A small-scale ethnographic study of the emergent field of music videos in Israel is presented as a demonstration of the convergence of potentially conflicting interests of various actors. Four cultural logics - organizational isomorphism, professionalization, 'postmodern' artistic critique and claim for artistic recognition - are shown to produce each its specific demand for making more and better Hebrew music videos in Israel. Innovation in the field of popular music is thus explained as stemming not from one dominant cultural logic, but from the convergence of several logics.
Bibliographical noteFunding Information:
~*~ This article is part of the research project 'Popular Music and the Construction of Israeli Culture', conducted in collaboration with Edwin Seroussi and supported by the Basic Research Fund of Israel's National Academy of Science. Research on music videos was supported by The Smart Family Communications Institute at the Hebrew University of Jerusalem. Thanks to Talia Hirshman-Sanjero for assistance in this research. An earlier version of this paper was presented at the 8th conference of the International Association for the Study of Popular Music (IASPM), Glasgow, Scotland. July 1995 * E-mail: email@example.com; fax: 972-2-5324339