Who does what with music videos in Israel

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. © 1997 Elsevier Science B.V. All rights reserved.