IRENA ŠENTEVSKA
Independent researcher, Belgrade, Serbia
irenasentevska@gmail.com
POVRATAK OTPISANIH U ZEMLJU EUROKREMA: muzički video, advertajzing i privreda Srbije u tranziciji
THE WRITTEN OFF RETURN TO THE LAND OF EUROKREM: Music Videos, Advertising and Economy of Serbia in Transition
Journal 17/2021 (Museum of Applied Art), pages 15-22
Article category: original scientific paper
UDC:
792.43:659,1]:78(497.11)"1980/2010"
792.43:659,1]:78(497.1)"1980/2010"
659.127.8(497.11)"1980/2010"
COBISS.SR-ID 53968905
Abstract (original language):
I pored visoke estetizacije, korišćenja najsavremenijih tehnologija i sveprisutnosti u svakodnevici savremenog potrošačkog društva, domaća akademska javnost poklanja jednako malo pažnje medijskim formama TV reklame i muzičkog videa (muzičkog spota). U Srbiji je u specifičnim okolnostima postsocijalističkih transformacija privrede i medijskog sistema došlo do svojevrsne „fuzije” ove dve medijske forme. Zahvaljujući ovakvoj poslovnoj praksi oglašivača, u domaćim muzičkim spotovima susreću se jogurti i šamponi, kondomi i baterije, nakit i HIV testovi, alkohol i deterdženti, banke i fabrike tekstila, privatne poliklinike i marketinške agencije, kladionice, Samsung i Unicef... Ovaj rad bavi se načinom na koji su se određeni tipovi proizvoda pojavljivali, predstavljali, i time oglašavali, u muzičkim spotovima nastalim u periodu 1980–2010, koji zahvata ključne decenije postsocijalističke tranzicije: poslednju deceniju socijalističke Jugoslavije, deceniju rata u bivšoj Jugoslaviji i prvu deceniju postmiloševićevske „demokratske” Srbije. Studija se zasniva na uzorku od preko 4.700 muzičkih spotova i deo je obimnog istraživanja o muzičkom videu u Srbiji koje je metodološki zasnovano na teoriji predstavljanja (representation) u okviru studija medija. Cilj ovog rada je da ukaže na karakteristike plasiranja proizvoda (product placement) u muzičkom videu u domaćem kontekstu, u spoju dve medijske forme (muzičkog videa i „tradicionalne” TV reklame) koji se odvija na razmeđi grafičkog i industrijskog dizajna, modne i muzičke industrije, a u okolnostima ekonomske prinude koja je do njega uopšte dovela.
Key words: (original language)
muzički video, plasiranje proizvoda, Srbija, postsocijalistička tranzicija
Summary:
In the socialist 1980s, music videos in Serbia were predominantly produced by the relatively rigid system of public television broadcasters. In the context of the low competitiveness, both in the national economy and the music market, public television only exceptionally used music videos for advertising commercial products. This situation markedly changed in the early 1990s with the rapid deregulation of media systems and Serbia's “return” to the market economy. Among the newly-launched broadcasting companies, music videos became a popular (and inexpensive) segment of the airplay. At the same time, they began to serve their “original” purpose – to advertise new music releases and talents. In addition, and with growing frequency, they began to “integrate” commercial brands. In the chaotic circumstances of Serbia's war-time economy, UN sanctions, spirals of inflation, mass impoverishment, unemployment and other symptoms of economic crisis, advertising per se nevertheless has questionable commercial effects. This largely holds true for the commercial effects of the music videos as well. Due to the global developments in the media systems (emergence of the Internet as the prime medium for broadcasting music videos), their TV airplay is shrinking and the standards of their technical production are rapidly rising, along with the fans' expectations. This makes music videos (at the same time) more expensive and less economically viable. Consequently, the common practice of multiple sponsorships of music videos has “brought together” yoghurts and shampoos, condoms and batteries, HIV tests and jewellery, alcohol and detergents, cars and mobile phones... It is difficult to establish an economically justified correlation between the corporate identity of the advertisers, commercial status of the products and the artists who promote them. This logic of the fusion of music videos and “traditional” TV commercials thus reflects the chaotic circumstances in the music industry and the Serbian economy in general.
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