Fifty Years of British Music Video, 1964-2014: Assessing innovation, industry, influence and impact.

五十多年来，英国流行音乐的宣传片获得了评论界的好评和无数奖项。自1981年MTV推出以来，这些电影已被称为“音乐视频”，尽管直到2000年，绝大多数电影都是用35毫米和16毫米胶片拍摄的，尽管这种形式早于MTV。1964年，一系列为英国乐队制作的宣传短片被委托制作，最终在六十年代中后期为扭结乐队、平克弗洛伊德和滚石乐队制作了具有开创性的短片“宣传片”。音乐视频不仅影响了后来的电视观众，也激发了时尚，设计，摄影和故事片的创意制作人。导演德里克·贾曼、朱利安·坦普尔、乔纳森·格雷泽、约翰·梅伯里和杰米·斯拉夫斯是一些最具创新性和最著名的音乐视频背后的电影制片人。然而，尽管它的认可，它的创新和它的长寿，音乐视频在英国学术研究中的文化意义在很大程度上没有得到承认。这个项目试图改变这一点。这项为期两年的研究是朴茨茅斯大学和伦敦艺术大学与英国电影学院和大英图书馆合作进行的。它汇集了行业和学术专业知识。研究小组已获准使用新的和非常丰富的数据，档案和私人行业收藏的电影。该小组将汇集流行音乐、电影和电视研究以及文化研究方面的顶尖学者，分析这些收藏品对国际学术界的重要性，（通过我们的学术成果）和公众（通过全国公共电影院放映）。在第一年，使用英国许可机构视频表演许可（VPL）捐赠的新数据，和商业杂志Promo News，CI将创建一个1964-2014年英国音乐视频的主数据库，以及一个1992-2014年详细制作学分的单独数据库。这些将产生调查研究问题所需的核心数据。在咨询行业专家和学术指导委员会后，我们将选择60个英国音乐视频作为案例研究，在BFI的六个学术焦点小组中进行进一步分析。研究问题将在BL的一系列行业小组中进一步调查，并与领先的行业人物和档案研究进行补充采访。我们还将对Warp Records和The Chart Show进行案例研究分析（使用英国留声机行业图书馆保存的单次销售的受限数据）。研究结果将在一本书和一份期刊特刊中散发。这本书将是一本专著，介绍了结构的历史，创造性的做法，作者的模式，文体创新和行业的影响。该杂志特刊将在一系列特别委托的文章中介绍焦点小组的结果，这些文章是由流行音乐、电影和电视研究以及文化研究的学者撰写的关于英国视频的文化意义的文章。该项目还将在BFI和BL为公众和学者制作两个永久的音乐视频数字收藏。为了使它们在全国范围内更容易获得，它们还将在伦敦、贝尔法斯特、爱丁堡和曼彻斯特的一系列电影院放映中向公众展出，并由苏打图片公司以蓝光/DVD的形式发行。CI艾米丽卡斯顿博士也将在大英图书馆举行公开演讲，推出这些新藏品。

Over a period of more than fifty years, promotional films for British popular music have received critical acclaim and numerous awards. Since the launch of MTV in 1981, these films have become known as 'music videos', despite the fact that until the 2000s the overwhelming majority were shot on 35mm and 16mm film, and despite the fact that the form predated MTV. In 1964 a series of short promotional films for British bands were commissioned culminating in seminal short 'promos' for The Kinks, Pink Floyd and The Rolling Stones through the mid- to late Sixties. Music videos have not only impacted subsequent generations of television viewers but have also inspired creative producers in fashion, design, photography and feature film. Directors Derek Jarman, Julian Temple, Jonathan Glazer, John Maybury and Jamie Thraves are among a number of filmmakers behind some of the most innovative and celebrated music videos. Yet despite its recognition, its innovation and its longevity, the cultural significance of music video within British academic research has been largely unacknowledged. This project seeks to change that. The two-year study is a collaboration between the University of Portsmouth and University of the Arts London in partnership with the British Film Institute and the British Library. It draws together both industry and academic expertise. Permission has been given for the research team to use a new and very rich selection of data, archives, and films from private industry collections. The team will bring together leading academics in popular music, film and television studies and cultural studies to analyse the significance of these collections both for an international audience of academics (thorough our academic outputs) and for the general public (through the nationwide public cinema screenings).In Year 1, using new data donated by British licensing agency, Video Performance Licensing (VPL), and the trade journal Promo News, the CI will create a master database of British music videos 1964-2014, and a separate database of detailed production credits for 1992-2014. These will generate core data necessary to investigate the research questions. In consultation with industry experts and a steering committee of academics, we will select titles of 60 British music videos as case studies for further analysis during a series of six academic focus groups at the BFI. The research questions will be investigated further in a series of industry panels at the BL and supplementary interviews with leading industry figures and archival research. We will also conduct case study analyses of Warp Records and a case study analysis of The Chart Show (using restricted data on single sales held at the British Phonograph Industry Library). The results will be disseminated in a book and a journal special issue. The book will be a monograph which presents a history of the structure, creative practices, models of authorship, stylistic innovations and influences of the industry. The journal special issue will present the results of the focus groups in a series of specially commissioned articles about the cultural significance of British videos written by academics from popular music, film and television studies and cultural studies. The project will also generate two permanent digital collections of music videos at the BFI and BL for the general public and academics. In order to make them more accessible nationwide they will also be exhibited to the public in a series of cinema screenings in London, Belfast, Edinburgh and Manchester, and distributed on a BluRay/DVD by Soda Pictures. There will also be public talk by the CI, Dr Emily Caston, at the British Library to launch these new collections.