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Money for Nothing (1986)

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Money for Nothing (1986) MICHELE KAPP TREVISAN A ERA MTV: ANÁLISE DA ESTÉTICA DE VIDEOCLIPE (1984-2009) Tese apresentada ao Programa de pós-graduação em Comunicação da Pontifícia Universidade Católica do Rio Grande do Sul, como parte dos requisitos para obtenção do título de Doutor em Comunicação Social. Orientador: Profº Doutor Francisco Rüdiger Porto Alegre 2011 1 Trevisan, Michele Kapp A era MTV: análise da estética de videoclipe (1984- 2009) / Michele Kapp Trevisan. – 2011. 265f. : il. Tese (Doutorado) Pontifícia Universidade Católica do Rio Grande do Sul, Departamento de Comunicação, 2011. Orientação: Profº Doutor Francisco Rüdiger, Departamento de Comunicação. 1. Videoclipe. 2. Estética. 3. MTV I. Título 2 MICHELE KAPP TREVISAN A ERA MTV: ANÁLISE DA ESTÉTICA DE VIDEOCLIPE (1984-2009) Tese apresentada ao Programa de pós-graduação em Comunicação da Pontifícia Universidade Católica do Rio Grande do Sul, como parte dos requisitos para obtenção do título de Doutor em Comunicação Social. Aprovada em____/____/ 2011 BANCA EXAMINADORA _____________________________________________ Orientador: Profº Doutor Francisco Rüdiger (PUC/RS) _____________________________________________ Examinador: Profº Doutor Carlos Gerbase (PUC/RS) _____________________________________________ Examinador: Profº Doutor Thiago Soares (UFPB) ____________________________________________ Examinador: Profª Doutora Paula Ramos (UFRGS) _____________________________________________ Examinador: Profº Doutor Alexandre Rocha da Silva (UFRGS) 3 RESUMO Uma das mais importantes evoluções registradas no reino da cena musical de massas foi o aparecimento do fenômeno videoclipe. Trata-se de um formato audiovisual que modificou a maneira de “ver” a musica. Porém, foi a emissora Music Television, criada na década de 80, que deu a este a devida importância, tornando-se referencia de uma estética. Assim, o presente trabalho objetiva analisar a estética de videoclipe durante a era MTV, a partir da observação dos vídeos premiados nas principais categorias do evento criado pela emissora, o Video Music Awards, desde 1984, sua primeira edição. Para tanto, será apresentado primeiramente um capitulo introdutório englobando definições do formato videoclipe e do contexto no qual se insere. Em seguida, serão abordadas três das principais obras dentro da literatura especializada (KAPLAN, 1989; GOODWIN, 1992; SOARES, 2004) que demonstram alguns recortes já indicados nas pesquisas sobre a videomúsica, a fim de orientar as análises. Para discutir os videoclipes, Kaplan (1987) se vale de conceitos que circundam o sujeito histórico, teorias contemporâneas sobre o cinema, estética dos vídeos, ideologias existentes nos clipes, questões do endereçamento, do gênero e dos diferentes olhares existentes nesse formato. Já Goodwin (1992), próximo contribuinte, trata da videomúsica, propondo uma interdisciplinaridade em uma análise institucional histórico/econômica, em uma análise textual baseada em estudos sobre filme e televisão e em uma análise do que ele chama de musicologia (no que se refere às formas populares musicais contemporâneas). Soares (2004) busca demonstrar variados aspectos sobre a videomúsica, como os constituintes de sua linguagem, primeiras experiências na associação entre música e imagem, passa por abordagens mais estruturais, notando que o clipe abarca em sua estrutura noções de conflito na montagem, e categoriza o videoclipe a partir de três concepções: o hibridismo, a transtemporalidade e o neobarroco. Apresenta-se também um levantamento histórico onde serão apontadas as formas anteriores que deram origem ao formato da videomusica, tal qual se apresenta na era MTV. A partir de uma eleição de critérios de observação, tomando como base subsídios encontrados na literatura especializada, foi proposta uma configuração de análise da amostra. Descobriu-se que existem três tipos dominantes que representam a estética de videoclipe, durante a era MTV (1984 a 2009). Por fim, retomando o mote norteador do estudo, suscita-se um questionamento a cerca da relação de tal estética com o conceito de Kitsch. Palavras-chave: videoclipe, estética, MTV 4 ABSTRACT One of the most important developments in the realm of scene mass music phenomenon was the emergence of video clip. This is an audiovisual format that changed the way of "seeing" music. However, it was the station Music Television, created in the 80s, which gave due importance to this, becoming an aesthetic reference. Thus, this paper aims to analyze the aesthetics of music video during the MTV era, from the observation of the winning videos in the main categories of the event created by the broadcaster, the Video Music Awards since 1984, first edition. To do so, it will be first presented an introductory chapter covering music video format settings and the context in which it operates. Next, we shall discuss three major works in the literature (KAPLAN, 1989; GOODWIN, 1992; SOARES, 2004) show that some cuts have to research on the music video in order to guide the analysis. To discuss the video clips, Kaplan (1987) draws on concepts relating to the historical subject, contemporary theories on the cinema, aesthetics of videos, clips on existing ideologies, addressing issues of gender and the different perspectives that exist in that format. Already Goodwin (1992), contributing around, it's music video, proposing an interdisciplinary approach in an institutional history analysis / economic, in a textual analysis based on studies of film and television and an analysis of what he calls musicology (with respect to contemporary forms of popular music). Soares (2004) seeks to demonstrate various aspects of the music video, as the constituents of his language, early experiences in the relationship between music and image, passing through more structural approaches, noting that the clip includes in its structure notions of conflict in the assembly, and categorizes the video from three views: the hybridism, the Neo-Baroque and transtemporal. It also presents a historical survey wich will be pointed out earlier forms that gave rise to the shape of music video, as it appears in the MTV era. From an election observation criteria, based on subsidies found in the literature, we proposed a configuration of sample analysis. It was discovered that there are three dominant types that represent the aesthetics of music video during the MTV era (1984 to 2009). Finally, using the same theme guiding the study raises is a question about the relationship of such aesthetic with the concept of kitsch. Key-words: music video, aesthetics, MTV. 5 LISTA DE VIDEOCLIPES Every breath you take (1984) ............................................................................. 152, 153, 154 American Idiot (2005) ........................................................................................................ 155 Speed of Sound (2005) ................................................................................................ 156, 157 Dani California (2006) ............................................................................... 158, 159, 160, 161 Love Shack (1989) .............................................................................................. 162, 163, 164 Give it away (1992) .............................................................................. 166, 67, 168, 169, 170 Need you Tonight (1988) ............................................................................................ 171, 172 Umbrella (2007) ......................................................................................................... 173, 174 Express Yourself (1989) ..................................................................... 176, 178, 179, 180, 181 Tonight Tonight (1996) ............................................................................................... 182, 183 Well be together (1988) ...................................................................................................... 185 The Boys of Summer (1985) ....................................................... 186, 187, 189, 190, 191, 192 Jeremy (1993) ............................................................. 193, 194, 195, 196, 197, 198, 199, 200 Cryin‟ (1994) ...................................................................... 202, 203, 204, 205, 206, 207, 208 Waterfalls (1995) ................................................................................ 209, 210, 211, 212, 213 Vogue (1990) ...................................................................................... 214, 215, 216, 217, 218 Rock it (1984) ............................................................................................. 219, 220, 221, 222 Rough Boy (1986) ....................................................................................................... 223, 224 Money for nothing (1986) ................................................................................... 225, 226, 227 Sledgehammer (1987) ......................................................................................... 228, 229, 230 Take on me (1986) .............................................................................................................. 231 Californication (2000) ........................................................................................................ 232 Crazy (2006) ....................................................................................................................... 233 6 SUMÁRIO 1 INTRODUÇÃO...............................................................................................................
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