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001386628 020__ $$a9780262325479$$q(electronic book)
001386628 020__ $$a0262325470$$q(electronic book)
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001386628 035__ $$a(OCoLC)915032740$$z(OCoLC)923252137$$z(OCoLC)958095849$$z(OCoLC)958392366$$z(OCoLC)1053168063$$z(OCoLC)1057432604$$z(OCoLC)1057437851
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001386628 050_4 $$aPN1992.8.M87$$bK57 2014
001386628 08204 $$a791.45/6578$$223
001386628 1001_ $$aKinskey, Rebecca,$$eauthor.
001386628 24510 $$aWe used to wait :$$bmusic videos and creative literacy /$$cRebecca Kinskey.
001386628 264_1 $$aCambridge, Massachusetts :$$bThe MIT Press,$$c[2014]
001386628 264_4 $$c©2014
001386628 300__ $$a1 online resource (xvii, 99 pages) :$$billustrations.
001386628 336__ $$atext$$btxt$$2rdacontent
001386628 337__ $$acomputer$$bc$$2rdamedia
001386628 338__ $$aonline resource$$bcr$$2rdacarrier
001386628 4901_ $$aThe John D. and Catherine T. MacArthur Foundation reports on digital media and learning
001386628 520__ $$a"Music videos were once something broadcast by MTV and received on our TV screens. Today, music videos are searched for, downloaded, and viewed on our computer screens -- or produced in our living rooms and uploaded to social media. In We Used to Wait, Rebecca Kinskey examines this shift. She investigates music video as a form, originally a product created by professionals to be consumed by nonprofessionals; as a practice, increasingly taken up by amateurs; and as a literacy, to be experimented with and mastered. Kinskey offers a short history of the music video as a communicative, cultural form, describing the rise and fall of MTV's Total Request Live and the music video's resurgence on YouTube. She examines recent shifts in viewing and production practice, tracing the trajectory of music video director Hiro Murai from film student and dedicated amateur in the 1990s to music video professional in the 2000s. Investigating music video as a literacy, she looks at OMG! Cameras Everywhere, a nonprofit filmmaking summer camp run by a group of young music video directors. The OMG! campers and counselors provide a case study in how cultural producers across several generations have blurred the line between professional and amateur. Their everyday practices remake the notion of literacy, not only by their collaborative and often informal efforts to impart and achieve literacy but also by expanding the definition of what is considered a valuable activity, worthy of dedicated, pleasurable pursuit"--Provided by publisher.
001386628 588__ $$aOCLC-licensed vendor bibliographic record.
001386628 650_0 $$aMusic videos$$xHistory and criticism.
001386628 650_0 $$aDigital media$$xTechnological innovations.
001386628 653__ $$aEDUCATION/Digital Media & Learning
001386628 653__ $$aSOCIAL SCIENCES/Media Studies
001386628 653__ $$aEDUCATION/Literacies
001386628 655_0 $$aElectronic books
001386628 852__ $$bebk
001386628 85640 $$3MIT Press$$uhttps://doi.org/10.7551/mitpress/9601.001.0001?locatt=mode:legacy$$zOnline Access through The MIT Press Direct
001386628 85642 $$3OCLC metadata license agreement$$uhttp://www.oclc.org/content/dam/oclc/forms/terms/vbrl-201703.pdf
001386628 909CO $$ooai:library.usi.edu:1386628$$pGLOBAL_SET
001386628 980__ $$aBIB
001386628 980__ $$aEBOOK
001386628 982__ $$aEbook
001386628 983__ $$aOnline