Abstract
Musical videoclip is a theme which involves different disciplines, including the history and technique of photography and cinematography, but in this study we concentrate on the images of some videoclips which deserve special interest because of how they use methods of representation of space on a plane, in their scientific and expressive value. Episodes of great interest can be found starting from the 1970s, when videoclips began to spread through TV channels - for example Ian Emes with One of these days (Pink Floyd, 1972), featuring a succession of animated one-point perspectives, used later by Broken Fingaz in a perspective cross-section for U2’s song video Get out of your own way (2018). Examples can be also found of two and three dimensional ambivalence of axonometric representation (Stromae, Tous les Mêmes, 2013) or even of videos based on the ambiguity of anamorphosis (OK Go, The Writing’s On the Wall, 2014) and on recent 360° immersive techniques (Caparezza, Compro Horror, 2014), besides countless examples which show an interest in reflected vision, with infinite conceptual references and an inexhaustible potential for stimulating the imagination. In videoclips, which often present ties with pictorial and architectural culture, contents are transposed in a much more direct fashion, because they are addressed to a public which is not necessarily aware of figurative arts.
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Notes
- 1.
- 2.
See http://www.treccani.it/vocabolario/videoclip/ (retrieved 7th January 2019).
- 3.
For the relationship between sound, cinema and advertising, see Castellano and Falcidieno (2012).
- 4.
https://massimoemanuelli.wordpress.com/2017/09/19/telecity-piemonte/ (retrieved 18th December 2018).
- 5.
https://vimeo.com/ondemand/harddaysnight, retrieved 15th January 2019.
- 6.
- 7.
https://www.rockit.it/news/calibro-35-superstudio-nuovo-video (retrieved 7th January 2019). See http://www.videoclip-italia.com/2018/02/13/calibro-35-superstudio-patrizio-gioffredi/ (retrieved 7th January 2019).
- 8.
https://www.youtube.com/watch?v=Ea_j7Lc9SYM. The video was also the show tunes of the aforementioned Videoshow TV program. For the Pink Floyd video production, see Bratus and Rigolli (2008).
- 9.
In conversation with Ian Emes (London, 2012); https://vimeo.com/39274186 (retrieved 25th January 2019).
- 10.
Emes studied at the Birmingham College of Art and was a painter and sculptor before dedicating himself to videoclips.
- 11.
See note 8.
- 12.
Emes’ register changed entirely in the non-animated works he directed, like the Duran Duran video, Chaffeur (1982).
- 13.
Càndito and Meloni (2019).
- 14.
- 15.
For a theme framework, see Migliari (2009).
- 16.
For Niceron’s work, cf. De Rosa (2013) also presented in Herzog’s film.
- 17.
A few months before, a 360° musical video had been made for the piece Solo un'occasione by the Italian pop group Matriàl, in partnership with the rapper Cris The Real.
- 18.
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Acknowledgements
The present study has been conducted thanks to the P.R.A. 2017 funding (Athenaeum Research Project, entitled “Representations and simulation in architecture”; scientific coordinator: C. Càndito). Images are freely interpretation of the described subject designed by Cristina Càndito and realized in collaboration with Andrea Quartara.
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Càndito, C. (2020). Representation in the Time of Videoclip. In: Cicalò, E. (eds) Proceedings of the 2nd International and Interdisciplinary Conference on Image and Imagination. IMG 2019. Advances in Intelligent Systems and Computing, vol 1140. Springer, Cham. https://doi.org/10.1007/978-3-030-41018-6_46
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