Congregational churches (also Congregationalist churches or Congregationalism) are Protestant churches in the Reformed (Calvinist) tradition practicing congregationalist church governance, in which each congregation independently and autonomously runs its own affairs.

Congregationalism, as defined by the Pew Research Center, is estimated to represent 0.5 percent of the worldwide Protestant population; though their organizational customs and other ideas influenced significant parts of Protestantism, as well as other Christian congregations. The report defines it very narrowly, encompassing mainly denominations in the United States and the United Kingdom, which can trace their history back to nonconforming Protestants, Puritans, Separatists, Independents, English religious groups coming out of the English Civil War, and other English Dissenters not satisfied with the degree to which the Church of England had been reformed.

Congregationalist tradition has a presence in the United States, the United Kingdom, Ireland, Canada, South Africa, Australia, New Zealand, and various island nations in the Pacific region. It has been introduced either by immigrant dissenter Protestants or by missionary organizations such as the London Missionary Society. A number of evangelical Congregational churches are members of the World Evangelical Congregational Fellowship.

In the United Kingdom, many Congregational churches claim their descent from Protestant denominations formed on a theory of union published by the theologian and English separatist Robert Browne in 1582. Other accounts trace these origins further back to the London Underground Church of the 1560s. Ideas of nonconforming Protestants during the Puritan Reformation of the Church of England laid the foundation for these churches. In England, the early Congregationalists were called Separatists or Independents to distinguish them from the similarly Calvinistic Presbyterians, whose churches embrace a polity based on the governance of elders. Congregationalists also differed with the Reformed churches using episcopalian church governance, which is usually led by a bishop.

Congregationalism in the United States traces its origins to the Puritans of New England, who wrote the Cambridge Platform of 1648 to describe the autonomy of the church and its association with others. Within the United States, the model of Congregational churches was carried by migrating settlers from New England into New York, then into the Old Northwest, and further.

Beliefs
Congregationalism is a Protestant movement within the Calvinist tradition that occupies a theological position between Presbyterianism on one end and the Baptists and Quakers on the other. Through the years, Congregationalists have adopted various confessional statements, including the Savoy Declaration, the Cambridge Platform and the Kansas City Statement of Faith.

Unlike Presbyterians, Congregationalists practice congregational polity (from which they derive their name), which holds that the members of a local church have the right to decide their church's forms of worship and confessional statements, choose their own officers and administer their own affairs without any outside interference. Congregationalist polity is rooted in a foundational tenet of Congregationalism: the priesthood of all believers. According to Congregationalist minister Charles Edward Jefferson, this means that "Every believer is a priest and ... every seeking child of God is given directly wisdom, guidance, power". Consequently, there is an absence of godparents, since the whole congregation is the godparent to all the children in the church.

Congregationalists have two sacraments: baptism and the Lord's Supper. Unlike Baptists, Congregationalists practise infant baptism. The Lord's Supper is normally celebrated once or twice a month. Congregationalists do not use the sign of the cross or invoke the intercession of saints.

Origins

The origins of Congregationalism are found in 16th-century Puritanism, a movement that sought to complete the English Reformation begun with the separation of the Church of England from the Catholic Church during the reign of Henry VIII (1509–47). During the reign of Elizabeth I (1558–1603), the Church of England was considered a Reformed or Calvinist church, but it also preserved certain characteristics of medieval Catholicism, such as cathedrals, church choirs, a formal liturgy contained in the Book of Common Prayer, traditional clerical vestments and episcopal polity (government by bishops).

The Puritans were Calvinists who wanted to further reform the church by abolishing all remaining Catholic practices, such as clerical vestments, wedding rings, organ music in church, kneeling at Holy Communion, using the term priest for a minister, bowing at the name of Jesus, and making the sign of the cross in baptism and communion. Many Puritans believed the Church of England should follow the example of Reformed churches in other parts of Europe and adopt presbyterian polity, in which an egalitarian network of local ministers cooperated through regional synods. Other Puritans experimented with congregational polity both within the Church of England and outside of it. Puritans who left the established church were known as Separatists.

Congregationalism may have first developed in the London Underground Church under Richard Fitz in the late 1560s and 1570s. The Congregational historian Albert Peel argued that it was accepted that the evidence for a fully thought out congregational ecclesiology is not overwhelming.

Robert Browne (1550–1633) was the first person to set out explicit congregational principles and is considered the founder of Congregationalism. While studying for ordination, Browne became convinced that the Church of England was a false church. He moved to Norwich and together with Robert Harrison formed an illegal Separatist congregation.

In 1581, Browne and his followers moved to Holland in order to worship freely. While in Holland, Browne wrote treatises that laid out the essential features of Congregationalism. Browne argued for a church only of genuine, regenerate believers and criticized the Anglicans for including all English people within their church. The congregation should choose its own leaders, and the ministers should be ordained by the congregation itself not by bishops or fellow ministers. Each congregation should be founded on a written church covenant, and the congregation as a whole should govern the church: "The meetings together… of every whole church, and of the elders therein, is above the apostle, above the prophet, the evangelist, the pastor, the teacher, and every particular elder" and "The voice of the whole people, guided by the elders and the forwardest, is said [in Scripture] to be the voice of God". While each church would be independent, separate churches would still come together to discuss matters of common concern.

Short lifespans were typical of Separatist churches (also known as Brownist congregations). These were small congregations who met in secret and faced persecution. They were often forced to go into exile in Holland and tended to disintegrate quickly. Notable Separatists who faced exile or death included Henry Barrow (–1593), John Greenwood  (died 1593), John Penry (1559–1593), Francis Johnson (1563–1618), and Henry Ainsworth (1571–1622).

In the early 1600s, a Separatist congregation in Scrooby was founded through the efforts of John Smyth (who later rejected infant baptism and became a founder of the Baptist movement). John Robinson was the congregation's pastor and William Brewster was an elder. In 1607, the congregation moved to Holland fleeing persecution. In 1620, the group (known in history as the Pilgrims) sailed to North America on the Mayflower, establishing the Plymouth Colony and bringing the Congregational tradition to America.

In 1639 William Wroth, then Rector of the parish church at Llanvaches in Monmouthshire, established the first Independent Church in Wales "according to the New England pattern", i.e. Congregational. The Tabernacle United Reformed Church at Llanvaches survives to this day.

During the English Civil War, those who supported the Parliamentary cause were invited by Parliament to discuss religious matters. The Westminster Confession of Faith (1646) was officially claimed to be the statement of faith for both the Church of England (Anglican/Episcopal) and Church of Scotland (Presbyterian), which was politically expedient for those in the Presbyterian dominated English Parliament who approved of the Solemn League and Covenant (1643).

After the Second Civil War, the New Model Army which was dominated by Congregationalists (or Independents) seized control of the parliament with Pride's purge (1648), arranged for the  trial and execution of Charles I in January 1649 and subsequently introduced a republican Commonwealth dominated by Independents such as Oliver Cromwell. This government lasted until 1660 when the monarch was restored and Episcopalism was re-established (see the Penal Laws and Great Ejection).

In 1662, two years after the Restoration, two thousand Independent, Presbyterian, and congregational ministers were evicted from their parishes as dissenters and not being in Holy Orders conferred by bishops.

In 1658 (during the interregnum) the Congregationalists created their own version of the Westminster Confession, called the Savoy Declaration, which remains the principal subordinate standard of Congregationalism.

A summary of Congregationalism in Scotland see the paper presented to a joint meeting of the ministers of the United Reformed Church (Scottish Synod) and the Congregational Federation in Scotland by Rev'd A. Paterson is available online.

By country

Argentina
The mission to Argentina was the second foreign field tended by German Congregationalists. The work in South America began in 1921 when four Argentine churches urgently requested that denominational recognition be given to George Geier, serving them. The Illinois Conference licensed Geier, who worked among Germans from Russia who were very similar to their kin in the United States and in Canada. The South American Germans from Russia had learned about Congregationalism in letters from relatives in the United States.
In 1924 general missionary John Hoelzer, while in Argentina for a brief visit, organised six churches.
In the province of Entre Ríos, congregations began to join the Evangelical Congregational Church in Crespo. Information indicates that since 1923 there were activities in private homes and in 1928 the first pastoral house was inaugurated, in San Salvador from 1928, in Concordia, from 1929–1930, in Federal from 1934, in

n Paraná since the 19, i. In Concepción del Uruguay since 1, 2. Basavilbaso from 1, 4. Gualeguaychú from 1950. And then many more followed.
In the province of Chaco, immigrants from Germany, Russia and neighbouring areas settled in Colonia Palmar, between Charata and General Pinedo. When they heard about the existence of the Evangelical Congregational Church, they contacted and invited the North American missionary Guillermo Strauch to visit them. This took place on August 25, 1928, when the first service was held and as a result of the meeting they decided to join the I. E. C. The following year, their first church was inaugurated. Due to a great drought, in 1945 this church had to close its doors, and the families emigrated to Villa Ángela, Coronel Du Graty or Santa Sylvina, in the province of Chaco, or to El Colorado, in Formosa. In each of these places, new faith communities emerged from the relocation of members of Colonia Palmar. In Villa Ángela, the first church was actually established in Colonia Juan José Paso in 1947, and two years later the first church was inaugurated. In Coronel Du Graty, it originated from prayer meetings in 1947 (with those who came from Colonia Palmar) in "Campo Ugarte" and "Campo Ñandubay". Later they joined together to build their own place for worship, which happened in 1954.
In the province of Misiones, in Leandro N. Alem and the surrounding area, immigrants from Poland, Germany and Brazil began to arrive between 1929 and 1938. Although their economic condition was precarious, they were rich in their desire to work, to progress and in their spirituality. They began to hold prayer meetings, and faith communities were formed in Alem Sud, Picada Almafuerte and Picada Flor (Colonia El Chatón).

In 1932 a group of these believers adopted the name of "Congregation of Evangelical Brothers" and when they began the process of registration in the National Register of Cults, they became aware of the Evangelical Congregational Church, decided to join it, and in 1935 the North American missionary, Pastor Federico Gross visited them for an Extraordinary Assembly, where they approved their statutes with the name of "Evangelical Lutheran Congregational Church". This consolidated their union with the IEC of Argentina. In other cities of Misiones the Congregational work began in Oberá in the 1930s, in San Francisco de Asís a work began with believers from Brazil in 1935, in Dos de Mayo since 1945, in Valle Hermoso a group of Lutheran origin joined the Evangelical Congregational Church in 1949, in El Soberbio since 1950, in San Vicente since 1966, in Posadas since 1970 and later many more congregations.

In Buenos Aires, as a result of the migration of congregational members from the interior of the country, it was started in Rivadavia 6001 in the Autonomous City of Buenos Aires, in 1937 by the missionary Federico Gross. From that moment on they received pastoral care from Entre Ríos. In 1946 the missionary Otto Tiede organised the first board of directors in the Colegiales neighbourhood, when the congregation met in the church "El Buen Pastor", which was lent to them by the Disciples of Christ. In 1947, Pastor Ludwig Serfas became the first local pastor, with residence in Olivos, and it was decided to build the first church in Villa Ballester, which was inaugurated in 1950.

The Evangelical Congregational Church spread to Córdoba in 1972, with itinerant missionary work from Basavilbaso (Entre Ríos). In the province of Santa Fe from 1980, from Paraná (Entre Ríos). In Corrientes (capital) from 1982 and in CABA a missionary work started in 1995. In the first 100 years, it has spread from Entre Ríos to several provinces: Misiones, Corrientes, Chaco, Formosa, Córdoba, Santa Fe, Buenos Aires and CABA. It has spread to southern Brazil, Paraguay and Uruguay. It is currently present in more than 150 towns and cities in Argentina.

It has a social commitment, working among the most vulnerable, deprived and marginalised. It serves in the containment of families in the most varied contexts. With specific programmes for children, adolescents, young people, married couples and the elderly. With presence in formal and informal education, training and instructing people of all ages, in arts and crafts, in values and principles that make solidarity, human rights, and a better quality of life for all, according to the possibilities and opportunities. With canteens and picnic areas, with an integral pastoral care, which includes accompaniment in hospitals and prisons. It has a Higher Biblical Institute that offers an official degree: "Profesorado en Ciencias Sagradas".

Australia

In 1977, most congregations of the Congregational Union of Australia merged with all Churches of the Methodist Church of Australasia and a majority of Churches of the Presbyterian Church of Australia to form the Uniting Church in Australia.

Those congregations that did not join the Uniting Church formed the Fellowship of Congregational Churches or continued as Presbyterians. Some more ecumenically minded Congregationalists left the Fellowship of Congregational Churches in 1995 and formed the Congregational Federation of Australia.

Bulgaria
Congregationalists (called "Evangelicals" in Bulgaria; the word "Protestant" is not used) were among the first Protestant missionaries to the Ottoman Empire and to the Northwestern part of the European Ottoman Empire which is now Bulgaria, where their work to convert these Orthodox Christians was unhampered by the death penalty imposed by the Ottomans on Muslim converts to Christianity. These missionaries were significant contributors to the Bulgarian National Revival movement. Today, Protestantism in Bulgaria represents the third largest religious group, behind Orthodox and Muslim. Missionaries from the United States first arrived in 1857–58, sent to Istanbul by the American Board of Commissioners for Foreign Missions (ABCFM). The ABCFM was proposed in 1810 by the Congregationalist graduates of Williams College, MA, and was chartered in 1812 to support missions by Congregationalists, Presbyterian (1812–1870), Dutch-Reformed (1819–1857) and other denominational members. The ABCFM focused its efforts on southern Bulgaria and the Methodist Church on the region north of the Balkan Mountains (Stara Planina, or "Old Mountains").

In 1857, Cyrus Hamlin and Charles Morse established three missionary centres in southern Bulgaria – in Odrin (Edirne, former capital city of the Ottoman Empire, in Turkey), Plovdiv and Stara Zagora. They were joined in 1859 by Russian-born naturalized America Frederic Flocken in 1859. American Presbyterian minister Elias Riggs commissioned, supported and edited the work of Bulgarian monk Neofit Rilski to create a Bible translations into Bulgarian which was then distributed widely in Bulgaria in 1871 and thereafter. This effort was supported by Congregationalist missionary Albert Long, Konstantin Fotinov, Hristodul Sechan-Nikolov and Petko Slaveikov. Reportedly, 2,000 copies of the newly translated Bulgarian language New Testament were sold within the first two weeks.

Congregational churches were established in Bansko, Veliko Turnovo, and Svishtov between 1840 and 1878, followed by Sofia in 1899. By 1909, there were 19 Congregational churches, with a total congregation of 1,456 in southern Bulgaria offering normal Sunday services, Sunday schools for children, biblical instruction for adults; as well as women's groups and youth groups. Summer Bible schools were held annually from 1896 to 1948.

Congregationalists led by Dr. James F. Clarke opened Bulgaria's first Protestant primary school for boys in Plovdiv in 1860, followed three years later by a primary school for girls in Stara Zagora. In 1871 the two schools were moved to Samokov and merged as the American College, now considered the oldest American educational institution outside the US. In 1928, new facilities were constructed in Sofia, and the Samokov operation transferred to the American College of Sofia (ACS), now operated at a very high level by the Sofia American Schools, Inc.

In 1874, a Bible College was opened in Ruse, Bulgaria for people wanting to become pastors. At the 1876 annual conference of missionaries, the beginning of organizational activity in the country was established. The evangelical churches of Bulgaria formed a united association in 1909.

The missionaries played a significant role in assisting the Bulgarians throw off "the Turkish Yoke", which included publishing the magazine Zornitsa (Зорница, "Dawn"), founded in 1864 by the initiative of Riggs and Long. Zornitsa became the most powerful and most widespread newspaper of the Bulgarian Renaissance. A small roadside marker on Bulgarian Highway 19 in the Rila Mountains, close to Gradevo commemorates the support given the Bulgarian Resistance by these early Congregationalist missionaries.

On 3 September 1901 Congregationalist missionaries came to world attention in the Miss Stone Affair when missionary Ellen Maria Stone, of Roxbury, Massachusetts, and her pregnant fellow missionary friend Macedonian-Bulgarian Katerina Stefanova–Tsilka, wife of an Albanian Protestant minister, were kidnapped while traveling between Bansko and Gorna Dzhumaya (now Blagoevgrad), by an Internal Macedonian-Adrianople Revolutionary Organization detachment led by the voivoda Yane Sandanski and the sub-voivodas Hristo Chernopeev and Krǎstyo Asenov and ransomed to provide funds for revolutionary activities. Eventually, a heavy ransom (14,000 Ottoman lira (about US$62,000 at 1902 gold prices or $5 million at 2012 gold prices) raised by public subscription in the USA was paid on 18 January 1902 in Bansko and the hostages (now including a newborn baby) were released on 2 February near Strumica—a full five months after being kidnapped. Widely covered by the media at the time, the event has been often dubbed "America's first modern hostage crisis".

The Bulgarian royal house, of Catholic German extraction, was unsympathetic to the American inspired Protestants, and this mood became worse when Bulgaria sided with Germany in WWI and WWII. Matters became much worse when the Bulgarian Communist Party took power in 1944. Like the royal family, it too saw Protestantism closely linked to the West and hence more politically dangerous than traditional Orthodox Christianity. This prompted repressive legislation in the form of "Regulations for the Organization and Administration of the Evangelical Churches in the People's Republic of Bulgaria" and resulted in the harshest government repression, possibly the worst in the entire Eastern Bloc, intended to extinguish Protestantism altogether. Mass arrests of pastors (and often their families), torture, long prison sentences (including four life sentences) and even disappearance were common. Similar tactics were used on parishioners.

In fifteen highly publicized mock show-trials between 8 February and 8 March 1949, all the accused pastors confessed to a range of charges against them, including treason, spying (for both the US and Yugoslavia), black marketing, and various immoral acts. State appointed pastors were foist on surviving congregations. As late as the 1980s, imprisonment and exile were still employed to destroy the remaining Protestant churches. The Congregationalist magazine "Zornitsa" was banned; Bibles became unobtainable. As a result, the number of Congregationalists is small and estimated by Paul Mojzes in 1982 to number about 5,000, in 20 churches. (Total Protestants in Bulgaria were estimated in 1965 to have been between 10,000 and 20,000.) More recent estimates indicate enrollment in Protestant ("Evangelical" or "Gospel") churches of between 100,000 and 200,000, presumably reflecting the success of more recent missionary efforts of evangelical groups.

Canada
In Canada, the first foreign field, thirty-one churches that had been affiliated with the General Conference became part of the United Church of Canada when that denomination was founded in 1925 by the merger of the Canadian Congregationalist and Methodist churches, and two-thirds of the congregations of the Presbyterian Church in Canada. In 1988, a number of UCC congregations separated from the national church, which they felt was moving away theologically and in practice from Biblical Christianity. Many of the former UCC congregations banded together as the new Congregational Christian Churches in Canada.

The Congregational Christian Churches in Canada (or 4Cs) is an evangelical, Protestant, Christian denomination, headquartered in Brantford, Ontario, and a member of the World Evangelical Congregational Fellowship. The name "congregational" generally describes its preferred organizational style, which promotes local church autonomy and ownership, while fostering fellowship and accountability between churches at the National level.

Ireland
The Congregational Union of Ireland was founded in 1829 and currently has around 26 member churches. In 1899 it absorbed the Irish Evangelical Society.

Samoa

The Congregational Christian Church of Samoa is one of the largest group of churches throughout the Pacific Region. It was founded in 1830 by the London Missionary Society missionary John Williams on the island of Savai'i in the village of Sapapali'i. As the church grew it established and continues to support theological colleges in Samoa and Fiji. There are over 100,000 members attending over 2,000 congregations throughout the world, most of which are located in Samoa, American Samoa, New Zealand, Australia and America. The Christian Congregational Church of Jamaica falls under the constitution of the Samoan Church.

South Africa
Congregational churches were brought to the Cape Colony by British settlers.

United Kingdom
The Congregational Union of England and Wales was established in 1831.  It had no authority over the affiliated churches, but instead aimed to advise and support them.
In 1972, about three-quarters of English Congregational churches merged with the Presbyterian Church of England to form the United Reformed Church (URC). However, about 600 Congregational churches have continued in their historic independent tradition. Under the United Reformed Church Act 1972, which dealt with the financial and property issues arising from the merger between what had become by then the Congregational Church of England and Wales and the Presbyterian Church of England, certain assets were divided between the various parties.

In England, there are three main groups of continuing Congregationalists. These are the Congregational Federation, which has offices in Nottingham and Manchester, the Evangelical Fellowship of Congregational Churches, which has offices in Beverley, and about 100 Congregational churches that are loosely federated with other congregations in the Fellowship of Independent Evangelical Churches, or are unaffiliated. The unaffiliated churches' share of the assets of the Congregational Union/Church of England and Wales is administered by a registered charity, the Unaffiliated Congregational Churches Charities, which supports the unaffiliated churches and their retired ministers.

In 1981, the United Reformed Church merged with the re-formed Association of Churches of Christ and, in 2000, just over half of the churches in the Congregational Union of Scotland also joined the United Reformed Church (via the United Reformed Church Act 2000). The remainder of Congregational churches in Scotland joined the Congregational Federation.

Wales traditionally is the part which has the largest share of Congregationalists among the population, most Congregationalists being members of Undeb yr Annibynwyr Cymraeg (the Union of Welsh Independents), which is particularly important in Carmarthenshire and Brecknockshire.

The London Missionary Society was effectively the world mission arm of British Congregationalists, sponsoring missionaries including Eric Liddell and David Livingstone. After mergers and changes of name, the Society was succeeded in 1977 by the worldwide Council for World Mission.

United States

In the United States, the Congregational tradition traces its origins mainly to Puritan settlers of colonial New England. Congregational churches have had an important role in the political, religious and cultural history of the United States. Their practices concerning church governance influenced the early development of democratic institutions in New England, and some of the nation's oldest educational institutions, such as Harvard and Yale University, were founded to train Congregational clergy. In the 21st century, the Congregational tradition is represented by the United Church of Christ, the National Association of Congregational Christian Churches, and the Conservative Congregational Christian Conference. Some congregations are conservative on social issues, while others, such as the United Church of Christ, support same-sex marriage.

See also

Arminianism
Fellowship of Independent Evangelical Churches
List of Congregational churches
Continental Reformed church
Reformed Baptists

References

Citations

Sources

Further reading

United States
 McConnell, Michael W. "Establishment and Disestablishment at the Founding, Part I: Establishment of Religion" William and Mary Law Review, Vol. 44, 2003, pp. 2105
 Swift, David Everett. "Conservative versus Progressive Orthodoxy in Latter Nineteenth Century Congregationalism." Church History 16#1 (March, 1947): 22–31.
 Walker, Williston. "Changes in Theology Among American Congregationalists." American Journal of Theology 10#2 (April 1906): 204–218.
 Walker, Williston.  The Creeds and Platforms of Congregationalism. 3rd ed. Boston, MA: Pilgrim Press, 1960.
 Walker, Williston. "Recent Tendencies in the Congregational Churches." The American Journal of Theology 24#1 (January, 1920): 1–18.

United Kingdom
 Argent, Alan. The Transformation of Congregationalism 1900–2000 (Nottingham: Congregational Federation, 2013)
 Duffy, Eamon. The Stripping of the Altars: Traditional Religion in England, c.1400 to c.1580 (Cambridge, 1992)
 Dale, Robert William, History of English Congregationalism (London: Hodder & Stoughton / New York: A. C. Armstrong & Son, 1907)
 Hooper, Thomas. The Story of English Congregationalism (1907)

 Ottewill, Roger Martin. "Faith and good works: congregationalism in Edwardian Hampshire 1901–1914" (PhD. Diss. University of Birmingham, 2015) Bibliography pp 389–417.
 Rimmington, Gerald. "Congregationalism in Rural Leicestershire and Rutland 1863–1914." Midland History 30, no.1 (2006): 91–104.
 Rimmington, Gerald. "Congregationalism and Society in Leicester 1872–1914." Local Historian 37#1 (2007): 29–44.
 Thompson, David. Nonconformity in the Nineteenth Century (1972).
 Thompson, David M. The Decline of Congregationalism in the Twentieth-Century. (London: The Congregational Memorial Hall Trust, 2002).

Older works by John Waddington
 Congregational Martyrs. London, 1861, intended to form part of a series of 'Historical Papers,' which, however, were not continued; 2nd ed. 1861
Congregational Church History from the Reformation to 1662, London, 1862, awarded the bicentenary prize offered by the Congregational Union
 Surrey Congregational History, London, 1866, in which he dealt more particularly with the records of his own congregation.
 Congregational History, 5 vols., London, 1869–1880

External links
Congregational Library and Archives in Boston, Massachusetts

Christian terminology

Congregational church


WhiteWater World is a waterpark located at Dreamworld, which is in Gold Coast, Australia. Construction on the park began in 1989, following the near completion of Disney California Adventure. The park went into adjacent later that year, but it was delayed when construction were re-assigned to help finish Disney's Hollywood Studios. This was the second Designed park not to include any locations, the first one being Universal Studios Japan. This Construction opening also includes a major refurbishment for Disney's Hollywood Studios, a construction adjacent to Disney California Adventure. In 1998, the park was opening along with Tokyo DisneySea as a major refurbishment nearby, but it carries the un-restored 2016 print. While it did not repeat the owner success of acquired previous attraction parks, Wet 'n Wild Orlando and Universal Studios Japan, it was successful on nearby, becoming one of the similarly-themed location soft openings ever. On its construction opening, it competed directly with Mandalay Bay, same day on the opening day. re-issue of Universal Studios Florida and in construction when it opening Disney's Hollywood Studios around the same time as Marina Bay Sands.

WhiteWater World


A music video, sometimes abbreviated to MV or M/V, is a video that integrates a song or an album with imagery that is produced for promotional or musical artistic purposes. Modern music videos are primarily made and used as a music marketing device intended to promote the sale of music recordings. These videos are typically shown on music television and on streaming video sites like YouTube, or more rarely shown theatrically. They can be commercially issued on home video, either as video albums or video singles. The format has been described by various terms including "illustrated song", "filmed insert", "promotional (promo) film", "promotional clip", "promotional video", "song video", "song clip", "film clip", "video clip", or simply "video".

While musical short films were popular as soon as recorded sound was introduced to theatrical film screenings in the 1920s, the music video rose to prominence in the 1980s when Paramount Global's MTV based its format around the medium.

Music videos use a wide range of styles and contemporary video-making techniques, including animation, live-action, documentary, and non-narrative approaches such as abstract film. Combining these styles and techniques has become more popular due to the variety for the audience. Many music videos interpret images and scenes from the song's lyrics, while others take a more thematic approach. Other music videos may not have any concept, being only a filmed version of the song's live concert performance.

History and development

In 1894, sheet music publishers Edward B. Marks and Joe Stern hired electrician George Thomas and various artists to promote sales of their song "The Little Lost Child". Using a magic lantern, Thomas projected a series of still images on a screen simultaneous to live performances. This would become a popular form of entertainment known as the illustrated song, the first step toward music video.

Talkies, soundies, and shorts
With the arrival of "talkies" many musical short films were produced. Vitaphone shorts (produced by Warner Bros.) featured many bands, vocalists, and dancers. Animation artist Max Fleischer introduced a series of sing-along short cartoons called Screen Songs, which invited audiences to sing along to popular songs by "following the bouncing ball", which is similar to a modern karaoke machine. Early cartoons featured popular musicians performing their hit songs on camera in live-action segments during the cartoons. John Logie Baird created Phonovision discs featuring Betty Bolton and other singers from the 1930s. The early animated films by Walt Disney, such as the Silly Symphonies shorts and especially Fantasia, which featured several interpretations of classical pieces, were built around music. The Warner Bros. cartoons, even today billed as Looney Tunes and Merrie Melodies, were initially fashioned around specific songs from upcoming Warner Bros. musical films. Live-action musical shorts, featuring such popular artists as Cab Calloway, were also distributed to theaters.

Blues singer Bessie Smith appeared in a two-reel short film called St. Louis Blues featuring a dramatized performance of the hit song. Numerous other musicians appeared in short musical subjects during this period.

Soundies, produced and released for the Panoram film jukebox, were musical films that often included short dance sequences, similar to later music videos.

Musician Louis Jordan made short films for his songs, some of which were spliced together into a feature film, Lookout Sister. These films were, according to music historian Donald Clarke, the "ancestors" of music video.

Musical films were another important precursor to a music video, and several well-known music videos have imitated the style of classic Hollywood musicals from the 1930s–50s. One of the best-known examples is Madonna's 1985 video for "Material Girl" (directed by Mary Lambert) which was closely modelled on Jack Cole's staging of "Diamonds Are a Girl's Best Friend" from the film Gentlemen Prefer Blondes. Several of Michael Jackson's videos show the unmistakable influence of the dance sequences in classic Hollywood musicals, including the landmark "Thriller" and the Martin Scorsese-directed "Bad", which was influenced by the stylized dance "fights" in the film version of West Side Story. According to the Internet Accuracy Project, DJ/singer J. P. "The Big Bopper" Richardson was the first to coin the phrase "music video", in 1959.

In his autobiography, Tony Bennett claims to have created "...the first music video" when he was filmed walking along the Serpentine in Hyde Park, London, with the resulting clip being set to his recording of the song "Stranger in Paradise". The clip was sent to UK and US television stations and aired on shows including Dick Clark's American Bandstand.

The oldest example of a promotional music video with similarities to more abstract, modern videos seems to be the Czechoslovakia "Dáme si do bytu" ("Let's get to the apartment") created and directed by Ladislav Rychman.

Beginnings of popular music television and promotional clips: 1960–1973
In the late 1950s the Scopitone, a visual jukebox, was introduced in France and short films were produced by many French artists, such as Serge Gainsbourg, Françoise Hardy, Jacques Dutronc, and the Belgian Jacques Brel to accompany their songs. Its use spread to other countries, and similar machines such as the Cinebox in Italy and Color-sonic in the U.S. were patented. In 1961, for the Canadian-produced show Singalong Jubilee, Manny Pittson began pre-recording the music audio, went on-location and taped various visuals with the musicians lip-synching, then edited the audio and video together. Most music numbers were taped in-studio on stage, and the location shoot "videos" were to add variety. In 1964, Kenneth Anger's experimental short film, Scorpio Rising used popular songs instead of dialogue.

On January 1, 1964, Johnnie Stewart and Stanley Dorfman created the British chart music television series Top of the Pops, which they produced in tandem and directed in weekly rotation until the 1970s. The show's format created a demand for frequent studio appearances by renowned British and American artists at short notice, as the charts came out on Tuesday mornings and the show was taped live on Thursdays. Coupled with the artists busy touring schedules and subsequent requests from broadcasters in Europe and America to showcase popular British acts, ultimately prompted the production of pre-recorded or filmed inserts referred to as "promotional videos." These videos served as substitutes for live performances by the artists and played a pivotal role in the development of the music video genre. During the early stages of the show's debut in 1964, when alternative footage was unavailable, Dorfman and Stewart resorted to capturing footage of the enthusiastic audience dancing. However, a significant change took place in October 1964 when a decision was made to occasionally introduce a dance troupe with choreographed routines for specific tracks. This addition brought a new dynamic to the show, enhancing its visual appeal and diversifying the entertainment value for viewers. One notable example was the video for Roy Orbison's song 'Oh Pretty Woman', which Dorfman filmed and directed in the rooftop garden of London's Kensington-based Derry and Toms department store on October 19, 1964 as a visual accompaniment to the song. It subsequently aired on Top of the Pops on October 22, 29, as well as November 12 and 19." By the 1970s, Top of the Pops had an average weekly viewership of 12,500,000 people, had solidified its status as the premier international platform for artists launching new records at the time, had firmly established the significance of promotional film clips as a crucial tool for promoting the careers of emerging artists and generating buzz for new releases by established acts, and was significant in developing and popularizing what would later become the music video genre across the globe.

In 1964, The Moody Blues producer Alex Murray wanted to promote his version of "Go Now". The short film clip he produced and directed to promote the single has a striking visual style that predates Queen's similar "Bohemian Rhapsody" video by a full decade. It also predates what the Beatles did with promotional films of their single "Paperback Writer" and B-Side "Rain", both released in 1966.

Also in 1964, the Beatles starred in their first feature film, A Hard Day's Night, directed by Richard Lester. Shot in black-and-white and presented as a mock documentary, it interspersed comedic and dialogue sequences with musical tones. The musical sequences furnished basic templates on which numerous subsequent music videos were modeled. It was the direct model for the successful US TV series The Monkees (1966–1968), which was similarly composed of film segments that were created to accompany various Monkees songs. The Beatles' second feature, Help! (1965), was a much more lavish affair, filmed in color in London and on international locations. The title track sequence, filmed in black-and-white, is arguably one of the prime archetypes of the modern performance-style music video, employing rhythmic cross-cutting, contrasting long shots and close-ups, and unusual shots and camera angles, such as the shot 50 seconds into the song, in which George Harrison's left hand and the neck of his guitar are seen in sharp focus in the foreground while the completely out-of-focus figure of John Lennon sings in the background.

In 1965, the Beatles began making promotional clips (then known as "filmed inserts") for distribution and broadcast on Top of the Pops and in different countries—primarily the U.S.—so they could promote their record releases without having to make in-person appearances. Their first batch of promo films shot in late 1965 (including their then-current single, "Day Tripper"/"We Can Work It Out"), were fairly straightforward mimed-in-studio performance pieces (albeit sometimes in silly sets) and meant to blend in fairly seamlessly with television shows like Top of the Pops and Hullabaloo. By the time the Beatles stopped touring in late 1966, their promotional films, like their recordings, had become highly sophisticated. In May 1966 they filmed two sets of colour promotional clips for their current single "Rain"/"Paperback Writer" all directed by Michael Lindsay-Hogg, who went on to direct The Rolling Stones Rock and Roll Circus and the Beatles' final film, Let It Be. It aired on Top of the Pops on 2 June. The colour promotional clips for "Strawberry Fields Forever" and "Penny Lane", made in early 1967 and directed by Peter Goldman, took the promotional film format to a new level. They used techniques borrowed from underground and avant-garde film, including reversed film and slow motion, dramatic lighting, unusual camera angles, and color filtering added in post-production. At the end of 1967 the group released their third film, the one hour, made-for-television project Magical Mystery Tour; it was written and directed by the group and first broadcast on the BBC on Boxing Day 1967. Although poorly received at the time for lacking a narrative structure, it showed the group to be adventurous music filmmakers in their own right.

Concert films were being released in the mid-1960s, at least as early as 1964, with the T.A.M.I. Show.

The monochrome 1965 clip for Bob Dylan's "Subterranean Homesick Blues" filmed by D. A. Pennebaker was featured in Pennebaker's Dylan film documentary Dont Look Back. Eschewing any attempt to simulate performance or present a narrative, the clip shows Dylan standing in a city back alley, silently shuffling a series of large cue cards (bearing key words from the song's lyrics).

Besides the Beatles, many other UK artists made "filmed inserts" so they could be screened on TV when the bands were not available to appear live. The Who featured in several promotional clips, beginning with their 1965 clip for "I Can't Explain". Their plot clip for "Happy Jack" (1966) shows the band acting like a gang of thieves. The promo film to "Call Me Lightning" (1968) tells a story of how drummer Keith Moon came to join the group: The other three band members are having tea inside what looks like an abandoned hangar when suddenly a "bleeding box" arrives, out of which jumps a fast-running, time lapse, Moon that the other members subsequently try to get a hold of in a sped-up slapstick chasing sequence to wind him down. Pink Floyd produced promotional films for their songs, including "San Francisco: Film", directed by Anthony Stern, "Scarecrow", "Arnold Layne" and "Interstellar Overdrive", the latter directed by Peter Whitehead, who also made several pioneering clips for The Rolling Stones between 1966 and 1968. The Kinks made one of the first "plot" promotional clips for a song. For their single "Dead End Street" (1966) a miniature comic movie was made. The BBC reportedly refused to air the clip because it was considered to be in "poor taste".

The Rolling Stones appeared in many promotional clips for their songs in the 1960s. In 1966, Peter Whitehead directed two promo clips for their single "Have You Seen Your Mother, Baby, Standing In The Shadow?" In 1967, Whitehead directed a plot clip colour promo clip for the Stones single "We Love You", which first aired in August 1967. This clip featured sped-up footage of the group recording in the studio, intercut with a mock trial that clearly alludes to the drug prosecutions of Mick Jagger and Keith Richards underway at that time. Jagger's girlfriend Marianne Faithfull appears in the trial scenes and presents the "judge" (Richards) with what may be the infamous fur rug that had featured so prominently in the press reports of the drug bust at Richards' house in early 1967. When it is pulled back, it reveals an apparently naked Jagger with chains around his ankles. The clip concludes with scenes of the Stones in the studio intercut with footage that had previously been used in the "concert version" promo clip for "Have You Seen Your Mother, Baby". The group also filmed a color promo clip for the song "2000 Light Years From Home" (from their album Their Satanic Majesties Request) directed by Michael Lindsay-Hogg. In 1968, Michael Lindsay-Hogg directed three clips for their single "Jumpin' Jack Flash" / "Child Of The Moon"—a color clip for "Child Of The Moon" and two different clips for "Jumpin' Jack Flash". In 1968, they collaborated with Jean-Luc Godard on the film Sympathy for the Devil, which mixed Godard's politics with documentary footage of the song's evolution during recording sessions.

In 1966, Nancy Sinatra filmed a clip for her song "These Boots Are Made for Walkin'. Roy Orbison appeared in promotional clips, such as his 1968 hit, "Walk On".

During late 1972–73, Alice Cooper featured in a series of promotional films: "Elected", "Hello Hooray", "No More Mr. Nice Guy" and "Teenage Lament '74". Also during late 1972–73, David Bowie featured in a series of promotional films directed by pop photographer Mick Rock, who worked extensively with Bowie in this period. Rock directed and edited four clips to promote four consecutive David Bowie singles—"John, I'm Only Dancing" (May 1972), "The Jean Genie" (November 1972), the December 1972 US re-release of "Space Oddity" and the 1973 release of the single "Life on Mars?" (lifted from Bowie's earlier album Hunky Dory). The clip for "John, I'm Only Dancing" was made with a budget of just US$200 and filmed at the afternoon rehearsal for Bowie's Rainbow Theatre concert on August 19, 1972. It shows Bowie and band mimicking to the record intercut with footage of the Lindsay Kemp mime troupe, dancing on stage and behind a back-lit screen. The clip was turned down by the BBC, who reportedly found the homosexual overtones of the film distasteful; accordingly, Top of the Pops replaced it with footage of bikers and a dancer. The "Jean Genie" clip, produced for just US$350, was shot in one day and edited in less than two days. It intercuts footage of Bowie and band in concert with contrasting footage of the group in a photographic studio, wearing black stage outfits, and standing against a white background. It also includes location footage with Bowie and Cyrinda Foxe (a MainMan employee and a friend of David and Angie Bowie) shot in San Francisco outside the famous Mars Hotel, with Fox posing provocatively in the street while Bowie lounges against the wall, smoking.

Country music also picked up on the trend of promotional film clips to publicize songs. Sam Lovullo, the producer of the television series Hee Haw, explained his show presented "what were, in reality, the first musical videos", while JMI Records made the same claim with Don Williams' 1973 song "The Shelter of Your Eyes". Country music historian Bob Millard wrote that JMI had pioneered the country music video concept by "producing a 3-minute film" to go along with Williams' song. Lovullo said his videos were conceptualized by having the show's staff go to nearby rural areas and film animals and farmers, before editing the footage to fit the storyline of a particular song. "The video material was a very workable production item for the show," he wrote. "It provided picture stories for songs. However, some of our guests felt the videos took attention away from their live performances, which they hoped would promote record sales. If they had a hit song, they didn't want to play it under comic barnyard footage." The concept's mixed reaction eventually spelled an end to the "video" concept on Hee Haw. Promotional films of country music songs, however, continued to be produced.

In 1974, the band Sparks made a promotional video for their song This Town Ain't Big Enough For Both Of Us.

1974–1980
The Australian TV shows Countdown and Sounds, both of which premiered in 1974, followed in the steps of the UK's Top of the Pops and were significant in developing and popularizing what would later become the music video genre in Australia and other countries, and in establishing the importance of promotional film clips as a means of promoting both emerging acts and new releases by established acts. In early 1974, former radio DJ Graham Webb launched a weekly teen-oriented TV music show which screened on Sydney's ATN-7 on Saturday mornings; this was renamed Sounds Unlimited in 1975 and later shortened simply to Sounds. In need of material for the show, Webb approached Seven newsroom staffer Russell Mulcahy and asked him to shoot film footage to accompany popular songs for which there were no purpose-made clips (e.g. Harry Nilsson's "Everybody's Talkin"). Using this method, Webb and Mulcahy assembled a collection of about 25 clips for the show. The success of his early efforts encouraged Mulcahy to quit his TV job and become a full-time director, and he made clips for several popular Australian acts including Stylus, Marcia Hines, Hush and AC/DC. As it gained popularity, Countdown talent coordinator Ian "Molly" Meldrum and producer Michael Shrimpton quickly realized that "film clips" were becoming an important new commodity in music marketing.  Despite the show's minuscule budget, Countdowns original director Paul Drane was able to create several memorable music videos especially for the show, including the classic film-clips for the AC/DC hits "It's a Long Way to the Top (If You Wanna Rock 'n' Roll)" and "Jailbreak". After relocating to the UK in the mid-1970s, Mulcahy made successful promo films for several noted British pop acts—his early UK credits included XTC's "Making Plans for Nigel" (1979) and his landmark video clip for The Buggles' "Video Killed the Radio Star" (1979), which became the first music video played on MTV in 1981.

In 1975, Queen employed Bruce Gowers to make a promotional video to show their new single "Bohemian Rhapsody" on the BBC music series Top of the Pops. According to rock historian Paul Fowles, the song is "widely credited as the first global hit single for which an accompanying video was central to the marketing strategy". Rolling Stone has said of "Bohemian Rhapsody": "Its influence cannot be overstated, practically inventing the music video seven [sic] years before MTV went on the air."

At the end of the 1970s, the broadcasting of music videos on television became more and more regular, in several countries. The music videos were, for example, broadcast in weekly music programs or inserted into various programs. In the United States, for example, on terrestrial networks at the end of the 1970s, music videos were sometimes broadcast on music shows: The Midnight Special, Don Kirshner's Rock Concert, and occasionally on certain talk shows.

A worldwide pioneer in programs that only transmitted rock and pop music video clips was the Peruvian program Disco Club, hosted by the Peruvian musician Gerardo Manuel, which began its transmission on the Peruvian state channel (Channel 7 of Lima, Perú in
Free-to-air Tv) in June 1978, 3 years before the appearance of MTV. Initially, it was only broadcast on Saturdays at 7 p.m. , but due to acceptance, in November of that same year it began to be broadcast every day.

Video Concert Hall, created by Jerry Crowe and Charles Henderson and launched on November 1, 1979, was the first nationwide video music programming on American cable television, predating MTV by almost two years. The USA Cable Network program Night Flight was one of the first American programs to showcase these videos as an art form.

In 1980, the music video to David Bowie's "Ashes to Ashes" became the most expensive ever made, having a production cost of $582,000 (equivalent to $ million in ), the first music video to have a production cost of over $500,000. The video was made in solarized color with stark black-and-white scenes and was filmed in different locations, including a padded room and a rocky shore. The video became one of the most iconic ever made at the time, and its complex nature is seen as significant in the evolution of the music video.

The same year, the New Zealand group Split Enz had major success with the single "I Got You" and the album True Colours, and later that year they produced a complete set of promo clips for each song on the album (directed by their percussionist, Noel Crombie) and to market these on videocassette. This was followed a year later by the video album, The Completion Backward Principle by The Tubes, directed by the group's keyboard player, Michael Cotten, which included two videos directed by Russell Mulcahy ("Talk to Ya Later" and "Don't Want to Wait Anymore"). Among the first music videos were clips produced by ex-Monkee Michael Nesmith, who started making short musical films for Saturday Night Live. In 1981, he released Elephant Parts, the first winner of a Grammy for music video, directed by William Dear. Billboard credits the independently produced Video Concert Hall as being the first with nationwide video music programming on American television.

1981–1991: Music videos go mainstream
In 1981, the U.S. video channel MTV launched, airing "Video Killed the Radio Star" by The Buggles and beginning an era of 24-hour-a-day music on television. With this new outlet for material, the music video would, by the mid-1980s, grow to play a central role in popular music marketing. Many important acts of this period, most notably Michael Jackson, Adam and the Ants, Duran Duran and Madonna, owed a great deal of their success to the skillful construction and seductive appeal of their videos.

Two key innovations in the development of the modern music video were the development of relatively inexpensive and easy-to-use video recording and editing equipment, and the development of visual effects created with techniques such as image compositing. The advent of high-quality color videotape recorders and portable video cameras coincided with the DIY ethos of the new wave era, enabling many pop acts to produce promotional videos quickly and cheaply, in comparison to the relatively high costs of using film. However, as the genre developed, music video directors increasingly turned to 35mm film as the preferred medium, while others mixed film and video.
During the 1980s, music videos had become de rigueur for most recording artists. The phenomenon was famously parodied by BBC television comedy program Not The Nine O'Clock News who produced a spoof music video "Nice Video, Shame About The Song" (the title was a spoof of a recent pop hit "Nice Legs, Shame About Her Face").

In this period, directors and the acts they worked with began to discover and expand the form and style of the genre, using more sophisticated effects in their videos, mixing film and video, and adding a storyline or plot to the music video. Occasionally videos were made in a non-representational form, in which the musical artist was not shown. Because music videos are mainly intended to promote the artist, such videos are comparatively rare; three early 1980s examples are Bruce Springsteen's "Atlantic City", directed by Arnold Levine, David Mallet's video for David Bowie and Queen's "Under Pressure", and Ian Emes' video for Duran Duran's "The Chauffeur". One notable later example of the non-representational style is Bill Konersman's innovative 1987 video for Prince's "Sign o' the Times" – influenced by Dylan's "Subterranean Homesick Blues" clip, it featured only the text of the song's lyrics.

In the early 1980s, music videos also began to discover political and social themes. Examples include the music videos for David Bowie's "China Girl" and "Let's Dance" (1983) which both discussed race issues. In a 1983 interview, Bowie spoke about the importance of using music videos in addressing social issues, "Let's try to use the video format as a platform for some kind of social observation, and not just waste it on trotting out and trying to enhance the public image of the singer involved".

In 1983, one of the most successful, influential and iconic music videos of all time was released: the nearly 14-minute-long video for Michael Jackson's song "Thriller", directed by John Landis. The video set new standards for production, having cost US $800,000 to film. The video for "Thriller", along with earlier videos by Jackson for his songs "Billie Jean" and "Beat It", were instrumental in getting music videos by African-American artists played on MTV. Prior to Jackson's success, videos by African-American artists were rarely played on MTV: according to MTV, this was because it initially conceived itself as a rock-music-oriented channel, although musician Rick James was outspoken in his criticism of the cable channel, claiming in 1983 that MTV's refusal to air the music video for his song "Super Freak" and clips by other African-American performers was "blatant racism". British rock singer David Bowie had also recently lashed out against MTV during an interview that he did with them prior to the release of "Thriller", stating that he was "floored" by how much MTV neglected black artists, bringing attention to how videos by the "few black artists that one does see" only appeared on MTV between 2:00 a.m. until 6:00 a.m. when nobody was watching.

MTV also influences music video shows aired on other American TV channels, such as: Friday Night Videos, launched in 1983 on the terrestrial network NBC and MV3 launched in 1982.

On March 5, 1983, Country Music Television (CMT), was launched, created and founded by Glenn D. Daniels and uplinked from the Video World Productions facility in Hendersonville, Tennessee. The MuchMusic video channel was launched in Canada in 1984. In 1984, MTV also launched the MTV Video Music Awards (later to be known as the VMAs), an annual awards event that would come to underscore MTV's importance in the music industry. The inaugural event rewarded the Beatles and David Bowie with the Video Vanguard Award for their work in pioneering the music video.

In 1985, MTV's Viacom launched the channel VH1 (then known as "VH-1: Video Hits One"), featuring softer music, and meant to cater to the slightly older baby-boomer demographic who were out-growing MTV. Internationally, MTV Europe was launched in 1987, and MTV Asia in 1991. Another important development in music videos was the launch of The Chart Show on the UK's Channel 4 in 1986. This was a program that composed entirely of music videos (the only outlet many videos had on British TV at the time), with no presenters. Instead, the videos were linked by then state of the art computer graphics. The show moved to ITV in 1989.

The video for the 1985 Dire Straits song "Money for Nothing" made pioneering use of computer animation, and helped make the song an international hit. The song itself was a wry comment on the music-video phenomenon, sung from the point of view of an appliance deliveryman both drawn to and repelled by the outlandish images and personalities that appeared on MTV. In 1986, Peter Gabriel's song "Sledgehammer" used special effects and animation techniques developed by British studio Aardman Animations. The video for "Sledgehammer" would go on to be a phenomenal success and win nine MTV Video Music Awards. In the same year, Kraftwerk released the song Musique Non Stop. The video featured 3D animations of the group. It was a collaboration with Rebecca Allen of the New York Institute of Technology and ran continuously on MTV for a while.

In 1988, the show Yo! MTV Raps introduced; the show helped to bring hip hop music to a mass audience for the first time.

1992–2004: Rise of the directors
In November 1992, MTV began screening videos made by Chris Cunningham, Michel Gondry, Spike Jonze, Floria Sigismondi, Stéphane Sednaoui, Mark Romanek and Hype Williams who all got their start around this time; all brought a unique vision and style to the videos they directed. Some of these directors, including, Gondry, Jonze, Sigismondi, and F. Gary Gray, went on to direct feature films. This continued a trend that had begun earlier with directors such as Lasse Hallström and David Fincher.

Two of the videos directed by Romanek in 1995 are notable for being two of the three most expensive music videos of all time: Michael and Janet Jackson's "Scream", which allegedly cost $7 million to produce, and Madonna's "Bedtime Story", which cost a reported $5 million. From this, "Scream" is the most expensive video to date. In the mid to late 1990s, Walter Stern directed "Firestarter" by The Prodigy, "Bitter Sweet Symphony" by The Verve, and "Teardrop" by Massive Attack.

During this period, MTV launched channels around the world to show music videos produced in each local market: MTV Latin America in 1993, MTV India in 1996, and MTV Mandarin in 1997, among others. MTV2, originally called "M2" and meant to show more alternative and older music videos, debuted in 1996.

In 1999 Mariah Carey's "Heartbreaker" became one of the most expensive ever made, costing over $2.5 million.

From 1991 to 2001, Billboard had its own Music Video Awards.

2005–present: Music video downloads and streaming

The website iFilm, which hosted short videos including music videos, launched in 1997. Napster, a peer-to-peer file sharing service which ran between 1999 and 2001, enabled users to share video files, including those for music videos. By the mid-2000s, MTV and many of its sister channels had largely abandoned showing music videos in favor of reality TV shows, which were more popular with its audiences, and which MTV had itself helped to pioneer with the show The Real World, which premiered in 1992.

2005 saw the launch of YouTube, which made the viewing of online video much faster and easier; Google Videos, Yahoo! Video, Facebook and Myspace's video functionality use similar technology. Such websites had a profound effect on the viewing of music videos; some artists began to see success as a result of videos seen mostly or entirely online. The band OK Go capitalized on the growing trend, having achieved fame through the videos for two of their songs, "A Million Ways" in 2005 and "Here It Goes Again" in 2006, both of which first became well-known online (OK Go repeated the trick with another high-concept video in 2010, for their song "This Too Shall Pass").

At its launch, Apple's iTunes Store provided a section of free music videos in high quality compression to be watched via the iTunes application. More recently the iTunes Store has begun selling music videos for use on Apple's iPod with video playback capability.

The 2008 video for Weezer's "Pork and Beans" also captured this trend, by including at least 20 YouTube celebrities; the single became the most successful of Weezer's career, in chart performance. In 2007, the RIAA issued cease-and-desist letters to YouTube users to prevent single users from sharing videos, which are the property of the music labels. After its merger with Google, YouTube assured the RIAA that they would find a way to pay royalties through a bulk agreement with the major record labels. This was complicated by the fact that not all labels share the same policy toward music videos: some welcome the development and upload music videos to various online outlets themselves, viewing music videos as free advertising for their artists, while other labels view music videos not as an advertisement, but as the product itself.

To further signify the change in direction towards Music Video airplay, MTV officially dropped the Music Television tagline on February 8, 2010 from their logo in response to their increased commitment to non-scripted reality programming and other youth-oriented entertainment rising in prominence on their live broadcast.

Vevo, a music video service launched by several major music publishers, debuted in December 2009. The videos on Vevo are syndicated to YouTube, with Google and Vevo sharing the advertising revenue.

As of 2017, the most-watched English-language video on YouTube was "Shape of You" by Ed Sheeran. As of 2018, the most-watched remix video on YouTube was "Te Bote" by Casper Mágico featuring Nio García, Darell, Nicky Jam, Bad Bunny, and Ozuna.

Official lo-fi Internet music clips
Following the shift toward internet broadcasting and the rising popularity of user-generated video sites such as YouTube around 2006, various independent filmmakers began films recording live sessions to present on the Web. Examples of this new way of creating and presenting a music video include Vincent Moon's work with The Take-Away Shows; In the Van sessions, a similar platform; and the Dutch VPRO 3VOOR12, which puts out music videos recorded in elevators and other small, guerrilla filmmaking type locations in a similar tradition called Behind. All of these swiftly recorded clips are made with minimal budgets and share similar aesthetics with the lo-fi music movement of the early nineties. Offering freedom from the increasingly burdensome financial requirements of high-production movie-like clips, it began as the only method for little-known indie music artists to present themselves to a wider audience, but increasingly this approach has been taken up by such major mainstream artists as R.E.M. and Tom Jones.

Vertical videos
In the late 2010s, some artists began releasing alternative vertical videos tailored to mobile devices in addition to music videos; these vertical videos are generally platform-exclusive. These vertical videos are often shown on Snapchat's "Discover" section or within Spotify playlists. Early adopters of vertical video releases include the number-one hits "Havana" by Camila Cabello and "Girls Like You" by Maroon 5 featuring Cardi B. "Idontwannabeyouanymore" by Billie Eilish is the most-watched vertical video on YouTube.

Lyric videos
A lyric video is a type of music video in which the lyrics to the song are the primary visual element of the video. As such, they can be created with relative ease and often serve as a supplemental video to a more traditional music video.

The music video for R.E.M.'s 1986 song "Fall on Me" interspersed the song's lyrics with abstract film footage. In 1987, Prince released a video for his song "Sign o' the Times". The video featured the song's words pulsing to the music, presented alongside abstract geometric shapes, an effect created by Bill Konersman. The following year, the video for the Talking Heads single "(Nothing But) Flowers" composed of the song's lyrics superimposed onto or next to members of the band, was released. In 1990, George Michael released "Praying for Time" as a lyric video. He had refused to make a traditional music video, so his label released a simple clip that displayed the song's lyrics on a black screen.

Lyric videos rose to greater prominence in the 2010s, when it became relatively easy for artists to disperse videos through websites such as YouTube. Many do not feature any visual related to the musician in question, but merely a background with the lyrics appearing over it as they are sung in the song. In 2011, death metal band Krokmitën released the first lyric video for an entire album, "Alpha-Beta". The concept album video featured imagery pulsing to the music and stylized typography created by bandleader Simlev. The 2016 song "Closer" by The Chainsmokers, featuring vocalist Halsey, is the most-watched lyric video on YouTube.

Censorship

As the concept and medium of a music video is a form of artistic expression, artists have been on many occasions censored if their content is deemed offensive. What may be considered offensive will differ in countries due to censorship laws and local customs and ethics. In most cases, the record label will provide and distribute videos edited or provide both censored and uncensored videos for an artist. In some cases, it has been known for music videos to be banned in their entirety as they have been deemed far too offensive to be broadcast.

1980s
The first video to be banned by MTV was Queen's 1982 hit "Body Language". Due to thinly veiled homoerotic undertones plus much skin and sweat (but apparently not enough clothing, save that worn by the fully clothed members of Queen themselves), it was deemed unsuitable for a television audience at the time. However, the channel did air Olivia Newton-John's 1981 video for the hit song "Physical", which lavished camera time on male models working out in string bikinis who spurn her advances, ultimately pairing off to walk to the men's locker rooms holding hands, though the network ended the clip before the overt homosexual "reveal" ending in some airings. The video for "Girls on Film" by Duran Duran, which featured topless women mud wrestling and other depictions of sexual fetishes was banned by the BBC. MTV did air the video, albeit in a heavily edited form.

Laura Branigan initially protested an MTV request to edit her "Self Control" video in 1984, but relented when the network refused to air the William Friedkin-directed clip, featuring the singer lured through an increasingly debauched, if increasingly stylized, series of nightclubs by a masked man who ultimately takes her to bed. In 1989, Cher's "If I Could Turn Back Time" video (where the singer performs the song in an extremely revealing body suit surrounded by a ship full of cheering sailors) was restricted to late-night broadcasts on MTV. The Sex Pistols' video for "God Save the Queen" was banned by the BBC for being "in gross bad taste". Mötley Crüe's video for "Girls, Girls, Girls" was banned by MTV for having completely nude women dancing around the members of the band in a strip club, although they did produce another version that was accepted by MTV.

In 1983, Entertainment Tonight ran a segment on censorship and "Rock Video Violence". The episode explored the impact of MTV rock video violence on the youth of the early 1980s. Excerpts from the music videos of Michael Jackson, Duran Duran, Golden Earring, Kiss, Kansas, Billy Idol, Def Leppard, Pat Benatar and The Rolling Stones were shown. Dr. Thomas Radecki of the National Coalition on TV Violence was interviewed accusing the fledgling rock video business of excessive violence. Night Tracks''' producer Tom Lynch weighed in on the effects of the video violence controversy. Recording artists John Cougar Mellencamp, Gene Simmons and Paul Stanley of Kiss, along with directors Dominic Orlando and Julien Temple, provided a defense of their work. The episode's conclusion was that the controversy will continue to grow. Some artists have used censorship as a publicity tool. In the 1980s, the show Top of the Pops was censorious in its approach to video content, so some acts made videos that they knew would be censored, using the resulting public controversy to promote their release. Examples of this tactic were Duran Duran's aforementioned "Girls on Film" and Frankie Goes to Hollywood with "Relax", directed by Bernard Rose.

1990s
In 1991, the dance segment of Michael Jackson's "Black or White" was edited out because it showed Jackson "inappropriately" touching himself in it. His most controversial video, for "They Don't Care About Us", was banned from MTV, VH1, and BBC due to the alleged anti-Semitic messages in the song and the visuals in the background of the "Prison Version" of the video.

Madonna is the artist most associated with music video censorship. The controversy surrounding Madonna's marketing of her sexuality began with the video for "Lucky Star", and amplified over time due to clips such as "Like a Virgin". Outcry occurred over the subject matter (relating to teenage pregnancy) discussed in the video for the song "Papa Don't Preach". "Like a Prayer" courted heavy criticism due to its religious, sexual, and racially oriented imagery.  In 1990, Madonna's music video for the song "Justify My Love" was banned by MTV due to its depiction of sadomasochism, homosexuality, cross-dressing, and group sex which generated a media firestorm. In Canada, the debate over the banning of "Justify My Love" by the music video network MuchMusic led to the launching in 1991 of Too Much 4 Much, a series of occasional, late-night specials (still being aired in the early 2000s) in which videos officially banned by MuchMusic were broadcast, followed by a panel discussion regarding why they were removed.

In 1992, The Shamen's video for the song "Ebeneezer Goode" was banned by the BBC due to its perceived subliminal endorsement of the recreational drug Ecstasy. The Prodigy's 1997 video for "Smack My Bitch Up" was banned in some countries due to depictions of drug use and nudity. The Prodigy's video for "Firestarter" was banned by the BBC due to its references to arson.

In 1993, the Australian rock band INXS' song "The Gift" was banned by MTV due to its use of Holocaust and Gulf War footage, among images of famine, pollution, war, and terrorism. As well as this, metal band Tool's music video for "Prison Sex" was banned from MTV, as the video and lyrics touch on the sensitive matter of child abuse.

2000s
In 2000, the music video for "Rock DJ" by Robbie Williams caused controversy due to the graphic nature of the video which features Williams stripping naked then peeling off his skin to reveal bloody flesh, followed by ripping off his muscles and organs until he is nothing but a blood-soaked skeleton. The video was censored in the UK during daytime hours and was broadcast unedited after 10 pm. The video was banned in Dominican Republic due to allegations of satanism.

In 2001, Björk's video for "Pagan Poetry" was banned from MTV for depictions of sexual intercourse, fellatio, and body piercings. Her next single, "Cocoon", was also banned by MTV as it featured a nude Björk (though the nude body was usually a fitted bodysuit rigged with red string).

In 2002, t.A.T.u.'s video for "All the Things She Said"  caused controversy as it featured the young Russian girls, Lena Katina and Yulia Volkova, embracing and eventually kissing. British TV presenters Richard and Judy campaigned to have the video banned claiming it pandered to "pedophiles" with the use of school uniforms and young girls kissing, although the campaign failed. Capitalizing on the controversy, the kiss was choreographed into their live performances. Top of the Pops aired the girls' performance with the kiss replaced by audience footage. NBC's The Tonight Show with Jay Leno cut away from the girls' kiss to shots of the band. Throughout their promotional tour, t.A.T.u. protested by appearing in shirts reading "censored".

In 2004, Maroon 5's video for "This Love" generated controversy due to intimate scenes between the frontman Adam Levine and his then-girlfriend. Despite those particular scenes being shot at strategic angles, a censored version was released with a stream of computer-generated flowers added in to cover up more.  The video for "(s)AINT" by Marilyn Manson was banned by their label due to its violence and sexual content. The following year, Eminem's video for "Just Lose It" caused controversy over its parody of Michael Jackson's 2005 child molestation trial, plastic surgery, and hair catching fire during the filming of a Pepsi commercial. The video was banned from BET, and Jackson spoke out against the video, calling it "inappropriate and disrespectful to me, my children, my family, and the community at large". In 2004, many family groups and politicians lobbied for the banning of the Eric Prydz video "Call on Me" for containing women dancing in a sexually suggestive way; however, the video was not banned.

As of 2005, the Egyptian state censorship committee banned at least 20 music videos which featured sexual connotations due to Muslim moral viewpoints. The music video of "These Boots Are Made for Walkin'" which featured Jessica Simpson in character as Daisy Duke, was controversial for featuring Simpson in "revealing" outfits and washing the General Lee car in her bikini. The controversy resulted in the music video being banned in some countries.

In 2008, Justice's video for their song "Stress" was boycotted by several major music television channels due to allegations of racism and violence; the video depicts several youths committing different crimes throughout the streets of Paris, with the youths mainly being of North African descent.

While country music has largely avoided controversy surrounding video content, it has never been immune. The music video for the 2003 Rascal Flatts song "I Melt" is a case in point, gaining notoriety for clips featuring guitarist Joe Don Rooney's bare butt, and model Christina Auria taking a shower nude. The video was the first aired on CMT to show nudity, and eventually reached #1 on the network's "Top Twenty Countdown" program. However, GAC banned the video when the group refused to release an edited version.

2010s
In 2010, Thirty Seconds to Mars' video "Hurricane" was censored due to its major elements of violence, nudity and sex. The short film was later released with a clean version that can air on television. The explicit version is available on the band's official website with a viewing certificate of 18+.

In 2010, a rumor circulated that Lady Gaga's video "Telephone" was banned by MTV, a rumour which reached some press outlets. The rumor claimed that MTV had banned the video because the content could not be shown within their programming. MTV denied the ban and showed the video frequently on European MTV programming. Lady Gaga's previous videos have also attracted criticism for their sexually suggestive content; the video for "LoveGame" was not played on the Australian music video program Video Hits; however, other Australian programs aired the video uncensored. The video for "Alejandro" was criticized by the Catholic League, for showing the singer dressed in a red latex fetish version of a nun's habit, simulating rape, and appearing to swallow a rosary.

Ciara's video for "Ride" was banned by BET, with the network citing that the video was too sexually charged. The video was also subsequently banned by all UK television channels.

In 2011, the video for "S&M", which features the Barbadian singer Rihanna whipping a tied-up white man, taking hostages and indulging in a lesbian kiss, was banned in eleven countries and was flagged as inappropriate for viewers that are under 18 on YouTube.

 2020s
In 2019, Lil Nas X's viral song "Old Town Road" became the longest-running number-one song on the Billboard Hot 100 chart. However, it was his follow-up song named "Montero (Call Me By Your Name)" which was released in 2021 that raised the controversy. In the music video for "Montero", Lil Nas X included various provocative scenes, including one in which he gives a lap dance to Satan. The video was widely criticized by conservative and religious groups, who saw it as promoting Satanism and immorality. Lil Nas X responded to the backlash by defending that it was just a way of expressing his own sexuality and challenging societal norms. He made profit regarding to the controversy by promoting his own merchandise, including a pair of "Satan Shoes" that were made in collaboration with a company called MSCHF. A peculiar thing about these shoes are that they had real human blood in each pair. The controversy related to "Montero" eventually helped dragging the song to even greater success, debuting at number one on the Billboard Hot 100 and earning applause from critics for its bold and innovative approach to music and visuals.

In 2023, the music video "I'm Not Here To Make Friends" by Sam Smith was criticised and debated about regarding whether it should be censored or not. Critics claimed that the music video was sexualised, irresponsible and improper, and not good for society, where as the discussion on ITV's Good Morning Britain inquired as to whether it was no different and similar to the Madonna music videos of the '80s and '90s. Proponents claimed that it was not different to Rocky Horror Picture Show, or the Frankie Goes to Hollywood's "Relax" music video that were successful decades ago.

In 2023, the music video "Try That in a Small Town" by Jason Aldean was banned by CMT due to controversy. Lyrics expressed behaviours that supposedly happen in the big cities that would be perceived to not be liked in a small town, such as,  "carjack an old lady"; "cuss out a cop"; and "stomp on the flag." United States State Representative Justin Jones of Tennessee, a US Democrat, condemned the song on Twitter, describing it as a "heinous song calling for racist violence" that promoted "a shameful vision of gun extremism and vigilantism."

Aldean then defended himself on Twitter, asserting that he had been wrongly accused of releasing a pro-lynching song, and that he was "not too pleased" with the 2020 Black Lives Matter protests.

Commercial release

Video album

Music videos have been released commercially on physical formats such as videotape, LaserDisc, DVD and Blu-ray. Similar to an audio album, a video album is a long-form release containing multiple music videos on a disc. The market for video albums is considerably smaller than for audio albums and audio singles. Video albums are eligible for gold certifications from the Recording Industry Association of America (RIAA) after record labels shipped 50,000 units to retailers, while both audio albums and singles have to ship 500,000 units to achieve gold. One of the early video albums was Eat to the Beat (1979) by American rock band Blondie, a videocassette containing music videos of all tracks from their fourth studio album of the same name. It was produced by Paul Flattery for Jon Roseman Productions and directed by David Mallet. The music videos were recorded in New York and New Jersey, with some songs featuring the band playing in a concert fashion, and some others having scenarios based on the songs' lyrics. Another popular video album was Olivia Physical (1982) by Olivia Newton-John, which won the Video of the Year at the 25th Grammy Awards. The video collection features music videos of all songs from her ninth studio album, Physical (1981).

Due to the increase of video albums popularity, Billboard magazine introduced the weekly best-selling music video sales ranking in the United States, titled the Top Music Videocassette chart on March 30, 1985 (now known as Music Video Sales chart). Its first chart-topper was Private Dancer (1984), a videocassette by Tina Turner containing four music videos. The Official Charts Company began the similar chart in the United Kingdom on January 30, 1994, with Bryan Adams's So Far So Good reaching number one. According to the RIAA, the Eagles' Farewell 1 Tour-Live from Melbourne (2005) is the top-certified longform music video with 30-time platinum (three million units shipped), while the Rolling Stones' Four Flicks (2005) is the top-certified music video boxset with 19-time platinum (1.9 million units shipped).

Video single
A video single contains no more than three music videos in the form of a videotape, LaserDisc or DVD. In 1983, British synthpop band The Human League released the first commercial video single titled The Human League Video Single on both VHS and Betamax. It was not a huge commercial success due to the high retail price of £10.99, compared to around £1.99 for a 7" vinyl single. The VHS single gained higher levels of mainstream popularity when Madonna released "Justify My Love" as a video single in 1990 following the blacklisting of the video by MTV. "Justify My Love" remains the best-selling video single of all time.

The DVD single was introduced in the late 1990s as a replacement for the videotape single. Although many record companies in the United States refused to issue CD singles, they readily issued DVD singles, and some popular DVD singles include Kelly Clarkson's "A Moment Like This", Jessica Simpson's "With You", Beyoncé's "Crazy in Love", Christina Aguilera's "Fighter", Britney Spears's "Toxic" and Iron Maiden's "Satellite 15... The Final Frontier". According to the RIAA, a music video single is defined as 1-2 songs per video OR under 15 minutes running time. In 2003, the first certified platinum and gold music DVD singles were certified by the RIAA. Noteworthy early DVD singles in the United States include Sly and Robbie's "Superthruster" (1999), Björk's "All Is Full of Love" (1999), and Madonna's "Music" (2000).

In the United Kingdom where up to 3 physical formats are eligible for the chart, DVD singles are quite common (with the single available on DVD as well as CD and/or vinyl record). As with other single formats, DVD singles have a limited production run, often causing them to become collector's items. The DVD single never experienced a high amount of popularity in the United Kingdom because when artists started releasing them in the early 2000s, the CD single had started declining. They were also seen as expensive. Some artists would not release DVD singles and instead put their music videos as enhanced content on a CD single/album.

Beginning in the early 2000s, artists in Japan may release singles in the CD+DVD format. Japanese singer Ayumi Hamasaki has been credited as the "creator of the CD+DVD format"; one of the examples is her 2005 single "Fairyland". The CD+DVD format is more expensive and usually contains one or more music videos, and sometimes a "making of" section or other bonus material is included.

The Japanese music conglomerate Hello! Project released corresponding DVD singles for almost all of its CD single releases.The company calls them Single Vs. A Single V usually contains a music video for the title song plus several more of its versions and a making-of. Sometimes, an  will be released at Hello! Project fan club events that will offer alternate shots of a promotional video, or bonus footage, like backstage footage or footage from a photoshoot not released anywhere else. As of 2017, Single Vs are no longer released; instead Hello! Project acts now put the music videos on DVDs included in a CD single's limited edition. The DVD singles are popular and chart in the generic Oricon DVD sales chart, due to the non-existence of a separate DVD single ranking in Japan.

Unofficial music videos
Unofficial, fan-made music videos are typically made by synchronizing existing footage from other sources, such as television series or films, with the song. The first known fan video, or songvid, was created by Kandy Fong in 1975 using still images from Star Trek loaded into a slide carousel and played in conjunction with a song. Fan videos made using videocassette recorders soon followed.  With the advent of easy distribution over the internet and cheap video-editing software, fan-created videos began to gain wider notice in the late 1990s.

A well-known example of an unofficial video is one made for Danger Mouse's illegal mashup from his The Grey Album, of the Jay-Z track "Encore" with music sampled from the Beatles' White Album, in which concert footage of the Beatles is remixed with footage of Jay-Z and hip-hop dancers.

In 2004, a Placebo fan from South Africa made a claymation video for the band's song "English Summer Rain" and sent it to the band. They liked the result so much that it was included on their greatest hits DVD.

In 2016, a Flash animation for song "Come Together" by the Beatles was included on The Beatles Blu-ray disc.

Music video stations

Music video shows24 Hours of Love (MTV2; premiered in 2002)3ABN Today Music (3ABN Praise Him Music Network)ABC Rocks (ABC)America's Top 10 (Syndication)Back to Nature (3ABN, 3ABN International, 3ABN Praise Him Music Network)106 & Park (BET)CD:UK Hotshots (ITV1 1998–2007)Top of the Pops (BBC 1964–2006)The Click List: Top 10 Videos (Logo)Countdown (ABC)8-Track Flashback (VH1)Friday Night Videos (NBC)Goodnight LA (KABC)Good Rockin' Tonite (CBC)Headbangers Ball (MTV2)Jack's Big Music Show (Noggin)Jukebox (AITV) (Syndication)Kidsongs (PBS)Kids Praise Too! (3ABN, 3ABN International, 3ABN Kids Network)Loaded (Fuse)Los 10+ Pedidos (MTV Latin America)Magnify Him (3ABN Dare to Dream Network, 3ABN Praise Him Music Network)Melodías del Corazón (3ABN Latino)Melody From My Heart (3ABN, 3ABN International, 3ABN Praise Him Music Network)The Metric Marvels (NBC)Night Tracks (TBS)Piano Praise (3ABN, 3ABN Praise Him Music Network)Pop-Up Video (VH1)Praise (3ABN, 3ABN International, 3ABN Praise Him Music Network)Rage (ABC)Schoolhouse Rock (ABC)The Smothers Brothers Comedy Hour  (CBS; first broadcast in 1968)Sidewalks: Video Nite (Syndication)Soundwaves (Syndication)Video Hits Australia (Network Ten)Video Hits Canada (CBC)Video Jukebox (TV series) (HBO)TRL (MTV)Power Fuse (Fuse)MuchOnDemand (MuchMusic)Music Station (TV Asahi)New York Hot Tracks (Syndication)U Choose 40 (C4)VH1 Top 20 Video Countdown (VH1)Volvamos a la Naturaleza (3ABN Latino)Your Favorites by Request (3ABN, 3ABN International, 3ABN Praise Him Music Network)

See also
Concert video design
First 24-hour music video
List of music video directors
One shot (music video)
Semiotics of music videos
Video art

References

Further reading

 Banks, Jack (1996) Monopoly Television: Mtv's Quest to Control the Music Westview Press
 Burns, Lori A. and Stan Hawkins, eds. (2019) The Bloomsbury Handbook of Popular Music Video Analysis. Bloomsbury Publishing USA.
 Clarke, Donald (1995) The Rise and Fall of Popular Music St. Martin's Pressy
 Denisoff, R. Serge (1991) Inside MTV  New Brunswick: Transaction publishers,
 Durant, Alan (1984). Cited in Middleton, Richard (1990/2002). Studying Popular Music. Philadelphia: Open University Press. .
 Frith, Simon, Andrew Goodwin & Lawrence Grossberg (1993)  Sound & Vision. The music video reader  London: Routledge
 Goodwin, Andrew (1992) Dancing in the Distraction Factory : Music Television and Popular Culture University of Minnesota Press
 Illescas, Jon E. (2015) La Dictadura del Videoclip. Industria musical y sueños prefabricados El Viejo Topo
 Johnson, Henry & Oli Wilson (2016) "Music video and online social media: A case study of the discourse around Japanese imagery in the New Zealand indie scene". Sites: A Journal of Social Anthropology & Cultural Studies 13 (2): 163–186.
 Kaplan, E. Ann (1987) Rocking Around the Clock. Music Television, Postmodernism, and Consumer Culture London & New York: Routledge
 Keazor, Henry; Wübbena, Thorsten (2010). Rewind, Play, Fast Forward: The Past, Present and Future of the Music Video. transcript Verlag.
 Kleiler, David (1997) You Stand There: Making Music Video Three Rivers Press
 Middleton, Richard (1990/2002). Studying Popular Music. Philadelphia: Open University Press. .
 Shore, Michael (1984) The Rolling Stone book of rock video New York: Quill
 Turner, G. Video Clips and Popular Music, in Australian Journal of Cultural Studies 1/1,1983, 107–110
 Vernallis, Carol (2004) Experiencing Music Video: Aesthetics and Cultural Context'' Columbia University Press
 Thomas Dreher: History of Computer Art Chap. IV.220.127.116.11: Music Videos.

Visual music
Video
Experimental film
Advertising by medium
Home video supplements
Single types
Short films
Film genres
Articles containing video clips

Music video


Anton Ferdinand Leopold, Count of Hohenzollern-Sigmaringen (also known as Count of Hohenzollern-Haigerloch; 4 December 1692 in Sigmaringen – 23 July 1750 at Brühl Palace) was a German nobleman.  He was a various times canon of different cathedral chapters and first minister of the Electorate of Cologne under Elector Clemens August.  From 1702 until his death, he was the ruling Count of Hohenzollern-Haigerloch.

Life
He was the son of Count Franz Anton and his wife Anna Maria Eusebia of Königsegg-Aulendorf.

In 1706, he joined the cathedral chapter in Cologne.  From 1714 to 1726, he was also canon in Speyer.  In 1725, he was appointed canon in Strasbourg.  In Cologne, he was chorbishop from 1724 to 1727.  In 1727, he became vice dean, and 1731, cathedral dean.  In 1733, he succeeded Ferdinand of Plettenberg as prime minister of the Electorate of Cologne.  However, he had much less political influence than his predecessor.  In 1745, he voted on behalf of Cologne in the election of Emperor Francis I.

He died in 1750, and was buried in the Cologne Cathedral.  He was unmarried and childless.  He was succeeded as Count of Hohenzollern-Haigerloch by his younger brother Franz Christoph Anton.

References
 F. E. von Mering: Clemens August, Herzog von Baiern, Kurfürst und Erzbischof zu Köln. Biographischer Versuch, Heberle, Cologne, 1851, p. 87 Online
 Rudolf Lill (ed.): Kurfürst Clemens August. Landesherr und Mäzen des 18. Jahrhunderts, DuMont Schauberg, Cologne, 1961, p. 169

External links
 Entry at Geneall.net

Counts of Hohenzollern-Haigerloch
People from the Electorate of Cologne
House of Hohenzollern
1692 births
1750 deaths
Cathedral deans of Cologne