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Supporting this call to study music videos, Austerlitz saw them as a “fascinating oddity” (1) and a “compelling marker of cultural history” (1). He concluded that the music video’s “triumphs render it a subject worthy of deeper study and attention” (1).
Many have also tied race to genre, with rap being a dominant line of inquiry (Balaji; Conrad, Dixon, and Zhang; Zhang, Dixon, and Conrad).
Overall, work on representation has spanned topics like sexual objectification (Aubrey and Frisby; Frisby and Aubrey), sexuality (Turner), and violence (Aikat; Smith and Boyson; Thaller and Messing).
Immediately before class begins, it is smart to prepare the music video for easy start-up and test all necessary technology—video connection, audio levels, video start function, video end point. “Race and Genre in the Use of Sexual Objectification in Female Artists’ Music Videos.” Howard Journal of Communications 23.1 (2012): 66-87.
Execution: Once class begins, start the activity by announcing its order (i.e., discuss media literacy, watch music video, analyze video alone and then together) and expected outcomes (i.e., enhance media literacy comprehension and skills).
I find it useful to informally survey how many students know the song or artist and how many like the song or artist.
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It is crucial to establish the significance of studying this artifact. Others have researched music videos’ effects on perceptions of rape (Burgess and Burpo; Sprankle, End, and Bretz). There is also much work on the influence of music videos on how people think about gender-specific ideas related to misogyny (van Oosten, Peter, and Valkenburg) or bodily self-perception (Mischner et al.). This article discusses the use of popular music videos as a tool for teaching media literacy. First, the article addresses the importance of music videos as popular culture, what other music video research has examined, and what features make music videos a good fit for in-class work investigating media and popular culture. Billboard charts and You Tube’s “Popular on You Tube” section are helpful starting points. The instructor should select something that will resonate with students; this can be based on recency or the interests and personalities of the class. In summarizing the state of music video research and demonstrating why they are more than just entertainment, Straw wrote, “music videos are increasingly seen as elements within complex assemblages of image and sound that circulate the world and are recombined within a variety of diasporic media, from satellite television networks through DVD and Internet video clip sites” (3176). Consideration of certain music video research trends indicates their diverse potential. Finally, a particular music video is considered to illustrate possible results of this activity and the broader issues that may arise from class discussion. Communication, Media, Media Studies, Popular Culture, Pedagogy, New Media, Digital Media, Media Literacy, Media Education, Music Videos Although popular music videos have long been criticized for their superficiality, fast edits, and sensational content, features like these help make the videos an excellent teaching tool, effective for getting students’ attention and exploring broad issues. “These Are the Most-Watched You Tube Videos Ever – Have You Seen Them All?