Abstract
The present article examines how the aesthetics of a specific format can be applied to another, thus creating a new autonomous product. This is the case of a distinctive point in video games wherein the playthrough is imbued with music video aesthetics, and the player interacts with the music, camera movements and landscape, becoming the protagonist and architect of what I propose to define as a “Dynamic Music Video”—following Collins’ definition of “dynamic music” (2008, 139). This study analyzes the musical transmedia narratives created from
Get full access to this article
View all access options for this article.
