{"title":"La plateforme et le patrimoine : une enquête sur les valeurs des vidéos de concerts sur YouTube","authors":"Michael Spanu","doi":"10.22230/cjc.2022v47n1a4047","DOIUrl":null,"url":null,"abstract":"\n\n\n\nBackground: With the evolution of digital technologies, concerts have become a form of mediated content whose value is still poorly understood. This article proposes to con- sider the case of concert videos on YouTube featuring popular music. \nAnalysis: For this purpose, we analyze a sample of concert videos filmed in Montreal, given the strong interconnection in this city between local musical scenes and the live performance industry alongside the image of creativity conveyed by large metropolitan centres. \nConclusion and implications: The results reveal a great diversity of participants, types of content and modes of reception that together allude to an ambivalent system of values, at the intersection on the one hand of a logic of flux, promotion and performance typical of the new platform economy and on the other of a documentary and archivistic logic, not to say a heritage-based one. These results are discussed in reference to that area of study that focuses on the legacy of different types of popular music.\nRÉSUMÉ \nContexte : Avec l’évolution des technologies numériques, le concert est devenu un contenu médiatique dont la valeur est encore mal connue. Cet article se propose d’envi- sager le cas des vidéos de concerts de musiques populaires sur YouTube. \nAnalyse : Pour cela, nous analysons un échantillon de vidéos de concerts ayant eu lieu à Montréal, étant donné la forte intrication des scènes musicales locales et de l’industrie du live avec l’image créative des grandes métropoles. \nConclusion et implications : Les résultats montrent une grande diversité d’acteurs, de types de contenus et de modes de réception qui renvoient à un régime de valeur ambiva- lent, à la croisée d’une logique de flux, de promotion et de performance typique de la nou- velle économie plateformisée d’une part, et une logique documentaire, archivistique, voire patrimoniale d’autre part. Ces résultats sont discutés vis-à-vis du champ d’études sur le patrimoine des musiques populaires. \n\n\n\n \n","PeriodicalId":45663,"journal":{"name":"Canadian Journal of Communication","volume":" ","pages":""},"PeriodicalIF":0.8000,"publicationDate":"2022-02-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"2","resultStr":null,"platform":"Semanticscholar","paperid":null,"PeriodicalName":"Canadian Journal of Communication","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.22230/cjc.2022v47n1a4047","RegionNum":0,"RegionCategory":null,"ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"Q3","JCRName":"COMMUNICATION","Score":null,"Total":0}
引用次数: 2
Abstract
Background: With the evolution of digital technologies, concerts have become a form of mediated content whose value is still poorly understood. This article proposes to con- sider the case of concert videos on YouTube featuring popular music.
Analysis: For this purpose, we analyze a sample of concert videos filmed in Montreal, given the strong interconnection in this city between local musical scenes and the live performance industry alongside the image of creativity conveyed by large metropolitan centres.
Conclusion and implications: The results reveal a great diversity of participants, types of content and modes of reception that together allude to an ambivalent system of values, at the intersection on the one hand of a logic of flux, promotion and performance typical of the new platform economy and on the other of a documentary and archivistic logic, not to say a heritage-based one. These results are discussed in reference to that area of study that focuses on the legacy of different types of popular music.
RÉSUMÉ
Contexte : Avec l’évolution des technologies numériques, le concert est devenu un contenu médiatique dont la valeur est encore mal connue. Cet article se propose d’envi- sager le cas des vidéos de concerts de musiques populaires sur YouTube.
Analyse : Pour cela, nous analysons un échantillon de vidéos de concerts ayant eu lieu à Montréal, étant donné la forte intrication des scènes musicales locales et de l’industrie du live avec l’image créative des grandes métropoles.
Conclusion et implications : Les résultats montrent une grande diversité d’acteurs, de types de contenus et de modes de réception qui renvoient à un régime de valeur ambiva- lent, à la croisée d’une logique de flux, de promotion et de performance typique de la nou- velle économie plateformisée d’une part, et une logique documentaire, archivistique, voire patrimoniale d’autre part. Ces résultats sont discutés vis-à-vis du champ d’études sur le patrimoine des musiques populaires.
期刊介绍:
The objective of the Canadian Journal of Communication is to publish Canadian research and scholarship in the field of communication studies. In pursuing this objective, particular attention is paid to research that has a distinctive Canadian flavour by virtue of choice of topic or by drawing on the legacy of Canadian theory and research. The purview of the journal is the entire field of communication studies as practiced in Canada or with relevance to Canada. The Canadian Journal of Communication is a print and online quarterly. Back issues are accessible with a 12 month delay as Open Access with a CC-BY-NC-ND license. Access to the most recent year''s issues, including the current issue, requires a subscription. Subscribers now have access to all issues online from Volume 1, Issue 1 (1974) to the most recently published issue.