This article examines the role played by the music videos directed by Francesco Lettieri in the marketing strategy designed to draw attention to /to promote the musical production and figure of Liberato, who sings Neapolitan songs – mixing pop and electronics and neomelodic traps – released exclusively through social channels, and whose identity is currently unknown. The marketing operations that built the Liberato music phenomenon articulate a multimedia communication that takes place above all through the internet network and that also feeds on various types of contributions provided by users. Liberato is positioned at the center of a singular transmedia storytelling, of which it is interesting to grasp both the mode (integrated, unitary, cooperative) of development as well as the effects that a similar modality has on users at the cognitive, cultural and aesthetic level. The transmedia perspective is based on the theoretical framework of the affective narratology– which considers the affective dimension a key component in the processes through which readers attribute meaning to stories –explored in the second part of the article.

Napoli It's Me and You. Costruzione e diffusione del brand musicale Liberato attraverso i videoclip di Francesco Lettieri

Teti Marco
Writing – Original Draft Preparation
;
De Blasio Antonella
Writing – Original Draft Preparation
2019

Abstract

This article examines the role played by the music videos directed by Francesco Lettieri in the marketing strategy designed to draw attention to /to promote the musical production and figure of Liberato, who sings Neapolitan songs – mixing pop and electronics and neomelodic traps – released exclusively through social channels, and whose identity is currently unknown. The marketing operations that built the Liberato music phenomenon articulate a multimedia communication that takes place above all through the internet network and that also feeds on various types of contributions provided by users. Liberato is positioned at the center of a singular transmedia storytelling, of which it is interesting to grasp both the mode (integrated, unitary, cooperative) of development as well as the effects that a similar modality has on users at the cognitive, cultural and aesthetic level. The transmedia perspective is based on the theoretical framework of the affective narratology– which considers the affective dimension a key component in the processes through which readers attribute meaning to stories –explored in the second part of the article.
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Utilizza questo identificativo per citare o creare un link a questo documento: http://hdl.handle.net/11389/27834
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