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Aleix Herreras Carrera
Universitat Internacional de Catalunya
Espanha
https://orcid.org/0000-0002-9425-5340
v. 8 (2022), Artículos
DOI: https://doi.org/10.15304/marco.id8597
plugins.themes.xejournal.currentIssueSubmitted: 30-07-2022 plugins.themes.xejournal.currentIssueAccepted: 21-12-2022 plugins.themes.xejournal.currentIssuePublished: 29-12-2022
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Resumo

Este artigo parte da observação dos spots coletados no Museu da Imagem em Movimento e nos canais do YouTube dos candidatos à presidência dos Estados Unidos. Somente na década de 1980 é que o uso da música foi normalizado nesse tipo de publicidade. Há um uso decrescente do jingle e uma melhora na integração devido à congruência e complementaridade dos significados fornecidos pela música. Na década de noventa há um claro aumento no número de spots lançados, por meio dos quais se estabelecem seus clichês estilísticos musicais mais característicos. No século XXI, os recursos musicais da publicidade emocional estão sendo integrados, e atualmente está se normalizando um sensacionalismo que absorve o estilo do trailer cinematográfico. Por meio da música, o spot distingue o propósito do anunciante e indica palavras com silêncios ou outros recursos musicais.

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