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Independent researcher, Belgrade, Serbia
irenasentevska@gmail.com
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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):
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Key words: (original language)
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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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