Discuss the
phenomenon of digital media convergence in relation to Music Video Online.
Julia Barton
(42736951)
In
recent years our lives have been dramatically redefined by the advances of
digital communication and thus, so too has the way in which media industries
and individuals create, distribute and consume content. It is apparent that as
we rapidly transition into this new era, the gradual migration online (of
industries and individuals) has effectively enabled the digital convergence of
a multitude of media. It is within this context of considerable change, that
this essay will explore the general implications of digital media convergence
as well as considering more specifically, the ways in which digital media
convergence has revolutionised the nature of online music video. Moreover this
will be illustrated through a consideration of YouTube and the fundamental role
it has played in the restructuring the music video industry.
In
understanding the phenomenon of digital media convergence, it is of fundamental
importance to consider the extent to which recent developments in technology
have contributed to its materialization. Undoubtedly, the increased
connectivity and accessibility of the internet has been the key factor in
enabling the convergence of various digital media (Jenkins: 2006). Before the
creation of internet, various media forms and industries operated as largely separate
entities and thus functioned without the reliance or interference upon others
(Hilderbrand: 2007). As of recently however, we are witnessing a mass migration
online whereby various media and industries are ‘coming together’ and
converging in one space (Dwyer: 2010). In doing so, it is now possible for
audiences to conveniently access a range of media via a singular medium. Arguably,
one of the most radical changes created by digital media convergence is the
increased degree of power awarded to individuals – particularly in regards to
publishing their own material as evidenced in the example of online music
video.
Furthermore,
as a result of digital media convergence, the music video industry has been
profoundly affected – particularly, in regards to the means of distribution
rather than production. Perhaps the most noticeable difference to that of the past
is that individuals are no longer reliant on music television programs to play
their videos. Due to the development of a series of online video-sharing sites,
individuals and musicians alike now possess the capacity to broadcast their
videos without the approval of anyone but themselves (Burgess: 2009). Moreover,
the act of distributing music videos online is effectively unrestricted and
unregulated. This stands in stark contrast to the past whereby only a very
small proportion of music videos were broadcast to global audiences and they
were usually the videos of universally popular artists (Meikle & Young:
2012). However, as is evidenced on the website YouTube, the quality of video
and the popularity of the artist are no longer discriminating factors –
potentially anyone, anywhere, irrespective of talent or professional quality of
the video can now be broadcast themselves to the world.
Moreover,
the production of online music video has been influenced considerably by the
new platforms of distribution – in which have been supported to a very large
extent by digitally convergent media. Undeniably, YouTube has rapidly evolved into
the most popular platform for online music video dissemination. A brief perusal
of the content published online reveals an incredibly varied range in terms of
the nature and quality of online music videos (Hilderbrand: 2007). At one of
the spectrum are those professionally produced videos (usually the products of
exceedingly wealthy and self-indulgent pop stars) whereas at the other end of
the spectrum is a collection of lo-fi budget videos (commonly produced for the
purposes of YouTube consumption). However, it is evident that online music videos
no longer have to adhere to a certain standard in order to gain air-time or the
attention of audiences (Burgess: 2009). In fact, quite often the most
simplistic music videos gain the greatest amount of attention from audiences as
indicated via YouTube’s view count and ‘like’/‘dislike’ option (Burgess: 2009).
Similarly, amateur remixes, renditions and parodies are exceedingly popular
amongst audiences as statistics have revealed.
Somewhat
inevitably, the various online spaces dedicated to video-sharing have
facilitated the discovery of many musically gifted individuals and groups by international
talent scouts. Thus, the simple act of uploading an amateur music video of
yourself onto a site such as YouTube, which may then be accessed and viewed by
potentially anyone (anywhere), could see you propelled into super-stardom. One
needs to look no further than the remarkable precedent set by the teen
sensation Justin Bieber whose initial discovery (and continuing success) can be
largely attributed to the public platforms enabled by digitally convergent
media. Due to the enhanced connectivity and accessibility of the internet in
the twenty-first century, individuals can freely browse, view and forward the
videos of their favourite artists to others (Burgess: 2009). As a result,
videos can be searched and accessed without the delays of watching live
broadcasts, making recordings or waiting through commercial breaks
(Hilderbrand: 2007). Thus, this
undoubtedly reflects the demands of the modern day consumer who live in a world
increasing characterised by instant gratification and immediacy.
All in all, it is apparent that the convergence of various digital media has played a profound role in remodelling the music video industry. As this essay has illustrated, music videos no longer belong solely on the television screen and instead have took up a new residency in the online realm. As a result, video-streaming sites such as YouTube have not only provided public spaces for individuals to freely share their videos with others but have also effectively replaced television as the primary means of music video distribution.
References:
1. Burgess, J, and
Green, J. (2009) YouTube: Online Video and Participatory Culture. Polity Press.
2. Dwyer, T. (2010)
Media Convergence, McGraw Hill, Berkshire, pp 1-23.
3. Hilderbrand, L.
(2007) YouTube: ‘Where Cultural Memory and Copyright Converge’, Film Quarterly,
Vol 61, pp 48-57.
4. Jenkins, H. (2006)
Convergence Culture, New York, New York University Press.
5. Meikle, G, and
Young, S (2012) Media Convergence: Networked Digital Media in Everyday Life, Palgrave
Macmillan.
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