Ana María Sedeño Valdellós

El videoclip musical de hip hop en los noventa: análisis de vídeos de la costa este de Estados Unidos

As in the case of commercials, where the benefits of a product or brand are promoted in order to enhance its desirability and ideally results in its subsequent acquisition, music videos (the product of popular music and promoters) are circulated through visual techniques that contain certain audiovisual codes. Furthermore, the criteria set against musical genres are arranged as such that the messages which they convey are contextualised and perceived as part of the character of some musical artist. This paper presents an analysis of the music video in hip hop culture, particularly during the nineties, due to this genre’s impact during the period of its categorisation. The article presents a historical review, from hip hop’s inception until its algid or golden age, in order to critically analyse its complexity as a genre. It will then follow with analysis of the performance and audiovisual language of five music videos made between 1990 and 1999 that represent artist from the East Coast in the United States. The aim is to describe technical and audiovisual archetypes reflective of that period in time. It should be noted that, although it is not an exhaustive study, this analysis reveals a number of features and stylistics codes.

Hibridaciones autor/espectador en la producción cultural contemporánea: prácticas videográficas y competencias de la nueva recepción / Hybridizations author / viewer in contemporary cultural production: videographic practices and skills of the new...

Estudio enmarcado en la Convocatoria de Proyectos I+D del Ministerio de Economia y Competitividad con clave: EDU2010-21395-C03-03, titulado “La ensenanza obligatoria en comunicacion audiovisual en un entorno digital”.Technology and a public space in permanent transformation by social networks are driving a change in the objectives and conditions of artistic creation, their audiences and other stakeholders. We are in an era in which the spectator culture is giving way to a culture of participation, potentially transforming the classical notion of reception. Individuals become an active member of the cultural production; they are willing to modify and recreate cultural texts . The paper analyzes, on the one hand, changes in receptor status by analysis of practices of collective creation and collaborative production in audiovisual texts. On the other hand , it will reflect on the necessary skills (about language, technology, production) which these prosumers demand to make rich use of these new technological developments and social relationships that form.

Hibridaciones autor/espectador en la producción cultural contemporánea: prácticas videográficas y competencias de la nueva recepción

Estudio enmarcado en la Convocatoria de Proyectos I+D del Ministerio de Economia y Competitividad con clave: EDU2010-21395-C03-03, titulado “La ensenanza obligatoria en comunicacion audiovisual en un entorno digital”.Technology and a public space in permanent transformation by social networks are driving a change in the objectives and conditions of artistic creation, their audiences and other stakeholders. We are in an era in which the spectator culture is giving way to a culture of participation, potentially transforming the classical notion of reception. Individuals become an active member of the cultural production; they are willing to modify and recreate cultural texts . The paper analyzes, on the one hand, changes in receptor status by analysis of practices of collective creation and collaborative production in audiovisual texts. On the other hand , it will reflect on the necessary skills (about language, technology, production) which these prosumers demand to make rich use of these new technological developments and social relationships that form.

Panorama de la Videocreación en Andalucía: historia y actualidad

Desde pioneros como Jose Antonio Hergueta, Jorge Dragon o el colectivo Agustin Pareja School, enAndalucia, se viene presenciando un momento de eclosion de videoartistas y realizadores de arte electronico, reunidos en torno de algunas plataformas como Zemos98 o Blitz en Sevilla y Miga en Granada. Por otro lado, artistas como Javier Velasco, Pilar Albarracin, Maria Canas, Enrique Campayo, Jorge Dragon, Nacho Criado, Cristina Martin Lara, Cristina han trabajado desde territorios andaluces con el video y en su hibridacion con otras disciplinas del arte contemporaneo.

Diferenciaciones teóricas e históricas entre cine etnográfico y cine documental y de ficción: lo visual como herramienta de reflexión antropológica

En el presente articulo, se propone realizar un estudio de dos secuencias cinematograficas representativas de dos directores celebres. Se trata de analizar dos fragmentos de escenificacion de actividades pesqueras en Stromboli de Roberto Rossellini y Hombres de Aran de Robert Flaherty, comparando una misma escena en estas dos peliculas miticas, una definida como etnografica (Hombres de Aran de Robert Flaherty) y otra de ficcion, aunque con claros matices documentales. El objetivo general sera llegar a unas posibles diferencias en el tratamiento audiovisual de los fragmentos por parte de los dos directores, como consecuencia de los distintos puntos de vista, objetivos e intenciones a la hora de enfrentarse a ellos. Ello obligara a plantear una serie de preguntas de definicion del cine etnografico y sobre las peculiaridades que distinguen al cine etnografico del documental o de ficcion. Autores, teoricos y cineastas