Publication: Evolución de los efectos visuales en la historia del cine y su influencia sobre la industria del video musical
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2018-05-23
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Universidad Complutense de Madrid
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Abstract
Desde su creación, la industria del video musical ha estado fuertemente influenciada por el desarrollo de técnicas en el campo de los efectos visuales gracias a las ilimitadas soluciones artísticas y creativas que ofrecen a los cineastas. La implementación tecnológica de las últimas décadas ha demostrado ser un elemento clave para la aparición de vínculos y correlaciones entre el campo del cine y el video musical. Este nexo se ha basado en el progreso tecnológico, el aumento del uso de efectos visuales en videos musicales y la llegada de realizadores de videos musicales a la industria cinematográfica. Gracias al nacimiento del canal MTV en 1981, los videos musicales se convirtieron en un fenómeno de masas y una forma de experimentación visual para muchos artistas y directores. En sus comienzos MTV emitió videos musicales de forma ininterrumpida que llevaron a impulsar y promover la carrera de un gran número de artistas como Madonna o Michael Jackson. Pero fue en la década de 1990, considerada la edad de oro de los videos musicales, donde el concepto de video musical se convirtió en una pieza de arte audiovisual gracias al trabajo de famosos directores como Michel Gondry, Chris Cunningham o Mark Romanek. El desembarco en la industria cinematográfica de directores de prestigio procedentes del mundo de la música como Spike Jonze, David Fincher, Michel Gondry, Jonas Åkerlund y Michael Bay, entre otros, ha contribuido a la creación de una nueva estética cinematográfica que incorpora las propiedades del lenguaje audiovisual asociadas a los videos musicales...
Visual effects performed in audiovisual productions are, in reality, the mixture of several techniques. This thesis aims to develop a study about them, their origins and classification, focusing on their technological evolution and analyzing how they have influenced the industry of music video, both aesthetic, creative and economic. Since its inception, the music video industry has been heavily influenced by the development of techniques in the field of visual effects thanks to the unlimited artistic and creative solutions they offer to the filmmakers. The technological implementation of the last decades has proved to be a key element for the emergence of links and correlations between the field of cinema and music video. This nexus has been based on technological progress, the increase of the use of visual effects in music videos and the arrival of videomakers of music videos to the cinematographic industry. Thanks to the birth of MTV channel in 1981, music videos became a mass phenomenon and a way of visual experimentation for many artists and directors. In its beginnings MTV emitted music videos of uninterrupted form which took to impel and to promote the career of a great number of artists like Madonna, Michael Jackson or Bon Jovi when introducing itself daily in the televisions of adolescents all over the world. But it was in the 1990s, considered the golden age of music videos, where the concept of music video evolved into a piece of audiovisual art due to the work of famous directors such as Michel Gondry, Chris Cunningham or Mark Romanek. A number of prestigious film directors from the world of music video such as Spike Jonze, David Fincher, Jonas Åkerlund and Michael Bay, among others, have contributed to the creation of a new aesthetic and cinematic narrative that incorporates audiovisual language properties associated to the music videos. Computer generated graphics first appeared in cinema as parts of the human body, maps and primary animations in films such as Westworld (1973), Futureworld (1976), Star Wars (1977) and Star Trek II: The Wrath of Khan (1982). In 1982 the CGI was the protagonist for the first time of a film thanks to the film Tron (1982), which was not too well received by public or criticism, but it did help that the Hollywood studies began to take into account the potential of the digital images...
Visual effects performed in audiovisual productions are, in reality, the mixture of several techniques. This thesis aims to develop a study about them, their origins and classification, focusing on their technological evolution and analyzing how they have influenced the industry of music video, both aesthetic, creative and economic. Since its inception, the music video industry has been heavily influenced by the development of techniques in the field of visual effects thanks to the unlimited artistic and creative solutions they offer to the filmmakers. The technological implementation of the last decades has proved to be a key element for the emergence of links and correlations between the field of cinema and music video. This nexus has been based on technological progress, the increase of the use of visual effects in music videos and the arrival of videomakers of music videos to the cinematographic industry. Thanks to the birth of MTV channel in 1981, music videos became a mass phenomenon and a way of visual experimentation for many artists and directors. In its beginnings MTV emitted music videos of uninterrupted form which took to impel and to promote the career of a great number of artists like Madonna, Michael Jackson or Bon Jovi when introducing itself daily in the televisions of adolescents all over the world. But it was in the 1990s, considered the golden age of music videos, where the concept of music video evolved into a piece of audiovisual art due to the work of famous directors such as Michel Gondry, Chris Cunningham or Mark Romanek. A number of prestigious film directors from the world of music video such as Spike Jonze, David Fincher, Jonas Åkerlund and Michael Bay, among others, have contributed to the creation of a new aesthetic and cinematic narrative that incorporates audiovisual language properties associated to the music videos. Computer generated graphics first appeared in cinema as parts of the human body, maps and primary animations in films such as Westworld (1973), Futureworld (1976), Star Wars (1977) and Star Trek II: The Wrath of Khan (1982). In 1982 the CGI was the protagonist for the first time of a film thanks to the film Tron (1982), which was not too well received by public or criticism, but it did help that the Hollywood studies began to take into account the potential of the digital images...
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Tesis inédita de la Universidad Complutense de Madrid, Facultad de Ciencias de la Información, Departamento de Comunicación Audiovisual y Publicidad I, leída el 08-06-2017