Digital media convergence is a constantly evolving
phenomenon that has been present for decades. It can be discussed in terms of
different mediums and how they affect each other, however focusing on one
specific type of media gives a clearer understanding of the concept of digital
media convergence. “[By convergence, I mean] the flow of content across
multiple media platforms, the cooperation between multiple media industries,
and the migratory behaviour of media audiences who will go almost anywhere in
search of the kinds of entertainment experiences they want.” (Jenkins 2006: 2).
Music video online represents the ever-changing concept of convergence as it
presents ideological representation to society and utilizes the mediums of
music, video and internet, combined, in order to present content to audiences.
Bands such as Tame Impala and The Gorillaz exhibit ideological representation
through their online music videos and I will argue how in this essay. I will
also discuss consumer participation in music video online.
Music video online represents convergence as it combines
many different ideas and portrays them through one medium. In itself this is a
representation of convergence because several different types of media are
brought together in production: music, video, and the Internet. Bands such as
Tame Impala and The Gorillaz exhibit this exploration of media convergence
which is represented through their music videos ‘Solitude Is Bliss’ and ‘Dare’.
The ideological representation in these videos highlights the fact that they
are examples of many different medias and mediums converging
together to become one final product: a music video that is presented on the
Internet, through online delivery. ‘Solitude Is Bliss’ by Tame Impala is a
music video that fundamentally requires online delivery in order to have its
ideological meaning successfully conveyed to audiences. This video, I believe,
brings together many different elements of society in order to map out a story
for the song. The band, Tame Impala, have utilized the meaning behind the
lyrics of the song in order to create a complex story which is represented
through the concept of music video online. The meaning behind this video can be
derived as one that is focused on solitude and its positives and negatives.
Thus, through music video, Tame Impala have combined the mediums of music and
video and used the presentation of them through online delivery in order to
portray their intended meaning to an audience.
Tame Impala - 'Solitude Is Bliss'
Music videos that are presented online represent digital media convergence as
they are produced separately however are shown on the Internet. This
combination of different media types is not only an example of how music video
online represents convergence today; music videos have exhibited media
convergence for decades.
‘Dare’ is a song by The Gorillaz that again showcases how
music video online represents digital media convergence, however it also can be
used as an example of online consumer participation through YouTube. “[This]
circulation of media content – across different media systems, competing media
economies, and national borders – depends heavily on consumers’ active
participation.” (Jenkins 2006: 3). YouTube became a revolution for music video
online, the Internet and video in general when it began in December 2005:
“Within a few short months of the streaming video website’s public launch in
December 2005, tens of millions of visitors daily used the site to access
television clips online and, in many cases, to post some of their own.” (Hilderbrand
2007: 48). As YouTube developed and progressed, it became more than just a
video-viewing website that users could visit to watch almost anything they
desired. Consumer participation was a fast-expanding concept that began with
social media websites such as Myspace and Facebook and transferred to YouTube
as users started to participate in online music video streaming more than ever
before. Commenting and ‘liking’ YouTube music videos became a common, every-day
action and the number of comments, views and likes on a video was the defining
factor for that particular video’s popularity. With the video ‘Dare’ (The Gorillaz), the ‘top comments’ (top rated comments by YouTube users) are shown
just beneath the video and on top of that, the amount of likes those top
comments achieved are also present. This layering of consumer participation
represents digital media convergence as it is again the combining of several
different technological concepts in order to produce one – in this case, the
comments and likes and then the layers of individual comment likes represent
the convergence of social media and music video online and how they relate
together.
Consumer participation with 'Dare' by The Gorillaz
In summary, music video online represents digital media
convergence in a number of ways. Ideological representation through music
videos can be seen as convergence because it is the combining of several ideas
into one product – a video. Music videos by artists such as Tame Impala and The
Gorillaz are delivered and received online through the website YouTube which in
itself is a representation of digital media convergence because it exhibits the
mediums of music, video, news and many other medias, all delivered through the
one website. As Meikle and Young discuss convergent media they highlight the
fact that two industries typically converge their ideas in order to create new
ones: “the shared attempt to create a new business model for online content,
and their use of a particular convergent product (the iPad), all illustrate a
second key dimension of convergence for this book.” They continue to state that
“Both News Corporation and Apple are leading examples of convergent media
industries.” The same theory can be applied in the case of music video online –
the media industries of YouTube and record labels such as EMI Records Ltd
combine to produce music video online which in turn represents digital media
convergence.
References
- Jenkins, H. (2006) Convergence Culture, New York, New York University Press, pp 1-24.
- Hilderbrand, L. (2007) 'Youtube: Where Cultural Memory and Copyright Converge', Film Quarterly, Vol 61, pp 48-57
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Meikle, G, and Young, S (2012) Media Convergence: Networked Digital Media in Everyday Life, Palgrave Macmillan. pp. 22
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