LEADER 03979oam 2200637I 450 001 9910306642303321 005 20190503073426.0 010 $a0-262-32547-0 035 $a(CKB)3710000000274973 035 $a(EBL)3339884 035 $a(SSID)ssj0001370874 035 $a(PQKBManifestationID)12603767 035 $a(PQKBTitleCode)TC0001370874 035 $a(PQKBWorkID)11299920 035 $a(PQKB)10962885 035 $a(MiAaPQ)EBC3339884 035 $a(OCoLC)915032740$z(OCoLC)923252137$z(OCoLC)958095849$z(OCoLC)958392366$z(OCoLC)1053168063$z(OCoLC)1057432604$z(OCoLC)1057437851 035 $a(OCoLC-P)915032740 035 $a(MaCbMITP)9601 035 $a(OCoLC)1053168063 035 $a(MdBmJHUP)muse70619 035 $a(oapen)https://directory.doabooks.org/handle/20.500.12854/78531 035 $a(EXLCZ)993710000000274973 100 $a20150728h20142014 uy 0 101 0 $aeng 135 $aur|n|---||||| 181 $ctxt 182 $cc 183 $acr 200 10$aWe used to wait $emusic videos and creative literacy /$fRebecca Kinskey 210 1$aCambridge, Massachusetts :$cThe MIT Press,$d[2014] 210 4$dİ2014 215 $a1 online resource (120 p.) 225 1 $aThe John D. and Catherine T. MacArthur Foundation reports on digital media and learning 300 $aDescription based upon print version of record. 311 $a0-262-32548-9 311 $a0-262-52692-1 320 $aIncludes bibliographical references (pages 91-99). 327 $a""Contents""; ""Series Foreword""; ""Introduction""; ""1 Form: A Short History of the Music Video""; ""2 Practice: Curiosity to Fluency in the Career of Hiro Murai""; ""3 Literacy: OMG! Cameras Everywhere""; ""4 Conclusion""; ""Notes"" 330 $a"Music videos were once something broadcast by MTV and received on our TV screens. Today, music videos are searched for, downloaded, and viewed on our computer screens -- or produced in our living rooms and uploaded to social media. In We Used to Wait, Rebecca Kinskey examines this shift. She investigates music video as a form, originally a product created by professionals to be consumed by nonprofessionals; as a practice, increasingly taken up by amateurs; and as a literacy, to be experimented with and mastered. Kinskey offers a short history of the music video as a communicative, cultural form, describing the rise and fall of MTV's Total Request Live and the music video's resurgence on YouTube. She examines recent shifts in viewing and production practice, tracing the trajectory of music video director Hiro Murai from film student and dedicated amateur in the 1990s to music video professional in the 2000s. Investigating music video as a literacy, she looks at OMG! Cameras Everywhere, a nonprofit filmmaking summer camp run by a group of young music video directors. The OMG! campers and counselors provide a case study in how cultural producers across several generations have blurred the line between professional and amateur. Their everyday practices remake the notion of literacy, not only by their collaborative and often informal efforts to impart and achieve literacy but also by expanding the definition of what is considered a valuable activity, worthy of dedicated, pleasurable pursuit"--Provided by publisher. 410 0$aJohn D. and Catherine T. MacArthur Foundation Reports on Digital Media and Learning 606 $aMusic videos$xHistory and criticism 606 $aDigital media$xTechnological innovations 610 $aEDUCATION/Digital Media & Learning 610 $aSOCIAL SCIENCES/Media Studies 610 $aEDUCATION/Literacies 615 0$aMusic videos$xHistory and criticism. 615 0$aDigital media$xTechnological innovations. 676 $a791.45/6578 700 $aKinskey$b Rebecca$0997947 801 0$bOCoLC-P 801 1$bOCoLC-P 906 $aBOOK 912 $a9910306642303321 996 $aWe used to wait$92288739 997 $aUNINA