Cultural Branding Case (Fuse): Using Cultural Strategy to Challenge a Dominant Incumbent (original) (raw)
Related papers
Music Videos: The Look of the Sound
Journal of Communication, 1986
Music videos are more than a fad, more than fodder for spare hours and dollars of young consumers. They are pioneers in video expression, and the results of their reshaping of the form extend far beyond the TV set.
The Chart Show was a weekly UK TV programme showcasing music videos from the Media Research Information Bureau (MRIB) Network Chart and a range of independent and specialist pop music charts. It began broadcasting on Friday evenings on Channel 4 in April 1986 and ran for three series until September 1988. Its production company, Video Visuals, subsequently found a new home for The Chart Show with Yorkshire Television on ITV, where it went out on Saturday mornings between January 1989 and August 1998. What made the show unique in the British broadcasting context was that it was the first presenter-less pop chart programme that showcased popular music exclusively in video form. Beginning at a time when MTV was still unavailable in the UK, The Chart Show was innovatory in consolidating music video as the lingua franca of the pop singles market. Drawing on archival sources from Channel 4, and the trade and popular music presses, this article shows how The Chart Show helped shape the form of music video, contributed to its commercial status, boosted singles sales, and drove industry demand and production schedules. It argues that an appreciation of music video is dependent upon the historical specificity of its broadcast context.
Dancing in the Virtual Streets: Urban Space in Music Videos, from Neighborhood to Technopolis
Storytelling: A Critical Journal of Popular Narrative, 2006
This article examines how rock ’n’ roll’s narratives of appropriation of urban space are rewritten in video clips. It is argued that MTV, like previous rock media, depicts city locales as areas of musical performance peopled either with ecstatic dancers or alienated rock ’n’ roll flâneurs. Yet MTV also comments on the reshaping of urban space by information technologies: It explores the interface between performing bodies and a technologically reshaped urban scene.
Countdown and cult music television programmes: an Australian case study
Intensities: The Journal of Cult Media, Vol 6 (Autumn/Winter), pp 31-56, 2013
""Music television programs, programs that focus on music for their core content, have been produced all over the world for all types of markets. However there remains little sustained work on them beyond studies of key production periods, franchise waves or biography-like narratives. This article shows that theories of Cult TV can be applied to music television programs to help explore this neglected form, as well as helping to expand Cult TV’s theoretical reach beyond its traditional fare of narrative driven, fiction series. This article offers 1970s and ‘80s Australian music television program Countdown as a prime example of Cult TV, first in the context of its initial production and consumption in 1970s and ‘80s Australia, and also in terms of its subsequent influence on contemporary audiences from a historical perspective. The Cult TV frame extends to the program itself in its original incarnation, as well as additional recontextualisations in new music television programs, and the continued work of its former host, Ian ‘Molly’ Meldrum. ""
Music Television and the Invention of Youth Culture in India
Television & New Media, 2002
MTV is often associated with concerns about global cultural homogenization and the spread of a rebellious youth culture. However, the political economy of satellite television in postliberalization India has ensured the construction of a music television audience that is neither antinational nor antielder. On the basis of a reception study of music television in India, this article argues that audiences construct a sense of generational, national, and global identity in a manner that calls for a deeper understanding of cultural imperialism and audience reception. The findings of this study suggest that although the emerging youth culture in India does not seem confrontational in generational or national terms, it is not so much a case of audience resistance as that of co-optation by global hegemonic forces.
Music television and the invention of youth culture in India
Television & New Media, 2002
MTV is often associated with concerns about global cultural homogenization and the spread of a rebellious youth culture. However, the political economy of satellite television in postliberalization India has ensured the construction of a music television audience that is neither antinational nor antielder. On the basis of a reception study of music television in India, this article argues that audiences construct a sense of generational, national, and global identity in a manner that calls for a deeper understanding of cultural imperialism and audience reception. The findings of this study suggest that although the emerging youth culture in India does not seem confrontational in generational or national terms, it is not so much a case of audience resistance as that of co-optation by global hegemonic forces.