Artisti Alla Regia

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Artisti Alla Regia Corso di Laurea magistrale in Economia e Gestione delle Arti e delle attività culturali Tesi di Laurea Artisti alla regia Fotografi, scultori, pittori e videoclip musicali. Relatrice / Relatore Ch. Prof. Diego Mantoan (solo se previsto) Correlatrice / Correlatore Ch.ma Prof.ssa. Stefania Portinari Laureanda/o Ilaria Garofano Matricola 874130 Anno Accademico 2019 / 2020 Indice Introduzione ............................................................................................................................ 3 Capitolo 1 - Il sistema dell’industria musicale ........................................................................... 6 1.1. Cosa si intende per sistema. ........................................................................................... 6 1.1.1. Definizioni e usi di industria musicale .............................................................................. 7 1.1.2. Struttura delle industrie musicali ................................................................................... 13 1.1.3. Major e indipendenti ...................................................................................................... 14 1.1.4. Gli attori del sistema musicale ........................................................................................ 15 1.1.5. Forme di contratto discografico ..................................................................................... 18 1.1.6. Registrazione ................................................................................................................... 19 1.1.7. Marketing e promozione ................................................................................................ 20 1.1.8. Distribuzione ................................................................................................................... 22 1.2 Sviluppo storico e consumo ...........................................................................................22 1.2.1. Determinazione del successo di mercato di una canzone .............................................. 26 1.2.2. Relazione con la stampa ................................................................................................. 28 1.2.3. Il ruolo delle emittenti radiofoniche e televisive ............................................................ 30 1.3 Produzione di un videoclip .............................................................................................31 Capitolo 2 - Il videoclip musicale: origini, natura e significato ..................................................34 2.1. Arte e strumenti tecnologici ..........................................................................................34 2.1.1. Riconoscimenti del fenomeno video .............................................................................. 38 2.2. La pop music e MTV ......................................................................................................40 2.3. Videoclip ......................................................................................................................47 2.3.1 Il corpo del cantante ........................................................................................................ 53 2.3.2. Situazione italiana ........................................................................................................... 55 2.3.3. Classificazione dei videoclip ............................................................................................ 58 2.3.4. Tendenze recenti (dagli anni Novanta) ........................................................................... 62 2.3.5. Videoclip realizzati da artisti ........................................................................................... 67 2.4. Lista di videoclip realizzati da artisti ..............................................................................70 Capitolo 3 - Analisi di alcuni key study .....................................................................................81 1 3.1 Andy Warhol e la Factory ...............................................................................................82 3.1.1 .Movie, Loredana Bertè.................................................................................................... 83 3.1.2 Hello Again, The Cars ....................................................................................................... 90 3.2 Damien Hirst e il Brit Pop ...............................................................................................94 3.2.1 Country House, Blur ......................................................................................................... 94 3.3 Gorillaz: la band virtuale di Jamie Hewlett e Demon Albarn............................................99 3.4 Daft Punk, una collaborazione franco-nipponica .......................................................... 105 3.5 Die Antwoord e Roger Ballen, l’estetica freak sudafricana ............................................ 114 Immagini Capitolo 1 .............................................................................................................. 129 Immagini Capitolo 2 .............................................................................................................. 129 Immagini Capitolo 3 .............................................................................................................. 140 Conclusioni ........................................................................................................................... 161 Bibliografia ........................................................................................................................... 168 Sitografia .............................................................................................................................. 173 2 Introduzione L’elaborato verte sul fenomeno che vede gli artisti visivi alla regia di videoclip musicali a partire dagli anni Settanta ad oggi. L’interesse per l’interdisciplinarità dell’arte ha guidato la ricerca, nello specifico, si è delineata la doppia natura dei videoclip musicali, sia artistica che promozionale. Lo scopo è stato quello di dimostrare l’esistenza e la diffusione di questa pratica come fenomeno vero e proprio e non di episodi di collaborazione sporadici tra artisti e cantanti. La ricerca si è concentrata su videoclip dell’area europea e di quella anglofona, con alcune eccezioni, per il fatto che il sistema delle industrie musicali preso in esame è orientato verso queste direzioni. A questo fenomeno, tuttavia, non è ancora stata data una legittimità effettivamente riconosciuta, nonostante si possano individuare episodi notevoli per quanto riguarda le esposizioni museali. A livello letterario esistono molte fonti riguardanti la storia e la funzione del videoclip, ma dalla ricerca non è emerso alcun documento specifico sulla materia. Inoltre, spesso le fonti non fanno dialogare a sufficienza l’arte con la musica, sfociando piuttosto su esempi di video arte. A questo riguardo, bisogna fare un appunto, perché spesso la videoarte rende arcano ed elitario ciò che invece il videoclip riesce a divulgare a livello popolare1. L’analisi del fenomeno è partita in primis da un momento di verifica: infatti, sono state ricercate collaborazioni tra artisti e musicisti2 in numero sufficiente da dimostrarne la natura fenomenica. Il sondaggio è stato condotto principalmente basandosi su conoscenze personali, su documenti scritti, sulle nomination per l’assegnazione di premi ai videoclip3, su specifici artisti che poi si sono rivelati autori di videoclip. Per quanto riguarda quest’ultimo punto, se risultava che un artista era autore di un videoclip, si indagava sull’artista stesso per trovarne altri, e spesso il 1 Liggeri D., Musica per i nostri occhi. Storie e segreti dei videoclip, Trebaseleghe, Bompiani, 2007. P. 12. 2 Nel Capitolo 2 è riportata una tabella che riporta circa cintocinquanta casi. 3 Come MTV Video Music Awards, Videoclip Italia Contest, Premio Videoclip Italiano et alii. 3 risultato era positivo. Dopo aver individuato un buon numero di casi, è stato possibile avviare lo studio sulla materia. La consultazione di diverse fonti ha portato alla ripartizione del lavoro nel modo seguente: il primo capitolo, intitolato Il sistema dell’industria musicale, pone le basi e permette di entrare nell’ottica del videoclip. In maniera sintetica viene indagato il sistema delle industrie musicali, distinguendo le etichette (major o indipendenti), gli attori che vi operano, le varie fasi (dalla registrazione alla distribuzione); si delinea poi lo sviluppo storico, il cambiamento della fruizione nelle varie epoche e la relazione con i media (radio, televisioni e giornali). Infine, si descrivono i passaggi utili per la produzione di un videoclip. Il Capitolo 2, Il videoclip musicale: origini, natura e significato, si apre con una panoramica di episodi di multidisciplinarità tra arte e tecnologia, a partire dai Futuristi, per vertere poi sull’uso del mezzo video; frutto di queste collaborazioni può essere il videoclip, considerato da Liggeri come Massima sintesi possibile delle arti. Oltre il videoclip non si può andare, è il termine assoluto di tutte le sinestesie applicabili, non ci potrà essere nulla oltre. È il sogno di Wagner che si è realizzato, la conclusione di un percorso evolutivo dell’uomo, dai graffiti in avanti all’opera di Kandinskij che aveva tutto ciò perfettamente teorizzato. Il videoclip è anche lo spot di una canzone, perché se diciamo massima sintesi di tutte le arti, si includono tutte
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