We Used to Wait : Music Videos and Creative Literacy
An investigation of music videos as a form, a practice, and a literacy.Music videos were once something broadcast by MTV and received on our TV screens. Today, music videos are searched for, downloaded, and viewed on our computer screens—or produced in our living rooms and uploaded to social media....
Ausführliche Beschreibung
Autor*in: |
Kinskey, Rebecca [verfasserIn] |
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Format: |
E-Book |
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Sprache: |
Englisch |
Erschienen: |
Cambridge: The MIT Press ; 2014 |
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Rechteinformationen: |
Open Access Creative Commons ; by-nc-nd/4.0 |
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Schlagwörter: |
Educational equipment & technology, computer-aided learning (CAL) Media studies: advertising and society Educational equipment and technology, computer-aided learning (CAL) |
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Umfang: |
1 Online-Ressource (120 p.) |
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Links: | |
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ISBN: |
978-0-262-52692-0 |
Katalog-ID: |
1836410859 |
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9780262526920 978-0-262-52692-0 (DE-627)1836410859 (DE-599)KEP062131621 (OCoLC)1158896425 (OAPEN)26054 (EBP)062131621 DE-627 eng DE-627 rda eng JFDV bicssc JNV bicssc JBCT3 bicssc Kinskey, Rebecca verfasserin aut We Used to Wait Music Videos and Creative Literacy Cambridge The MIT Press 2014 1 Online-Ressource (120 p.) Text txt rdacontent Computermedien c rdamedia Online-Ressource cr rdacarrier Open Access Unrestricted online access star An investigation of music videos as a form, a practice, and a literacy.Music videos were once something broadcast by MTV and received on our TV screens. Today, music videos are searched for, downloaded, and viewed on our computer screens—or produced in our living rooms and uploaded to social media. In We Used to Wait, Rebecca Kinskey examines this shift. She investigates music video as a form, originally a product created by professionals to be consumed by nonprofessionals; as a practice, increasingly taken up by amateurs; and as a literacy, to be experimented with and mastered. Kinskey offers a short history of the music video as a communicative, cultural form, describing the rise and fall of MTV's Total Request Live and the music video's resurgence on YouTube. She examines recent shifts in viewing and production practice, tracing the trajectory of music video director Hiro Murai from film student and dedicated amateur in the 1990s to music video professional in the 2000s. Investigating music video as a literacy, she looks at OMG! Cameras Everywhere, a nonprofit filmmaking summer camp run by a group of young music video directors. The OMG! campers and counselors provide a case study in how cultural producers across several generations have blurred the line between professional and amateur. Their everyday practices remake the notion of literacy, not only by their collaborative and often informal efforts to impart and achieve literacy but also by expanding the definition of what is considered a valuable activity, worthy of dedicated, pleasurable pursuit Creative Commons by-nc-nd/4.0 cc English Advertising & society Educational equipment & technology, computer-aided learning (CAL) Media studies: advertising and society Educational equipment and technology, computer-aided learning (CAL) https://library.oapen.org/bitstream/id/132c6aec-494f-4dfc-adbf-c86e329f9d66/1004031.pdf X:OAPEN Verlag OAPEN Library: download the publication kostenfrei http://library.oapen.org/handle/20.500.12657/26054 X:OAPEN Verlag OAPEN Library: description of the publication kostenfrei ZDB-94-OAL GBV_ILN_22 ISIL_DE-18 SYSFLAG_1 GBV_KXP GBV_ILN_23 ISIL_DE-830 GBV_ILN_30 ISIL_DE-104 GBV_ILN_31 ISIL_DE-27 GBV_ILN_34 ISIL_DE-18-302 GBV_ILN_39 ISIL_DE-547 GBV_ILN_40 ISIL_DE-7 GBV_ILN_63 ISIL_DE-Wim2 GBV_ILN_65 ISIL_DE-3 GBV_ILN_70 ISIL_DE-89 GBV_ILN_72 ISIL_DE-35 GBV_ILN_95 ISIL_DE-542 GBV_ILN_110 ISIL_DE-Luen4 GBV_ILN_136 ISIL_DE-Wis1 GBV_ILN_147 ISIL_DE-Fl3 GBV_ILN_161 ISIL_DE-960 GBV_ILN_187 ISIL_DE-Ki95 GBV_ILN_213 ISIL_DE-551 GBV_ILN_230 ISIL_DE-552 GBV_ILN_283 ISIL_DE-Ha163 GBV_ILN_293 ISIL_DE-960-3 GBV_ILN_370 ISIL_DE-1373 GBV_ILN_603 ISIL_DE-B1556 GBV_ILN_808 GBV_ILN_2403 ISIL_DE-LFER BO 22 01 0018 4280069875 OLR-ZDB-94-OAL OAPEN Library zu 01-03-23 23 01 0830 4280621659 OLR-OAPEN f z 01-03-23 30 01 0104 4280981744 GBV-OAPEN z 01-03-23 31 01 0027 4280262594 z 01-03-23 34 01 3551 4278820143 OLR-OAPEN zi002 01-03-23 39 01 0547 4281172319 GBV-OAPEN ke 01-03-23 40 01 0007 4279888647 OLR-OAPEN xsn 01-03-23 63 01 3401 4281552324 E-Books LF GBV-OAPEN z 01-03-23 65 01 0003 4281786716 OLR-OAPEN z 01-03-23 70 01 0089 4280442754 OLR-OAPEN-OA OAPEN Online Library Open Access eBook z 01-03-23 72 01 0035 4278638892 OLR-OAPEN-OA OAPEN Online Library Open Access eBook z 01-03-23 95 01 3095 4343168182 OLR-OAL Vervielfältigungen (z.B. 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Die Weitergabe an Dritte sowie systematisches Downloaden sind untersagt. z 01-03-23 161 01 0960 4278076290 OLR-OAPEN OAPEN Online Library Open Access eBook z 28-02-23 187 01 3520 4278460155 JSTOR Open Access eBook z 28-02-23 213 01 0551 4279175322 OLR-OAPEN OAPEN Online Library Open Access eBook z 01-03-23 230 01 0552 427935250X OLR-OAPEN OAPEN Online Library Open Access eBook z 01-03-23 283 01 3283 4279711410 OLR-OAL z 01-03-23 293 01 3293 4278255535 OLR-OAPEN OAPEN Online Library Open Access eBook z 28-02-23 370 01 4370 4278997892 OLR-FREE Kostenloser Zugriff z 01-03-23 603 01 4603 4277898475 OLR-OAPEN Bitte beachten Sie die Nutzungsbedingungen und Copyright-Bestimmungen des Verlages/Herausgebers. z 28-02-23 808 01 4808 428080057X OLR-OAPEN OAPEN Library zg 01-03-23 2403 01 DE-LFER 4307483863 00 --%%-- --%%-- n --%%-- l01 11-04-23 22 01 0018 Volltextzugang http://library.oapen.org/handle/20.500.12657/26054 23 01 0830 http://library.oapen.org/handle/20.500.12657/26054 30 01 0104 Open Access http://library.oapen.org/handle/20.500.12657/26054 31 01 0027 eBook GBV-OAPEN http://library.oapen.org/handle/20.500.12657/26054 34 01 3551 OpenAccess http://library.oapen.org/handle/20.500.12657/26054 40 01 0007 Volltext, Open Access http://library.oapen.org/handle/20.500.12657/26054 63 01 3401 E-Book http://library.oapen.org/handle/20.500.12657/26054 65 01 0003 Open Access http://library.oapen.org/handle/20.500.12657/26054 65 01 0003 Dieser Titel ist Teil einer Datenbank http://www.bibliothek.uni-regensburg.de/dbinfo/detail.php?titel_id=10728&bib_id=ulb_hal 70 01 0089 http://library.oapen.org/handle/20.500.12657/26054 LF 72 01 0035 http://library.oapen.org/handle/20.500.12657/26054 95 01 3095 http://library.oapen.org/handle/20.500.12657/26054 110 01 3110 Open Access http://library.oapen.org/handle/20.500.12657/26054 136 01 3526 Open Access http://library.oapen.org/handle/20.500.12657/26054 147 01 3528 http://library.oapen.org/handle/20.500.12657/26054 161 01 0960 http://library.oapen.org/handle/20.500.12657/26054 LF 187 01 3520 http://library.oapen.org/handle/20.500.12657/26054 213 01 0551 http://library.oapen.org/handle/20.500.12657/26054 230 01 0552 http://library.oapen.org/handle/20.500.12657/26054 283 01 3283 http://library.oapen.org/handle/20.500.12657/26054 293 01 3293 http://library.oapen.org/handle/20.500.12657/26054 LF 370 01 4370 http://library.oapen.org/handle/20.500.12657/26054 603 01 4603 http://library.oapen.org/handle/20.500.12657/26054 808 01 4808 Volltextzugang http://library.oapen.org/handle/20.500.12657/26054 2403 01 DE-LFER https://library.oapen.org/bitstream/id/132c6aec-494f-4dfc-adbf-c86e329f9d66/1004031.pdf 31 01 0027 00 eBook GBV-OAPEN 22 01 0018 OLR-ZDB-94-OAL 23 01 0830 OLR-OAPEN 30 01 0104 GBV-OAPEN 34 01 3551 OLR-OAPEN 39 01 0547 GBV-OAPEN 39 01 0547 LF 40 01 0007 OLR-OAPEN 63 01 3401 E-Books LF GBV-OAPEN 65 01 0003 OLR-OAPEN 70 01 0089 OLR-OAPEN-OA 72 01 0035 OLR-OAPEN-OA 95 01 3095 OLR-OAL 110 01 3110 OLR-GBV-OAPEN 136 01 3526 OLR-OAPEN 147 01 3528 OLR-OAPEN 161 01 0960 OLR-OAPEN 213 01 0551 OLR-OAPEN 230 01 0552 OLR-OAPEN 283 01 3283 OLR-OAL 293 01 3293 OLR-OAPEN 370 01 4370 OLR-FREE 370 01 4370 olr-ebook GBV-OAPEN 603 01 4603 OLR-OAPEN 808 01 4808 OLR-OAPEN |
allfields_unstemmed |
9780262526920 978-0-262-52692-0 (DE-627)1836410859 (DE-599)KEP062131621 (OCoLC)1158896425 (OAPEN)26054 (EBP)062131621 DE-627 eng DE-627 rda eng JFDV bicssc JNV bicssc JBCT3 bicssc Kinskey, Rebecca verfasserin aut We Used to Wait Music Videos and Creative Literacy Cambridge The MIT Press 2014 1 Online-Ressource (120 p.) Text txt rdacontent Computermedien c rdamedia Online-Ressource cr rdacarrier Open Access Unrestricted online access star An investigation of music videos as a form, a practice, and a literacy.Music videos were once something broadcast by MTV and received on our TV screens. Today, music videos are searched for, downloaded, and viewed on our computer screens—or produced in our living rooms and uploaded to social media. In We Used to Wait, Rebecca Kinskey examines this shift. She investigates music video as a form, originally a product created by professionals to be consumed by nonprofessionals; as a practice, increasingly taken up by amateurs; and as a literacy, to be experimented with and mastered. Kinskey offers a short history of the music video as a communicative, cultural form, describing the rise and fall of MTV's Total Request Live and the music video's resurgence on YouTube. She examines recent shifts in viewing and production practice, tracing the trajectory of music video director Hiro Murai from film student and dedicated amateur in the 1990s to music video professional in the 2000s. Investigating music video as a literacy, she looks at OMG! Cameras Everywhere, a nonprofit filmmaking summer camp run by a group of young music video directors. The OMG! campers and counselors provide a case study in how cultural producers across several generations have blurred the line between professional and amateur. Their everyday practices remake the notion of literacy, not only by their collaborative and often informal efforts to impart and achieve literacy but also by expanding the definition of what is considered a valuable activity, worthy of dedicated, pleasurable pursuit Creative Commons by-nc-nd/4.0 cc English Advertising & society Educational equipment & technology, computer-aided learning (CAL) Media studies: advertising and society Educational equipment and technology, computer-aided learning (CAL) https://library.oapen.org/bitstream/id/132c6aec-494f-4dfc-adbf-c86e329f9d66/1004031.pdf X:OAPEN Verlag OAPEN Library: download the publication kostenfrei http://library.oapen.org/handle/20.500.12657/26054 X:OAPEN Verlag OAPEN Library: description of the publication kostenfrei ZDB-94-OAL GBV_ILN_22 ISIL_DE-18 SYSFLAG_1 GBV_KXP GBV_ILN_23 ISIL_DE-830 GBV_ILN_30 ISIL_DE-104 GBV_ILN_31 ISIL_DE-27 GBV_ILN_34 ISIL_DE-18-302 GBV_ILN_39 ISIL_DE-547 GBV_ILN_40 ISIL_DE-7 GBV_ILN_63 ISIL_DE-Wim2 GBV_ILN_65 ISIL_DE-3 GBV_ILN_70 ISIL_DE-89 GBV_ILN_72 ISIL_DE-35 GBV_ILN_95 ISIL_DE-542 GBV_ILN_110 ISIL_DE-Luen4 GBV_ILN_136 ISIL_DE-Wis1 GBV_ILN_147 ISIL_DE-Fl3 GBV_ILN_161 ISIL_DE-960 GBV_ILN_187 ISIL_DE-Ki95 GBV_ILN_213 ISIL_DE-551 GBV_ILN_230 ISIL_DE-552 GBV_ILN_283 ISIL_DE-Ha163 GBV_ILN_293 ISIL_DE-960-3 GBV_ILN_370 ISIL_DE-1373 GBV_ILN_603 ISIL_DE-B1556 GBV_ILN_808 GBV_ILN_2403 ISIL_DE-LFER BO 22 01 0018 4280069875 OLR-ZDB-94-OAL OAPEN Library zu 01-03-23 23 01 0830 4280621659 OLR-OAPEN f z 01-03-23 30 01 0104 4280981744 GBV-OAPEN z 01-03-23 31 01 0027 4280262594 z 01-03-23 34 01 3551 4278820143 OLR-OAPEN zi002 01-03-23 39 01 0547 4281172319 GBV-OAPEN ke 01-03-23 40 01 0007 4279888647 OLR-OAPEN xsn 01-03-23 63 01 3401 4281552324 E-Books LF GBV-OAPEN z 01-03-23 65 01 0003 4281786716 OLR-OAPEN z 01-03-23 70 01 0089 4280442754 OLR-OAPEN-OA OAPEN Online Library Open Access eBook z 01-03-23 72 01 0035 4278638892 OLR-OAPEN-OA OAPEN Online Library Open Access eBook z 01-03-23 95 01 3095 4343168182 OLR-OAL Vervielfältigungen (z.B. 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allfieldsGer |
9780262526920 978-0-262-52692-0 (DE-627)1836410859 (DE-599)KEP062131621 (OCoLC)1158896425 (OAPEN)26054 (EBP)062131621 DE-627 eng DE-627 rda eng JFDV bicssc JNV bicssc JBCT3 bicssc Kinskey, Rebecca verfasserin aut We Used to Wait Music Videos and Creative Literacy Cambridge The MIT Press 2014 1 Online-Ressource (120 p.) Text txt rdacontent Computermedien c rdamedia Online-Ressource cr rdacarrier Open Access Unrestricted online access star An investigation of music videos as a form, a practice, and a literacy.Music videos were once something broadcast by MTV and received on our TV screens. Today, music videos are searched for, downloaded, and viewed on our computer screens—or produced in our living rooms and uploaded to social media. In We Used to Wait, Rebecca Kinskey examines this shift. She investigates music video as a form, originally a product created by professionals to be consumed by nonprofessionals; as a practice, increasingly taken up by amateurs; and as a literacy, to be experimented with and mastered. Kinskey offers a short history of the music video as a communicative, cultural form, describing the rise and fall of MTV's Total Request Live and the music video's resurgence on YouTube. She examines recent shifts in viewing and production practice, tracing the trajectory of music video director Hiro Murai from film student and dedicated amateur in the 1990s to music video professional in the 2000s. Investigating music video as a literacy, she looks at OMG! Cameras Everywhere, a nonprofit filmmaking summer camp run by a group of young music video directors. The OMG! campers and counselors provide a case study in how cultural producers across several generations have blurred the line between professional and amateur. 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An investigation of music videos as a form, a practice, and a literacy.Music videos were once something broadcast by MTV and received on our TV screens. Today, music videos are searched for, downloaded, and viewed on our computer screens—or produced in our living rooms and uploaded to social media. In We Used to Wait, Rebecca Kinskey examines this shift. She investigates music video as a form, originally a product created by professionals to be consumed by nonprofessionals; as a practice, increasingly taken up by amateurs; and as a literacy, to be experimented with and mastered. Kinskey offers a short history of the music video as a communicative, cultural form, describing the rise and fall of MTV's Total Request Live and the music video's resurgence on YouTube. She examines recent shifts in viewing and production practice, tracing the trajectory of music video director Hiro Murai from film student and dedicated amateur in the 1990s to music video professional in the 2000s. Investigating music video as a literacy, she looks at OMG! Cameras Everywhere, a nonprofit filmmaking summer camp run by a group of young music video directors. The OMG! campers and counselors provide a case study in how cultural producers across several generations have blurred the line between professional and amateur. Their everyday practices remake the notion of literacy, not only by their collaborative and often informal efforts to impart and achieve literacy but also by expanding the definition of what is considered a valuable activity, worthy of dedicated, pleasurable pursuit |
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An investigation of music videos as a form, a practice, and a literacy.Music videos were once something broadcast by MTV and received on our TV screens. Today, music videos are searched for, downloaded, and viewed on our computer screens—or produced in our living rooms and uploaded to social media. In We Used to Wait, Rebecca Kinskey examines this shift. She investigates music video as a form, originally a product created by professionals to be consumed by nonprofessionals; as a practice, increasingly taken up by amateurs; and as a literacy, to be experimented with and mastered. Kinskey offers a short history of the music video as a communicative, cultural form, describing the rise and fall of MTV's Total Request Live and the music video's resurgence on YouTube. She examines recent shifts in viewing and production practice, tracing the trajectory of music video director Hiro Murai from film student and dedicated amateur in the 1990s to music video professional in the 2000s. Investigating music video as a literacy, she looks at OMG! Cameras Everywhere, a nonprofit filmmaking summer camp run by a group of young music video directors. The OMG! campers and counselors provide a case study in how cultural producers across several generations have blurred the line between professional and amateur. Their everyday practices remake the notion of literacy, not only by their collaborative and often informal efforts to impart and achieve literacy but also by expanding the definition of what is considered a valuable activity, worthy of dedicated, pleasurable pursuit |
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An investigation of music videos as a form, a practice, and a literacy.Music videos were once something broadcast by MTV and received on our TV screens. Today, music videos are searched for, downloaded, and viewed on our computer screens—or produced in our living rooms and uploaded to social media. In We Used to Wait, Rebecca Kinskey examines this shift. She investigates music video as a form, originally a product created by professionals to be consumed by nonprofessionals; as a practice, increasingly taken up by amateurs; and as a literacy, to be experimented with and mastered. Kinskey offers a short history of the music video as a communicative, cultural form, describing the rise and fall of MTV's Total Request Live and the music video's resurgence on YouTube. She examines recent shifts in viewing and production practice, tracing the trajectory of music video director Hiro Murai from film student and dedicated amateur in the 1990s to music video professional in the 2000s. Investigating music video as a literacy, she looks at OMG! Cameras Everywhere, a nonprofit filmmaking summer camp run by a group of young music video directors. The OMG! campers and counselors provide a case study in how cultural producers across several generations have blurred the line between professional and amateur. Their everyday practices remake the notion of literacy, not only by their collaborative and often informal efforts to impart and achieve literacy but also by expanding the definition of what is considered a valuable activity, worthy of dedicated, pleasurable pursuit |
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