Research Paper

The visibility of the authorship in the post-television video clip: the dignification of the music video through the claim of the creators in the credits

The aims of this paper are to analyze how authorship is identified in music videos and to inquire the reasons why this authorship is recognized from the discourse itself. The video clips credit titles are considered to have become a standard practice and in this way, a change of paradigm in relation to the attribution of authorship in the music video, previously hidden, occurs. The main hypothesis proposed is that the visibility of the authorship in the music video go beyond the transmission of information related to production and implies a vindication of the creators, as a brand or sample of identity in the discourse. The vindication of authorship would then suppose a way to dignify the video clip as an important format not only at the industrial and commercial level, but also at an artistic level. In order to demonstrate this hypothesis, the music videos of the 40 most popular singles in the United Kingdom in 2017, according to The Official Charts consultancy company, were analyzed. The analysis of the presence of information about the authorship in the analyzed pieces offers varied results that do not allow confirming any majority or openly consolidated trend, but it does allow identifying frequent practices that could be representative of the current situation of the video clip. The visibility of authorship allows the format a closer consideration to that of the cultural product or artistic creation, disguising its commercial function. The video clip does not abandon its commercial or promotional objective linked to its own nature as a format, but it enhances its nature of artistic creation

DOI 10.17151/kepes.2020.17.21.6
Magazine or publication Kepes