Acções do Documento
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The videoclip
In last the 20 years the music culture lived intimately with a visual source propagated by the cathodic rays (CRT = conventional monitor) of a device that had been massified exponentially on a world-wide scale.
In fact, the television has already reached for long a
detached position as media and the music industry started to take advantage of
this, but since then in a new form.
The specificity of this audiovisual vehicle helped to
project a singular imagetic in the contemporary culture context, changing the
way of how the musical themes, specially the ones of popular roots, became to
be appreciated by people.
It is as propagandistic appendix (clip) of the pop song
that takes form a new audiovisual product that has marked entire generations, under
the name of “videoclip”.
If in a first phase, videoclips have just presented
the interpreters playing the theme, quickly were evolving in the direction of a
bigger complexity. Adopting unique visual methods they became a field of singular experimentations, to the point of
being a distinct audiovisual genre.
A new “image” associated to music emerged in the spectator’s mind and consequently a new aesthetic was implanted.
In its hybrid essence, where a commercial commitment is
linked to a strong artistic orientation, configures today an expressive and different
attitude in the contemporary artistic context. But for its aggregated character
and as a compiler of cultural references with an extreme semiotic charge, in a visualist
effusion, and compressed in few minutes, take us to consider the Videoclip as
one of the purest post-modern art forms.
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The videoconcert
There was a time when the hearing was the only sense to connect the music lovers to the source of their predilection, being this accessible only by live shows, by radio broadcasting or by the old vinyl records. But from the moment when the “audio” word was attached to the “visual” word, reality changed radically in the field of the super stimulated perceptions, proving that the pleasure of any thing for which two or more senses concur is, always, much more rewarding.
The television was the great catalyst of this change, through musical
performances in varieties shows, and later broadcasting entire performances as a
real support of TV’s shows per se.
When the technological means had allowed the existence of videograms
commercialized to a widened public, specially in the VHS format, the recordings
of pure musical shows had opened a new category in the audiovisual market,
although its conception still have to obey to the TV logics of a mere live show
reproduction, with exception of some objects of rare creativity.
With the advent of the digitalization and consequent popularization of the DVD format, it is, today, possible to watch, in comfort at home, a symphonic concert or even a rock one, without losing the quality level of the reproduced sound.
The qualitative jump of the image level, and the predictable evolutions
to come (high definition), has allowed to establish this format as a regular bet
in the music industry, sometimes as a bonus in the CD edition or as an
individualized commercial product. If we want to foresee the future, where only
single songs will have predominance in the music charts, this format can just be
the vehicle of abridgement and pledge to the real skills of an artist.
On the other hand, the flexibility of this format allows developing a
set of audiovisuals contents almost limitless, being this small segment of
market still in a development state. But the profusion and demand of these
products are making necessarily the differentiation of some proposals and more
creative ways are being explored to change this visual experience.
If the emotion, the sumptuous scenario and the visual spectacularly of a
real performance have always fascinated our sensorial perceptions, it’s natural
that the form of its perpetuation expects the simulation of a real presence. But
this on an amplified level of involvement and in close proximity to the stage
show through an audiovisual platform. It is therefore, in this logic that the
new techniques and practices of directing have come to change the TV canons and
to exceed the conventional practices of recording, for an intense visual
dynamic, insufflating an immersive and interactive fascination.
Like the videoclips had initially left of TV and cinematographic models
for an aesthetic affirmation of themselves, also videoconcerts find themselves,
today, in a transitory state for something different from the usual practices.
And this we must follow with special attention!
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The videodocumentary
Music is, as cultural, social, economic and artistic phenomenon, a reason of curiosity, discovery, sharing and transmission of a fundamental knowledge of the human nature, besides his role in the “mediatic space”.
Music is an omnipresent element in our lives and is part in the
construction of a collective conscientious. So, naturally it’s matter of study
and documental treatment, where the audiovisual assumes a considerable part as a
promotion object.
The “documentaries authors” are, for a long time ago, an established
genre in the audiovisual field as a consolidated cinematographic work, but
mainly in the TV or video broadcasting channels. And sometimes the ones of music
thematic are one more commercial vehicle for the music industry.
Music is, therefore, a desirable matter of testimonial approach and with
a wide field for thematic or narrative framework. Either the authorship or the
interpretation, the technique or the aesthetic one, the tradition or the
emergent novelty, the massified phenomenon or the cult group, the possibilities
allow a varied “palette”. And the “trace” applied on an intime or exultant form,
in an instructive or humoristic way, with day-worker perspective or fictional
construction, allows the director’s imagination to decide what will happen in
the audiovisual “canvas”.
The music videodocumentaries show today an uncontested aesthetic or
narrative creativity, and they are an enjoyable way to know everything music
symbolizes, and at the same time, everything that’s backward of it, that is, the
human being himself.