Some Research.

2. HOW VIDEO DIDN’T KILL THE RADIO STAR:
MAIN POINTS
• New technologies have changed the sound, marketing and
consumption of music.
• Studying music videos can prove more problematic than other media
texts.
• Continual change within them makes them harder to analyze.
• “Bohemian Rhapsody” by Queen is not actually the first “music video”.
• The work of Sergio Eisenstien and Walt Disney are closer to having this
title.
• Rock ‘N’ Roll films introduced audiences to the idea of band
performances.
• Pop music television defined the original forms and conventions of
music videos.
• Many modern pop videos subvert more conventions than they conform
to.
• As a result, many videos have resorted to parodying one another to
gain hits.
• Unique looks and styles now apply to the videos of certain bands and
directors.

3. HOW VIDEO DIDN’T KILL THE RADIO STAR:
EVALUATION
• Gives a clear timeline of the origins and evolution of music videos.
• Makes many useful points about music videos and their mannerisms.
• References real-life examples.
• Doesn’t go into much detail on each point.
• Provides no evidence for the points it makes and just moves on.

4. DANCING IN THE DISTRACTION FACTORY:
MAIN POINTS
• Cultural critics view music videos in a variety of positive and negative
ways.
• They can be problematic to define as an art form or media text.
• For every criticism directed at music videos, there is always a counter-
argument.
• Modern society’s short attention span was blamed on MTV.
• However, MTV was responsible for bringing to light many black artists.
• Political and social reasons make for good arguments for music videos.
• Star persona and meta-narrative play a large role in the videos’ design.
• Both of these create marketable products in the form of the song and
the artist.
• A meta-narrative describes the story told by the artist’s promo-videos.
• Examples of this include Madonna and Kylie’s transformations into sex
symbols.

5. DANCING IN THE DISTRACTION FACTORY:
EVALUATION
• Provides interesting viewpoints on the debates about music videos.
• References other authors that can give further insight.
• Explains the meanings of the terminology.
• Brief with very little detail on each point.
• Focuses mainly on music television as opposed to technical aspects.