The Videoclip

In last the 20 years the music culture lived intimately with a visual source propagated by the cathodic rays (CRT = conventional monitor) of a device that had been massified exponentially on a world-wide scale.

In fact, television has already reached for long a detached position as media and the music industry started to take advantage of this, but since then in a new form.

The specificity of this audiovisual vehicle helped to project a singular imagetic in the contemporary culture context, changing the way of how the musical themes, specially the ones of popular roots, became to be appreciated by people.

It is as propagandistic appendix (clip) of the pop song that takes form a new audiovisual product that has marked entire generations, under the name of “videoclip”.

If in a first phase, videoclips have just presented the interpreters playing the theme, quickly were evolving in the direction of a bigger complexity. Adopting unique visual methods they became a field of singular experimentations, to the point of being a distinct audiovisual genre.

A new “image” associated to music emerged in the spectator’s mind and consequently a new aesthetic was implanted.

In its hybrid essence, where a commercial commitment is linked to a strong artistic orientation, configures today an expressive and different attitude in the contemporary artistic context. But for its aggregated character and as a compiler of cultural references with an extreme semiotic charge, in a visualist effusion, and compressed in few minutes, take us to consider the Videoclip as one of the purest post-modern art forms.