Publication: La evolución del videoclip narrativo: la simbiosis orgánica del relato cinematográfico y el video musical en el videoclip
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2017-03-08
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Universidad Complutense de Madrid
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Abstract
Desde la realización del considerado como uno de los primeros videoclips narrativos, Thriller (John Landis, 1983) a la actualidad han pasado casi cuarenta años y se puede afirmar que los vídeos musicales narrativos han sufrido una evolución acorde con los cambios, que también han experientado otros formatos audiovisuales. Estos primeros videoclips, a los que se llamó dramatizados porque “aprovechando la cobertura que les ofrece la canción, cuentan una historia siguiendo la narrativa audiovisual clásica" (Martín Sánchez, 2005, p. 6) estaban realizados por grandes directores de cine del momento, como John Landis o Martin Scorsese, que imprimían una estética fílmica y una puesta en escena muy cinematográfica. Pero curiosamente, el videoclip dramatizado de aquellos tiempos se caracterizaba por tener una doble estructura diferenciada: por un lado, un prólogo a modo de cortometraje y narrado sin música y, por otro, una segunda parte, que representaba el videoclip en sí, la puesta en escena musical. De esta manera, el vídeo quedaba dividido en dos: una parte completamente cinematográfica y otra completamente musical. En la actualidad, esa división practicamente ha desaparecido en beneficio de una organicidad estructural única que fusiona ambas partes. La estructura fílmica se funde en el videoclip de una manera orgánica, generándose una especie de híbrido. Consecuentemente, el resultado es un videoclip fílmico que se organiza a modo de cortometraje pero que está acompañado de música y en muchos casos, otros sonidos diegéticos. Por otro lado, la narración en el videoclip ha encontrado un nuevo resurgir en las últimas décadas tras su traslado de la televisión a Internet. El hecho de que el espectador se convierta en programador de su propia parrilla facilita la creación de tramas más o menos complejas, pues el receptor tiene la posibilidad de elegir los tiempos y la frecuencia de visionado de los clips. De este modo, el vídeo musical pierde su actualidad promocional pero no su cualidad de entrenenimiento en una era en la que los formatos audiovisuales se pueden consumir en cualquier momento...
Since what is considered one of the very first narrative music videos, Thriller (John Landis, 1983) to the present day, almost forty years have passed and it can be said that narrative music videos have developed and changed along other audiovisual formats. These first music videos, which were called “dramatized” because "taking advantage of the coverage offered by the song, they tell a story following a classic audiovisual narrative" (Martín Sánchez, 2005, p. 6), were made by great filmmakers, such as John Landis and Martin Scorsese, who developed an aesthetic and mise en scène straight from the film world. But, curiously, dramatized music videos from those days were characterized by a differentiated double structure: first, a prologue as a short film narrated without music, followed by a second part that was the music video itself, the musical mise en scène. Therefore, the video was divided in two: a film segment and an entirely musical part. Today, this division has practically disappeared in favor of a single structure that merges both sides. The filmic structure melts into the video clip in an organic way, creating an unique hybrid. Consequently, the result is a filmic music-video which is structured as a short film but is accompanied by music and, in many cases, other diegetic sounds. On the other hand, narrative in the music-videos has found a new resurgence in recent decades after the move from television to the Internet. The fact that the viewer becomes his own programmer helps for the creation of more or less complex plots, because the viewer can now choose the time and frequency of viewing the clips. Thus, the music-video loses its promotional aspect but not its enternatinment qualities in an era in which media formats can be consumed at any given time. The huge container that is Internet and the possibility to watch different audiovisual products on one single screen has also led to a hybridization between various formats. Contemporary cinema has adopted a music video aesthetic that "breaks the great stories for the benefit of eclecticism (...) the primacy of playfulness eclipsing ethics (...), the seduction of the pleasurable above the rationality or coherence in the discourse" (Sánchez Noriega in Pérez Bowie (ed), 2010, p. 320)...
Since what is considered one of the very first narrative music videos, Thriller (John Landis, 1983) to the present day, almost forty years have passed and it can be said that narrative music videos have developed and changed along other audiovisual formats. These first music videos, which were called “dramatized” because "taking advantage of the coverage offered by the song, they tell a story following a classic audiovisual narrative" (Martín Sánchez, 2005, p. 6), were made by great filmmakers, such as John Landis and Martin Scorsese, who developed an aesthetic and mise en scène straight from the film world. But, curiously, dramatized music videos from those days were characterized by a differentiated double structure: first, a prologue as a short film narrated without music, followed by a second part that was the music video itself, the musical mise en scène. Therefore, the video was divided in two: a film segment and an entirely musical part. Today, this division has practically disappeared in favor of a single structure that merges both sides. The filmic structure melts into the video clip in an organic way, creating an unique hybrid. Consequently, the result is a filmic music-video which is structured as a short film but is accompanied by music and, in many cases, other diegetic sounds. On the other hand, narrative in the music-videos has found a new resurgence in recent decades after the move from television to the Internet. The fact that the viewer becomes his own programmer helps for the creation of more or less complex plots, because the viewer can now choose the time and frequency of viewing the clips. Thus, the music-video loses its promotional aspect but not its enternatinment qualities in an era in which media formats can be consumed at any given time. The huge container that is Internet and the possibility to watch different audiovisual products on one single screen has also led to a hybridization between various formats. Contemporary cinema has adopted a music video aesthetic that "breaks the great stories for the benefit of eclecticism (...) the primacy of playfulness eclipsing ethics (...), the seduction of the pleasurable above the rationality or coherence in the discourse" (Sánchez Noriega in Pérez Bowie (ed), 2010, p. 320)...
Description
Tesis inédita de la Universidad Complutense de Madrid, Facultad de Ciencias de la Información, Departamento de Comunicación Audiovisual y Publicidad II, leída el 15-01-2016