According to the video, Money for Nothing: A History of the Music Video, producer, Hagan Thomas-Jones, writer Saul Austerlitz and director Jamin Bricker noted music first appeared in the film The Jazz Singer in 1927. Although this clip may not be considered by many to be a music video, it was the first video where music was synced to film. According to the film, musicals were “written into the music video’s D.N.A” (Thomas-Jones, Austerlitz and Bricker, 2004). Another variation …show more content…
137). The book Methods of Rhetorical Criticism: A Twentieth-Century Perspective elaborates on the idea of generic criticism. Rhetorician Lloyd F. Bitzer, described generic criticism as “a complex of persons, events, objects, and relations presenting an actual or potential exigence which can be completely or partially removed discourse introduced into the situation, can so constrain human decision or action as to being about the significant modification of the exigence” (Brock & Scott, 1989, p. 288). According to critics, Bitzer’s definition of generic criticism shifted their “attention away from the traditional speaker orientation toward rhetoric as a response to a situation” (Brook & Scott, 1989, p. 288). Bitzer’s definition of generic criticism helped my paper because my artifact is not textual based. The term situation can be interpreted in a variety of ways making Bitzer’s definition a benefit to my paper about Thriller encompassing multiple situations within the video. Also, artists who have followed in Jackson’s footsteps create similar music video, formats of Thriller, which are all situational-based as well. According to the textbook, generic criticism contains three different elements which are situational, substantive/stylistic and the organizing principle. Due to the sheer commercial success and influence Jackson created with Thriller, it is obvious why a wide variety of people from musicians, artists and people in general have been inspired by