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Brand New, Unread Copy in Perfect Condition. A+ Customer Service! Summary: Music videos were once something broadcast by MTV and received on our TV screens.Today, music videos are searched for, downloaded, and viewed on our computer screens -- or producedin our living rooms and uploaded to social media. In We Used to Wait , RebeccaKinskey examines this shift. She investigates music video as a form , originally aproduct created by professionals to be consumed by nonprofessionals; as a practice , increasingly taken up by amateurs; and as a literacy , to be experimented with and mastered. Kinskey offersa short history of the music video as a communicative, cultural form, describing the rise and fallof MTV's Total Request Live and the music video's resurgence on YouTube. Sheexamines recent shifts in viewing and production practice, tracing the trajectory of music videodirector Hiro Murai from film student and dedicated amateur in the 1990s to music video professionalin the 2000s. Investigating music video as a literacy, she looks at OMG! Cameras Everywhere, anonprofit filmmaking summer camp run by a group of young music video directors. The OMG! campers andcounselors provide a case study in how cultural producers across several generations have blurredthe line between professional and amateur. Their everyday practices remake the notion of literacy,not only by their collaborative and often informal efforts to impart and achieve literacy but alsoby expanding the definition of what is considered a valuable activity, worthy of dedicated,pleasurable pursuit. Buchnummer des Verkäufers

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Music videos were once something broadcast by MTV and received on our TV screens. Today, music videos are searched for, downloaded, and viewed on our computer screens -- or produced in our living rooms and uploaded to social media. In We Used to Wait, Rebecca Kinskey examines this shift. She investigates music video as a form, originally a product created by professionals to be consumed by nonprofessionals; as a practice, increasingly taken up by amateurs; and as a literacy, to be experimented with and mastered.

Kinskey offers a short history of the music video as a communicative, cultural form, describing the rise and fall of MTV's Total Request Live and the music video's resurgence on YouTube. She examines recent shifts in viewing and production practice, tracing the trajectory of music video director Hiro Murai from film student and dedicated amateur in the 1990s to music video professional in the 2000s. Investigating music video as a literacy, she looks at OMG! Cameras Everywhere, a nonprofit filmmaking summer camp run by a group of young music video directors. The OMG! campers and counselors provide a case study in how cultural producers across several generations have blurred the line between professional and amateur. Their everyday practices remake the notion of literacy, not only by their collaborative and often informal efforts to impart and achieve literacy but also by expanding the definition of what is considered a valuable activity, worthy of dedicated, pleasurable pursuit.

Über den Autor:

Rebecca Kinskey is a writer and video producer in Los Angeles.

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Buchbeschreibung Buchzustand: Good. This item is in good condition. All pages and covers are readable. There are no stains or tears. Dust jacket is present if applicable. May contain small amounts of writing and/or highlighting. Spine and cover may show signs of wear. May not contain supplementary items such as CD's or DVD's. We ship within 1 business day. Buchnummer des Verkäufers 34FCJC000E4I

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Buchbeschreibung MIT Press Ltd, United States, 2014. Paperback. Buchzustand: New. 201 x 135 mm. Language: English . Brand New Book. Music videos were once something broadcast by MTV and received on our TV screens. Today, music videos are searched for, downloaded, and viewed on our computer screens -- or produced in our living rooms and uploaded to social media. In We Used to Wait, Rebecca Kinskey examines this shift. She investigates music video as a form, originally a product created by professionals to be consumed by nonprofessionals; as a practice, increasingly taken up by amateurs; and as a literacy, to be experimented with and mastered. Kinskey offers a short history of the music video as a communicative, cultural form, describing the rise and fall of MTV s Total Request Live and the music video s resurgence on YouTube. She examines recent shifts in viewing and production practice, tracing the trajectory of music video director Hiro Murai from film student and dedicated amateur in the 1990s to music video professional in the 2000s. Investigating music video as a literacy, she looks at OMG! Cameras Everywhere, a nonprofit filmmaking summer camp run by a group of young music video directors. The OMG! campers and counselors provide a case study in how cultural producers across several generations have blurred the line between professional and amateur.Their everyday practices remake the notion of literacy, not only by their collaborative and often informal efforts to impart and achieve literacy but also by expanding the definition of what is considered a valuable activity, worthy of dedicated, pleasurable pursuit. Buchnummer des Verkäufers AAH9780262526920

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Buchbeschreibung MIT Press Ltd, United States, 2014. Paperback. Buchzustand: New. 201 x 135 mm. Language: English . Brand New Book. Music videos were once something broadcast by MTV and received on our TV screens. Today, music videos are searched for, downloaded, and viewed on our computer screens -- or produced in our living rooms and uploaded to social media. In We Used to Wait, Rebecca Kinskey examines this shift. She investigates music video as a form, originally a product created by professionals to be consumed by nonprofessionals; as a practice, increasingly taken up by amateurs; and as a literacy, to be experimented with and mastered. Kinskey offers a short history of the music video as a communicative, cultural form, describing the rise and fall of MTV s Total Request Live and the music video s resurgence on YouTube. She examines recent shifts in viewing and production practice, tracing the trajectory of music video director Hiro Murai from film student and dedicated amateur in the 1990s to music video professional in the 2000s. Investigating music video as a literacy, she looks at OMG! Cameras Everywhere, a nonprofit filmmaking summer camp run by a group of young music video directors. The OMG! campers and counselors provide a case study in how cultural producers across several generations have blurred the line between professional and amateur.Their everyday practices remake the notion of literacy, not only by their collaborative and often informal efforts to impart and achieve literacy but also by expanding the definition of what is considered a valuable activity, worthy of dedicated, pleasurable pursuit. Buchnummer des Verkäufers AAH9780262526920

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