Edited By Jan Blüml, Yvetta Kajanová and Rüdiger Ritter
Through selected topics, the book presents an up-to-date and comprehensive view of the popular music of communist and post-communist Europe. The studies introduce new sources, discuss transformations of the institutional background of popular music of the given geopolitical sphere, its social, cultural-political, or artistic conditions. Thanks to the time span of nearly thirty years since the fall of the Iron Curtain, the authors have in many ways revised or supplemented traditional post-communist perceptions of the issues in question. This is being done with respect to the genres such as jazz, rock, pop, singer-songwriters, hip-hop, or White Power Music, as well as across the whole region from the former Yugoslavia through Central European states to the countries of the former Soviet Union.
Proces diferencijacije u kombinatu za proizvodnju i preradu šećerne repe: Music Videos in Socialist Yugoslavia and Post-Socialist Serbia
Proces diferencijacije u kombinatu za proizvodnju i preradu šećerne repe:1 Music Videos in Socialist Yugoslavia and Post-Socialist Serbia
Abstract: This chapter outlines the historical origins and contextual specificities of the development of music videos as a specific media form accompanying the ups and downs of the popular music industry in socialist Yugoslavia and Serbia as one of its successor states—from the socialist system of workers’ self-management to the (post-war) neo-liberal capitalist economy. It focuses on the strategies of promotion of music products (and performers) and the fusion between the music and advertising industries during the period of the transitional restructuring of the economy in general and the music industry in particular.
Keywords: music video; advertising; Yugoslavia; Serbia
‘Thinking anything adequate about commercial television may well involve ignoring it and thinking about something else.’2 This remark, made by Frederic Jameson, may well suggest why certain forms of commercial television (like music video and TV commercials) tend to receive less academic attention than others, in spite of their visibility and presence in the quotidian practices of consumption on a mass scale. This certainly applies to the academic study of music videos in the former Yugoslavia and post-Yugoslav republics.
As ‘both an industrial, commercial product and a cultural form’,3 over more than the last three decades, music video had been exposed to public scrutiny and academic attention to varying degrees. In the 1980s (especially with the rise...
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