28 MARCH 2017


The ‘Music Video’ in the pre-television era, when it could only be represented in a cinematic format, did not pioneer the introduction of music in a visual form. Television did that through studio based recorded music sections within Television popular programmes. What the cinematic format pioneered is that it took it out of the studios to the streets. Released it, if you like from detention.


The collaboration of direct cinema filmmakers with that movement exposed the limitations of the television format and its shortcoming efforts to grant the bonded form of sound and image a progressive platform. It also gave a strong indication that the popularity of music should not be limited by television, regardless of the popularity of television as an entertaining medium and the wider audiences that it represents. I think that paved the way to the emergence of new breeds of post-cinematic forms and opened the borders between them.


That action was bound to cause a reaction from the music industrialists to develop and expand the new form in order to take advantage of its potential. The race to provide a better platform to appeal to wider audiences and benefit from a greater distribution has been triggered by the music video. The concept has been transformed to make more money from music consumption than ever before. And since money has a powerful driving force, marketing with all its arms had to be deployed. The conventional forms needed to be sustained and developed. New forms had to be created and initiated. The aesthetic appeal had to be enhanced. In addition, the technological innovation has been unleashed to achieve all that.


Perhaps the most effective medium to bring that to effect has been the internet and with its rapid advancement and expansion, one could conclude that even the sky is no longer the limit.





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