Abstract

The article is dedicated to the analysis, even with semiotic tools, of music video as a media format, specifically in its textual features, particularly in the relationship between sound and image, also highlighting gaps still existing in the observation of this matter. Music video belongs to the more general audiovisual field, but has its own specificity due to the relevance possessed by the song, and therefore by the music, with respect to film footage. This demonstrates how is overturned the usual hierarchy which in audiovisual language usually gives a primary role to images. The article takes up some elements of the aesthetic debate on the role of music in cinema, and then explores aspects relating to the conventionality of the synchronization between song and video, showing its concrete separateness, through a description of the diegetic sound logics, also presenting analyzes of two case studies