The Evolution of the MTV Era
Media convergence in the age of music videos
Jenkins aptly described digital media
convergence as "the flow of content across multiple media platforms, the
cooperation between multiple media industries, and the migratory behaviour of
media audiences." (Jenkins 2006). What we can see from observing modern
media systems is that digital media is quickly merging into a cross-genre,
platform based phenomenon.
In the early 1990’s, there was
prophesied to be a “digital revolution” in the near future, a cultural coup in
which the old media forms such as print and broadcast mediums would be replaced
by more digitally converged forms of media, such as those platform and
technology based. One of the first tangible signs of this oncoming revolution
was the formation of MTV in 1981, which brought together radio and television
broadcasting to create the genre of Music Television.
However, the idea of digital media
transferring completely away from old mediums to new is an over-simplified view
of digital media convergence. The new media still relies on older mediums in
more complex ways than was initially predicted. For example, the recording
process for the music and the cinematographic process for a music video still
rely on their individual production elements to exist; the convergence of the
two media forms and the resulting product is what we see on music channels such
as MTV.
Jenkins also posited that “old media
never die, and they don’t even necessarily fade away. What dies are simply the
tools we use to access media content” (Jenkins 2006). This aspect of media
convergence is exemplified in music television and music videos. While the core
elements of the medium are still the same as when they were first conceived,
the systems through which they are distributed to their audiences are
constantly changing. As we can see, the advent of music videos did not
immediately make the radio obsolete, but rather developed a completely new,
cross-platform medium through which it can be delivered.
Music videos have also allowed bands
and producers to tell transmedia stories. Not only are you listening to the
music, but you are also watching a visual journey that accompanies it.
Oftentimes, the audio and visual elements of the music video tell two
completely different stories, other times they add another layer of depth to
the original story. In this way, music videos have now become a part of our
“Hunter/gatherer” mentality by which Jenkins explains we “chase down bits of
the story across media channels” (Jenkins 2006).
The music and the video often tell completely different stories
(Youtube 2009)
In a more contemporary context, Music
Videos have converged again with newer technology such as computers and the
internet to once again re-contextualize the idea of the music video. Youtube
has now become an integral part in the birth and distribution of music videos.
In addition to being able to reach a wider audience, Youtube allows bands to
target their music videos at a much more selective audience, an audience that
subsequently is able to view their music videos at any time they wish.
Michael Grade posited that “On-demand is coming and it will change everything. The
on-demand world will be one of infinite global choice, of unlimited access to
the archives: whatever you want, whenever and wherever you want it” (Grade
2006). Youtube is the exemplification of this idea. For example, since Jessie
J’s song “Price Tag” - shown below - was released by her affiliated Youtube
channel in June 2011, it has been viewed and listened to 225,893,301 times.
From its release on the 25th of June to now, the music video has
been viewed more than 524 thousand times a day, on average.
The on-demand culture of Youtube is becoming such a large
phenomenon primarily because of its ability to reach an enormous audience
without the restrictions of typical broadcasting scheduling. It typifies the
effectiveness of media convergence transcending the idea of a broadcast
schedule by sheer numbers and size.
It is important to understand the
on-demand culture in which music videos exist because it exemplifies the
“migratory behavior of media audiences” (Jenkins 2006) that Jenkins refers to
above. The shift from old delivery mediums, such as television, to newer
platform-based mediums has completely removed the need for audiences to tune in
to a television show at an allocated time. The emergence of on-demand services
such as Youtube has been followed by a marked decline in television viewership.
In the four
television weeks starting March 19, NBC lost an average of 59,000 viewers
(about 3 percent) in that 18-to-49 age category compared with the same period
last year, CBS lost 239,000 (8 percent), ABC lost 681,000 (21 percent) and Fox
lost 709,000 (20 percent). (Carter 2012)
The averages daily viewership of
Jessie J’s 3-and-a-half minute song on Youtube is more than double that of a
primetime show on CBS and only just lower than that on ABC. Widening gap
between the two mediums is indicative of the migratory behavior that Jenkins
refers to above. As the new medium emerges, more and more people participate in
it as its influence spreads; be it through word of mouth, advertising or any
other marketing device.
Music videos are a window through which we can see firsthand the continuous change that is occurring on our cultural landscape. It is a poignant example of the cross-medium convergence that media critics, such as Jenkins, are heralding as a media revolution. However, the shift from old to new media cannot be seen as an "out with the old, in with the new" situation, for the music video and on-demand viewing culture has taken an already existing element of media and propelled into onto a contemporary stage.
References
J, Jessie (2010) Price Tag. New
York: Universal Republic Records. Viewed on 26/08/2012, http://www.youtube.com/watch?v=qMxX-QOV9tI
The Strokes (2012) You Only Live Once. New York: Sony BMG Records. Viewed on 26/08/2012, http://www.youtube.com/watch?v=pT68FS3YbQ4
Jenkins, Henry (2006) Convergence
Culture. New York: New York University Press.
Grade, Michael (2006) Fear and the
Future, speech presented to the National Association of Television Program
Executives Conference, Las Vegas, 25 January. Viewed on 26/08/2012, http:// www.bbc.co.uk/pressoffice/speeches/stories/grade_natpe.shtml.
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