Music Videos. The Licensor hereby grants to Licensee a non-exclusive License to use the Master Recording in unlimited music videos.
Music Videos. The following additional or modified terms and conditions shall apply to the sale of permanent downloads of music videos under the Agreement. In all other respects the terms and conditions of the Agreement shall apply equally to music videos. Solely for purposes of this Exhibit D:
Music Videos. The Licensor hereby grants to Licensee a non-exclusive License to use the Master Recording in unlimited music videos. Synchronization Rights Licensing of Song to third-party publishing entities for TV/Film is prohibited. Broadcast Rights The Licensor hereby grants to Licensee a non-exclusive license to broadcast or air the Master Recording on unlimited radio stations or through unlimited station channels, respectively.
Music Videos. ○ Codec: H264; 5000kbps; Audio>192Kbps; Framerate 29.97fps; ○ Height: >= 720(e.g. 1920x1080@16:9 or 1440x1080@4:3)
Music Videos. 113 Section 7.29 Cash Pooling Post-Closing...........................................................114 Section 7.30 Guarantees..........................................................................114 Section 7.31 Affiliate Transactions..............................................................115 Section 7.32 Records.............................................................................115 Section 7.33 Vivendi Intercompany Leases.........................................................115
Music Videos. The parties hereto agree to negotiate in good faith and to resolve prior to the Closing Date an agreement on commercially reasonable terms to transfer to UMG the Copyrights in the music videos acquired from Polygram, substantially including those music videos listed on Schedule 7.28, taking into account the arrangements and any agreements existing as of the date of the date hereof regarding Exploitation of such music videos.
Music Videos. Paragraph. Projects may be of any nationality.
Music Videos a. In the event that StreetJam &/or Company asks the Producer and/or Recording Artist(s) to perform for the purpose of being filmed (on any medium known or unknown) for promotional, commercial and other purposes in connection with the exploitation of Masters (hereinafter referred to as "Video"), the Recording Artist and/or Producer agrees to so perform. StreetJam &/or Company shall have all of the same rights with respect to each Video as are otherwise applicable hereto with respect to the Masters made hereunder, including without limitation, the right to use and publish your name and likeness in each Video for advertising and purposes of trade and the sole ownership of all rights in each Video in the Territory. The concept or script of each Video shall be approved by StreetJam &/or Company.
Music Videos. The Licensor hereby grants to Licensee an exclusive license to use the Master Recording in unlimited monetized music videos and streams. Synchronization Rights 100% Royalty Free Beats The Licensor hereby grants synchronization rights for unlimited music videos streamed online (You- Tube, Vimeo etc..) for unlimited monetized video streams. The Licensor also grants the Licensee synchronization rights for unlimited monetized audio streams to sites like Spotify, Rhapsody etc..
Music Videos. From Sexist to Subversive I have long been an avid fan of music videos. I wasn’t allowed to watch MTV as a child (because of the sexual, inappropriate nature of the video) but I have distinct memories of watching MTV in secret with my best friend. We’d watch our music video programming with paranoia, waiting until we heard my mother’s footsteps approaching, only to change the TV back to Nickelodeon or an acceptable channel for our age. I remember trying to learn the choreography to Xxxxxxxxx Xxxxxxxx’x “Genie In A Bottle” music video at my best friend’s 12th birthday party. I also remember the bafflement with which my friends and I watched the music video for “Baby Got Back” upon its release. Now I watch music videos to procrastinate or when I’m getting ready for a night out with friends. The women I have grown up watching in music videos have not always been positive images of women. I look back on the rap videos I watched in high school and cringe at the objectification of my gender, realizing in retrospect why my mother tried to guard me so fervently from those depictions of femininity. The music video is notorious for its overt sexism (and racism), with the stereotype of the ‘video vixen’ being all too familiar. As Xxxxx Xxxxxxx and Xxxx Xxxxxx argue in Music Video and the Politics of Representation: 28 Xxxxxxx, From Black Power to Hip Hop, 192. …patterns of raced imagery that emerged from, and were consolidated in, Victorian discourses of colonialism and imperialism and which functioned historically to uphold and legitimate white privilege, continue to inform the very different ways in which black people and white people are represented in contemporary popular culture generally and music videos in particular.29 The music video, by denying the individuality of the women, allows the male performers to see women, particularly black women, as sexual objects without being seen by the women. The women are stripped of their right to look, mimicking the policing of the gaze that has permeated racial politics throughout our colonial history. Xxxx-Xxxx Xxxxxx compared the gaze to looking through a peephole and seeing without being seen. For Xxxxxx, through the subject’s non-recognition, the recipient of the gaze is reduced to an object. When the gaze is returned, the subject/object relationship is upset.30 In Reel to Real, xxxx xxxxx championed the idea of looking back in an “oppositional gaze,” stating that the process of looking is an act of defiance, a state...
