Music, Sound and the Moving Image (Special Issue 11:1)
- Submitting institution
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De Montfort University
- Unit of assessment
- 33 - Music, Drama, Dance, Performing Arts, Film and Screen Studies
- Output identifier
- 33094
- Type
- B - Edited book
- DOI
-
-
- Publisher
- Liverpool University Press
- ISBN
- 0000000000
- Open access status
- Compliant
- Month of publication
- -
- Year of publication
- 2017
- URL
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- Supplementary information
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- Request cross-referral to
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- Output has been delayed by COVID-19
- No
- COVID-19 affected output statement
- -
- Forensic science
- No
- Criminology
- No
- Interdisciplinary
- No
- Number of additional authors
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1
- Research group(s)
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-
- Proposed double-weighted
- No
- Reserve for an output with double weighting
- No
- Additional information
- The open-access special issue of the journal was the first dedicated output of a three-year AHRC-funded research project, Fifty Years of British Music Video (AH/M003515/1) led by Smith and Caston. The issue, commissioned by the journal’s principal editor, Helen Hanson, featured new research that explored aspects of British music video culture for the first time, and adopted fresh approaches to its analysis, grounded in industrial practices evidenced from archives and fresh interview sources. The other contributors were members of the curatorial team at the BFI who were project partners, overseeing the accession of 100 landmark British music videos - curated by the project - to the National Film and Television Archive – the first dedicated music video collection. Caston and Smith’s collaboration with the BFI’s Will Fowler and Dylan Cave united theoretically-informed academic perspectives with their archival expertise. This partnership also reflected the wider study which involved the music video industry and key archives (the British Library as well as the BFI) in the research process and outputs. This focus, outlined in Caston and Smith’s introduction, was central to the intellectual project which sought to recover and document the history of a ‘hidden’ screen industry, and is evidenced in the articles. Smith’s article contributed an important piece of British music video history, challenging the myth that music video was showcased entirely via MTV by examining the longevity and impact of The Chart Show – the first UK free-to-air weekly music video programme. The article drew on privileged access to Channel 4’s programme files, and the popular music trade press. It argued that the show’s innovative presenterless format and iconic computer graphics accorded lasting aesthetic value to music video beyond its promotional function.
- Author contribution statement
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- Non-English
- No
- English abstract
- -