Girls that wear Abercrombie & Fitch: Reading fashion branding aesthetics into music videos

Teen clothier Abercrombie & Fitch’s mix of shirtless associates, nightclub-like stores and risqué photography by Bruce Weber helped propel the brand into icon status. The brand’s name entered the popular lexicon as a synonym for cool and even received a memorable call out in LFO’s pop song, “Summer Girls.” This paper explores the interplay in aesthetics between A &F Quarterly, the brand’s popular magazine-catalog hybrid, and popular music videos of the time. Specifically, this paper analyzes videos that appeared on MTV’s Total Request Live between September 1999 and April 2001. In total, 42 music videos were found to contain elements of the “Abercrombie” lifestyle, including clothing that was sold by the brand, and props and settings similar to those found in the A & F Quarterly. In sum, this suggests that music videos from the time were instrumental in spreading the brand’s aesthetic, and that the interplay between media popular culture and the aesthetics of fashion brands could yield productive future research

Analisis topik konten channel YouTube K-pop Indonesia menggunakan Latent Dirichlet Allocation

The development of digital technology has brought new media, one of which is Youtube, which is now one of the most widely used applications for internet users in the world. The growth of the audience which is known as viewers, is also suported by the contribution from the content creators or also known as YouTubers from Indonesian. The more the viewers grow, the more their demand for trend content are also grwoing at surprisingly speed in one of the topics which is H-pop. In this study, the author wanted to see the dominant topics that K-pop YouTubers often upload to support content creator. This research was conducted using the Latent Dirichlet Allocation method. The analysis was carried out on after using text mining on 2563 videos from 10 K-pop YouTuber accounts with more than 100,000 subscribers. To determine the optimal number of topics by looking at the value of perplexity and topic conherence. The results obtained are the top 5 topics that are the content material in the uploaded video. These topics include reactions to dance covers, unboxing on albums and conducting reviews, riddles from K-pop dances and vlogs together to discuss about covers and reactions to sounds on K-pop songs

PENGGUNAAN MEDIA KARTU POP UP DALAM UPAYA MENINGKATKAN HASIL BELAJAR BAHASA INDONESIA PADA PESERTA DIDIK KELAS III SDN 1 TAMBAKREJO

The selection of appropriate learning media greatly affects achievement and learning outcomes, visual media such as images, videos, and animations can increase effectiveness in language learning. One of the appropriate learning media used in learning Indonesian is by using pop-up card media. This study aims to examine the use of pop-up card media in improving the learning outcomes of Indonesian language of third grade students of SDN 1 Tambakrejo through class action research. This research was conducted over two cycles involving 11 students as research subjects. The method used in this research is classroom action which consists of planning, implementation, observation, and reflection. Pop-up card media was used as a learning tool in Indonesian language teaching. Pop-up cards significantly improved the Indonesian language learning outcomes of third grade students of SDN 1 Tambakrejo. The average score and percentage of success increased from pre-cycle (60.45%), increased in cycle 1 (76.64%), until at the end of cycle 2 it significantly increased to (79.82%). In addition, this study also showed that the use of pop-up card media had a positive impact on students' interest and motivation to learn. Learners showed high enthusiasm in using pop-up cards and they showed active participation in Indonesian language learning. Based on the research that has been carried out in class III SDN 1 Tambakrejo, it is stated that the use of pop-up card media in Indonesian language lessons has a consistent increase in learning outcomes seen from the development of cycle 1 to cycle 2 by 28%

PENGGUNAAN MEDIA KARTU POP UP DALAM UPAYA MENINGKATKAN HASIL BELAJAR BAHASA INDONESIA PADA PESERTA DIDIK KELAS III SDN 1 TAMBAKREJO

The selection of appropriate learning media greatly affects achievement and learning outcomes, visual media such as images, videos, and animations can increase effectiveness in language learning. One of the appropriate learning media used in learning Indonesian is by using pop-up card media. This study aims to examine the use of pop-up card media in improving the learning outcomes of Indonesian language of third grade students of SDN 1 Tambakrejo through class action research. This research was conducted over two cycles involving 11 students as research subjects. The method used in this research is classroom action which consists of planning, implementation, observation, and reflection. Pop-up card media was used as a learning tool in Indonesian language teaching. Pop-up cards significantly improved the Indonesian language learning outcomes of third grade students of SDN 1 Tambakrejo. The average score and percentage of success increased from pre-cycle (60.45%), increased in cycle 1 (76.64%), until at the end of cycle 2 it significantly increased to (79.82%). In addition, this study also showed that the use of pop-up card media had a positive impact on students' interest and motivation to learn. Learners showed high enthusiasm in using pop-up cards and they showed active participation in Indonesian language learning. Based on the research that has been carried out in class III SDN 1 Tambakrejo, it is stated that the use of pop-up card media in Indonesian language lessons has a consistent increase in learning outcomes seen from the development of cycle 1 to cycle 2 by 28%

The dancing eyes of the director: choreographers, dance cultures, and film genres in British music video 1979–2016

This article looks at the work of choreographers in British music video from Arlene Phillips (founder of Hot Gossip), to FKA Twigs and Wayne McGregor. The first section presents an overview of the development of genres of dance and choreography in music videos from the late 1970s to the present day, covering genres such as the loosely-choreographed pop act video, to the formal, tightly-choreographed routines of videos drawing on the Hollywood musical tradition, to the street dance video ushered in following Malcolm McLaren's breakthrough 'Buffalo Gals' video (1983). The article argues that British music videos should not be negatively compared to their bigger budget US counterparts but should instead be appreciated on their own merits – and those merits include the greater creative exchange with ballet and contemporary dance, and the use of techniques from experimental film and narrative film; and it argues that these features make dance in British music videos an exciting and critically acclaimed cultural form today. The author draws attention to the importance of 'social realism' within British choreographed music videos, and points out that the recent work of Matthew Bourne and FKA Twigs overrides the traditional distinction between 'dance film' and commercial music dance film

Absence and Presence: Top of the Pops and the demand for music videos in the 1960s

The file attached to this record is the author's final peer reviewed version.Whilst there is a surprising critical consensus underpinning the myth that British music video began in the mid-1970s with Queen’s video for ‘Bohemian Rhapsody’, few scholars have pursued Mundy’s (1999) lead in locating its origins a decade earlier. Although the relationship between film and the popular song has a much longer history, this article seeks to establish that the international success of British beat groups in the first half of the 1960s encouraged television broadcasters to target the youth audience with new shows that presented their idols performing their latest hits (which normally meant miming to recorded playback). In the UK, from 1964, the BBC’s Top of the Pops created an enduring format specifically harnessed to popular music chart rankings. The argument follows that this format created a demand for the top British artists’ regular studio presence which their busy touring schedules could seldom accommodate; American artists achieving British pop chart success rarely appeared on the show in person. This frequent absence then, coupled with the desire by broadcasters elsewhere in Europe and America to present popular British acts, created a demand for pre-recorded or filmed inserts to be produced and shown in lieu of artists’ appearance. Drawing on records held at the BBC’s Written Archives and elsewhere, and interviews with a number of 1960s music video directors, this article evidences TV’s demand-driver and illustrates how the ‘pop promo’, in the hands of some, became a creative enterprise which exceeded television’s requirement to cover for an artist’s studio absence