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Music and the Broadcast ExperiencePerformance, Production, and Audiences$
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Christina Baade and James A. Deaville

Print publication date: 2016

Print ISBN-13: 9780199314706

Published to Oxford Scholarship Online: September 2016

DOI: 10.1093/acprof:oso/9780199314706.001.0001

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New Media, New Festival Worlds

New Media, New Festival Worlds

Rethinking Cultural Events and Televisuality Through YouTube and the Tomorrowland Music Festival

Chapter:
(p.275) Chapter 12 New Media, New Festival Worlds
Source:
Music and the Broadcast Experience
Author(s):

Fabian Holt

Publisher:
Oxford University Press
DOI:10.1093/acprof:oso/9780199314706.003.0013

This chapter examines the transition of televisual mediations of music festivals in the social media landscape of the 2010s as a complex mediatization process with far-reaching implications for festival cultures and industries. A case study of the Tomorrowland festival in Belgium illustrates how this broader transformation is happening for electronic dance music (EDM) festivals, which mushroomed in the 2000s, when a mix of EDM and Top 40 songs came to dominate pop culture images of the millennial generation. The core argument is that the transformation of televisuality in the transition to social media like YouTube and digital culture more generally has happened primarily through a new genre of cinematic online video, which is produced for marketing purposes but also has implications for the festival experience and digital festival design. These festival marketing movies expand the Disney-derived festival design and the millennial culture of self- mediations within a new information economy.

Keywords:   digital festival design, electronic dance music, festival industry, online video, televisuality, Tomorrowland, YouTube

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