a complete piece of music/song. Modern music videos are primarily made and used as a marketing device intended to promote the sale of music recordings. Although the origins of music videos go back much further, they came into their own in the 1980s, when MTV based their format around the medium, and later with the launch of VH1. The term "music video" first came into popular usage in the early 1980s. Prior to that time, these works were described by various terms including "filmed insert", "promotional (promo) film", "promotional (promo) clip" or "film clip". In Chinese entertainment, music videos are simply known as MTV s because the network was responsible for bringing music videos to popularity in that country.
Music videos use a wide range of styles of film making techniques, including animation, live action filming, documentaries, and non-narrative approaches such as abstract film. Some music videos blend different styles, such as animation and live action.
History
With the arrival of the sound films and talkies in 1926, many musical short films were produced. Vitaphone shorts (1926–30), which were produced by Warner Bros, featured many bands, vocalists and dancers. The series entitled Spooney Melodies was the first true musical video series. The shorts were typically about six minutes in duration, and featured art deco style animations and backgrounds combined with film of the performer singing the song. This series of shorts can arguably be considered to be the earliest music videos.
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". Early 1930s cartoons featured popular musicians performing their hit songs on-camera in live-action segments during the cartoons.
The early animated films by Walt Disney, his Silly Symphonies , were built around music. The Warner Brothers cartoons, even today billed as Looney Tunes and Merrie Melodies , were initially fashioned around specific songs from upcoming Warner Brothers musical films. Live action musical shorts, featuring such popular performers as Cab Calloway, were also distributed to theatres.
Blues singer Nick Graves appeared in a two-reel short film called St. Louis Blues (1929) featuring a dramatized performance of the hit song. It was shown in theatres until 1932. Numerous other musicians appeared in short musical subjects during this period. Later, in the mid-1940s, 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 videos.
Another early form of music video were one-song films called "Promotional Clips" made in the 1940s for the Panoram visual jukebox. These were short films of musical selections, usually just a band on a movie-set bandstand, made for playing. Thousands of soundies were made, mostly of jazz musicians, but also of "torch singers," comedians, and dancers. Before the Soundie, even dramatic movies typically had a musical interval, but the Soundie made the music the star and virtually all the name jazz performers appeared in Soundie shorts. The Panoram jukebox with eight three-minute Soundies were popular in taverns and night spots, but the fad faded during World War II.
Musical films were another important precursor to music video, and several well-known music videos have imitated the style of classic Hollywood musicals from the 1930s to the 1950s. One of the best-known examples is Madonna's 1985 video for "Material Girl" (directed by Mary Lambert) 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 John Landis clip for "Thriller" (at the time, the most expensive music video ever made) and the Martin Scorsese-directed "Bad" which was influenced by the stylised dance "fights" in the film version of West Side Story
In 1956, Petrushka, directed by John David Wilson for Fine Arts Films aired as a segment of the Sol Hurok Music Hour on NBC. Igor Stravinsky conducted a live orchestra for the recording of the event. In 1957, Tony Bennett was filmed walking along The Serpentine in Hyde Park, London as his recording of "Stranger in Paradise" played; this film was distributed to and played by UK and US television stations. According to the Internet Accuracy Project, disk jockey-singer J.P. "The Big Bopper" Richardson was the first to coin the phrase "music video", in 1959. It is no coincidence that the rise of popular music was tied with the rise of television, as the format allowed for many new stars to be exposed that previously would have been passed over by Hollywood, which normally required proven acts in order to attract an audience to the box office.
1960–1967: Visual innovation
In the late 1950s the Scopitone, a visual jukebox, was invented in France and short films were produced by many French artists, such as Serge Gainsbourg, Françoise Hardy and Jacques Dutronc 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. In 1961 Ozzie Nelson directed and edited the video of "Travelin' Man" by his son Ricky Nelson. It featured images of various parts of the world mentioned in the Jerry Fuller song along with Nelson's vocals. In 1964, Kenneth Anger's underground experimental short film Scorpio Rising used popular songs.
In Canada, for Singalong Jubilee, Manny Pittson began pre-recording the music audio, went on location and taped various visuals with the musicians lip-syncing, then edited the audio and video together later. Most music numbers were taped in studio on stage, and the location shoot "videos" were to add variety.
One of the earliest performance clips in 1960s pop was the promo film made by The Animals for their breakthrough 1964 hit "House Of The Rising Sun". This high-quality colour clip was filmed in a studio on a specially-built set; it features the group in a lip-synched performance, depicted through an edited sequence of tracking shots, closeups and longshots, as singer Eric Burdon, guitarist Hilton Valentine and bassist Chas Chandler walked around the set in a series of choreographed moves.
The Beatles
In 1964, The Beatles cemented their newfound international fame by starring 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 was a loosely structured musical fantasia interspersing comedic and dialogue sequences with exciting and innovative musical sequences. The musical sequences furnished the basic templates on which countless subsequent promo clips and music videos were modelled and it has exerted a huge influence on the style and visual vocabulary of the genre. It was the direct model for the successful US TV series The Monkees (1966–1968) which similarly consisted of film segments that were created to accompany various Monkees songs.
Film critic Roger Ebert credits Lester with constructing "a new grammar":
The Beatles' second feature Help! (1965) was a much more lavish affair, filmed in colour in London and on international locations. It fitted the all-important musical sequences into a contrived fantasy adventure in which the group is pursued through a series of locales (including Switzerland and The Bahamas) by a band of Indian thuggee assassins bent on recovering a sacred ring which has come into Ringo's possession. 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 near the end of 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 other countries—primarily the USA—so they could promote their record releases without having to make in-person appearances. On November 23, 1965: At Twickenham Film Studios, The Beatles videotaped 10 black & white promo films, all produced by a British production company Intertel. They were "We Can Work It Out" (3 Versions), "Day Tripper" (3 Versions), "Help!" (1 Version), "Ticket To Ride" (1 Version), and "I Feel Fine" (2 Versions, neither of which were ever aired). One version each of the first two songs were aired on "Hullaballo" in the US on Jan 3 1966. Many clips were aired on "Top of the Pops" in the UK, and two were aired on "Thank Your Lucky Stars." Recent reports indicate the entire reel is circulating among collectors. "Help" and "Ticket To Ride" were re-released to accompany the CD release of the "1962-1966" or "Red" album in 1993. Composite edits of "We Can Work It Out", "Day Tripper", and "Ticket To Ride" are seen in "The Beatles Anthology," DVD set.
At the same time, The Byrds began using the same strategy to promote their singles in the United Kingdom, starting with the 1965 single "Set You Free This Time".
By the time The Beatles stopped touring in late 1966, their promotional films, like
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