This document provides ideas and inspiration for a music video coursework project. It discusses potential ideas like a performance video or narrative music video. Example music videos are analyzed for their filming techniques, editing, lighting, locations, and representation. The document outlines plans for the project's mise-en-scene, casting, filming approach, editing, and messaging around representation. Key elements that will be incorporated include lighting effects, location changes, close-ups, and using female performers to challenge stereotypes in rock music genres.
The document provides inspiration and ideas for Isabella's music video coursework. It discusses potential concepts like a performance video featuring the songs "Forever" and "If I Could Change Your Mind" by Haim. Example music videos are analyzed for their shots, lighting, outfits, and conventions. The document also covers considerations for mise-en-scene, casting, filming techniques, editing, and representations to include in the music video. Storyboard ideas are mentioned.
This document discusses conventions for different music genres including folk, jazz, and acoustic and provides examples. It summarizes conventions for each genre such as use of lighting, location, costumes, and film techniques. It then discusses how the research into conventions will help in planning a music video for a song that combines folk, jazz and acoustic elements. The research found conventions like close-ups, shadows, and black and white filters can help portray emotion and set the style and mood for each genre.
This document summarizes research done on several indie/alternative artists - Cosmo Pyke, Triathalon, and Inner Wave. For each artist, it briefly describes their music style and provides summaries of 1-2 of their music videos. The summaries note whether the videos include performances, lip syncing, narratives, locations, camerawork, editing styles, and costumes/aesthetics. Overall traits noted among the artists are their indie, relaxed yet stylized and unique musical styles and visual presentations.
This document summarizes research done on several indie/alternative artists - Cosmo Pyke, Triathalon, and Inner Wave. For each artist, it briefly describes their music style and provides summaries of 1-2 of their music videos. The summaries note whether the videos include performances, lip syncing, narratives, locations, camerawork, editing styles, and costumes/aesthetics. Overall traits noted among the artists are their indie, relaxed yet stylized and unique musical styles.
This document summarizes research done on various indie/alternative artists including Cosmo Pyke, Triathalon, and Inner Wave. For each artist, it analyzes 1-3 of their music videos in terms of narrative, locations, shots, lighting, costumes, and overall feel. Key elements like bright colors, casual clothing, and warm lighting are highlighted. The document concludes the common "star image" of these artists is indie, relaxed yet stylized, unique, and stands out.
This document analyzes and summarizes music videos from five rock bands: Dream Theater, Nickelback, Entity Paradigm, Avenged Sevenfold, and Pantera. For each band, it describes elements like location, camera shots, lighting, hairstyles, and makeup used in their music videos. It also provides screenshots and discusses aspects of each band's website. Overall, the document examines visual and technical components of music videos across different rock genres to identify styles and techniques that could inform the production of an original music video.
Antti Jokinen is a Finnish music video director known for his dark, gothic visual style and use of lighting. Some of his most notable works include music videos for Nightwish, Kelly Clarkson, and Westlife. In the Nightwish video for "Bye Bye Beautiful," he contrasts conventions by swapping the band members with female models. This challenges expectations and draws attention to the song's message. Jokinen is inspired by creating contrasting narratives and compositions through his innovative use of lighting, close-ups, and epic storytelling techniques.
The document discusses conventions used in music videos. It explains that camera shots like long shots, close-ups, and mid shots are used to focus on artists and establish the mood. Mise-en-scene, or the visual elements of a video, reflect the song's emotions and message through settings and costumes. Genres also influence conventions - love videos depict relationships through bright colors and fashion, while indie videos emphasize authenticity with live performances. Edits switch between locations, artists, and scenes to tell the story and match the music. Lighting and sound also reflect the genre through bright versus dark tones and fast versus slow pacing.
There are three main types of music videos: narrative videos which tell a story, conceptual videos based around a single idea, and performance videos featuring the artist. Music videos use various camera shots and angles like close-ups and tracking shots to focus attention. They also utilize editing techniques, lighting, costumes, sets and props to match the genre and mood of the song.
This document summarizes the genre conventions represented in various music videos. It discusses how Taylor Swift's "Shake It Off" incorporates different genres through costumes and settings. It also analyzes Olly Murs' "Beautiful to Me" for its natural lighting and relatable storyline. The document provides overviews of several other music videos and how they fit conventions of genres like pop, rock, alternative, country, and rap.
In the Daft Punk music video for "Get Lucky", the dark background contrasts with the glowing costumes of the performers. This creates an untraditional pop video aesthetic. The performers are filmed with close-ups that show their facial expressions and movements in time with the lyrics. Smooth editing uses continuity and cuts in beat with the music to make the video seem like it was filmed quickly and simply, despite focusing on both individuals and props.
This document provides an analysis of the music video for the song "Maybe Tomorrow" by the band Stereophonics. It discusses various technical and artistic elements of the video, including its black and white retro style, camerawork, editing techniques, use of diegetic and non-diegetic sound, and how the video relates to the lyrics and mood of the song. It analyzes how the video portrays the lead singer Kelly Jones as lonely and struggling with the pressures of fame, relating this to lyrics in the song. It also notes how the video focuses heavily on close-ups of Kelly Jones to promote him as the artist, in line with record label demands.
The music video for "Houdini" by Foster The People is a hybrid of performance and narrative elements. It begins with the band performing, but the stage lighting falls and "kills" them, beginning a narrative section. Producers in black suits then mimic the band's performance using their bodies. The video cuts between this narrative and performance sections. Throughout, close-ups of the band and lighting emphasize their performance, while the narrative and lyrics suggest artists feel constrained by the music industry.
The music video for "Girls" by The 1975 both illustrates genre conventions of indie music videos but also subverts some expectations. It begins in black and white like their typical videos but incorporates bright colors. There are many close-ups of the lead singer per record label demands. The video portrays a narrative of being trapped by clingy girls through lyrics and visuals, though it is primarily a performance-based video of the band. Motifs like their logo and monochrome styles recur across their work. The editing and shots match the music's rhythm, creating an effective overall video.
This document discusses different genres of music such as rock, pop, and hip hop. It focuses on the rock genre and its subgenres like alternative rock, hard rock, and punk rock. Examples of popular rock bands like Dream Theater, Nickelback, and Avenged Sevenfold are provided along with screenshots and descriptions of elements from their music videos. Key aspects discussed include lighting, camera shots, locations, hair and makeup styles, and logos/fonts used by different bands. The document aims to analyze these elements to help inform the creation of the author's own music video for a school project.
Heavy rock music videos typically feature dark clothing, makeup on both men and women, dark lighting, instruments like guitars and drums, and sometimes depictions of vandalism. These conventions help define the genre. R&B music videos commonly show women in minimal clothing and men in low-rise jeans, often with dancing or intimate interactions between men and women to depict relationships. Both genres rely on close-ups to show emotion and convey meaning to audiences. Effective use of camera shots, lighting effects, and relevant settings are important for the editing and mise-en-scene of both heavy rock and R&B music videos.
Heavy rock music videos typically feature dark clothing, makeup on both men and women, dark lighting, instruments like guitars and drums, and sometimes depictions of vandalism. These conventions help define the genre. R&B music videos commonly show women in minimal clothing and men in low-rise jeans and tops, with dancing or intimate interactions between men and women. They are usually set in locations like beaches, clubs, or houses. Both genres rely heavily on close-ups, revealing shots, and effects to engage audiences and convey the mood of the song through visuals as well as music.
The document summarizes and analyzes four music videos for different indie/punk rock bands. It examines how each video demonstrates characteristics of the genres through elements like clothing, instruments, and being performance-based. It also looks at how the videos create relationships between the lyrics, music, and visuals to further illustrate and amplify the song. Each video is seen to have its own unique visual style while still fitting with conventions of music videos and their respective genres.
The document discusses the music video for the song "3 in the Morning" and how its visuals relate to the song's lyrics and narrative. It notes how the video's mise-en-scene and editing techniques illustrate the protagonist's drunken state and hallucinations, matching elements like the mirrored image telling him it's time to go home and showing missed calls on his phone. Special effects are used to represent his blurred and distorted vision from drinking. Overall, the visuals are crafted to directly relate to and represent the meaning and story told in the song.
The video begins with a close-up of Usher's "U" necklace against a black background. It then cuts between shots of Usher dancing with blue lighting and other people dancing on the dance floor. Near the end, Lil Jon and Ludacris make appearances, rapping and dancing along with changing colored lights in the club setting. The video emphasizes dancing, artistic expression, and elements of the hip hop and R&B genres through its filming techniques, lighting, costumes, and multiple artists collaborating.
This document analyzes and summarizes three music videos. For the first video, "Itch" by Nothing But Thieves, the summary notes that the video has a narrative style with random moments from the protagonist's day and maintains interest through unpredictable elements. It targets a niche audience. The second video, "PARKING LOT" by VANT, is performance-based, showing a rowdy crowd at the band's show. It cuts very quickly between shots. The third video, "Hook, Line & Sinker" by Royal Blood, is a live performance with no narrative. It focuses on illustrating the instruments and changing camera techniques and lighting to match the energy of the song.
This document summarizes research done on several indie/alternative artists - Cosmo Pyke, Triathalon, and Inner Wave. For each artist, it briefly describes their music style and provides summaries of 1-2 of their music videos. The summaries note whether the videos include performances, lip syncing, narratives, locations, camerawork, editing styles, and costumes/aesthetics. Overall traits noted among the artists are their indie, relaxed yet stylized and unique musical styles.
This document summarizes research done on various indie/alternative artists including Cosmo Pyke, Triathalon, and Inner Wave. For each artist, it analyzes 1-3 of their music videos in terms of narrative, locations, shots, lighting, costumes, and overall feel. Key elements like bright colors, casual clothing, and warm lighting are highlighted. The document concludes the common "star image" of these artists is indie, relaxed yet stylized, unique, and stands out.
This document analyzes and summarizes music videos from five rock bands: Dream Theater, Nickelback, Entity Paradigm, Avenged Sevenfold, and Pantera. For each band, it describes elements like location, camera shots, lighting, hairstyles, and makeup used in their music videos. It also provides screenshots and discusses aspects of each band's website. Overall, the document examines visual and technical components of music videos across different rock genres to identify styles and techniques that could inform the production of an original music video.
Antti Jokinen is a Finnish music video director known for his dark, gothic visual style and use of lighting. Some of his most notable works include music videos for Nightwish, Kelly Clarkson, and Westlife. In the Nightwish video for "Bye Bye Beautiful," he contrasts conventions by swapping the band members with female models. This challenges expectations and draws attention to the song's message. Jokinen is inspired by creating contrasting narratives and compositions through his innovative use of lighting, close-ups, and epic storytelling techniques.
The document discusses conventions used in music videos. It explains that camera shots like long shots, close-ups, and mid shots are used to focus on artists and establish the mood. Mise-en-scene, or the visual elements of a video, reflect the song's emotions and message through settings and costumes. Genres also influence conventions - love videos depict relationships through bright colors and fashion, while indie videos emphasize authenticity with live performances. Edits switch between locations, artists, and scenes to tell the story and match the music. Lighting and sound also reflect the genre through bright versus dark tones and fast versus slow pacing.
There are three main types of music videos: narrative videos which tell a story, conceptual videos based around a single idea, and performance videos featuring the artist. Music videos use various camera shots and angles like close-ups and tracking shots to focus attention. They also utilize editing techniques, lighting, costumes, sets and props to match the genre and mood of the song.
This document summarizes the genre conventions represented in various music videos. It discusses how Taylor Swift's "Shake It Off" incorporates different genres through costumes and settings. It also analyzes Olly Murs' "Beautiful to Me" for its natural lighting and relatable storyline. The document provides overviews of several other music videos and how they fit conventions of genres like pop, rock, alternative, country, and rap.
In the Daft Punk music video for "Get Lucky", the dark background contrasts with the glowing costumes of the performers. This creates an untraditional pop video aesthetic. The performers are filmed with close-ups that show their facial expressions and movements in time with the lyrics. Smooth editing uses continuity and cuts in beat with the music to make the video seem like it was filmed quickly and simply, despite focusing on both individuals and props.
This document provides an analysis of the music video for the song "Maybe Tomorrow" by the band Stereophonics. It discusses various technical and artistic elements of the video, including its black and white retro style, camerawork, editing techniques, use of diegetic and non-diegetic sound, and how the video relates to the lyrics and mood of the song. It analyzes how the video portrays the lead singer Kelly Jones as lonely and struggling with the pressures of fame, relating this to lyrics in the song. It also notes how the video focuses heavily on close-ups of Kelly Jones to promote him as the artist, in line with record label demands.
The music video for "Houdini" by Foster The People is a hybrid of performance and narrative elements. It begins with the band performing, but the stage lighting falls and "kills" them, beginning a narrative section. Producers in black suits then mimic the band's performance using their bodies. The video cuts between this narrative and performance sections. Throughout, close-ups of the band and lighting emphasize their performance, while the narrative and lyrics suggest artists feel constrained by the music industry.
The music video for "Girls" by The 1975 both illustrates genre conventions of indie music videos but also subverts some expectations. It begins in black and white like their typical videos but incorporates bright colors. There are many close-ups of the lead singer per record label demands. The video portrays a narrative of being trapped by clingy girls through lyrics and visuals, though it is primarily a performance-based video of the band. Motifs like their logo and monochrome styles recur across their work. The editing and shots match the music's rhythm, creating an effective overall video.
This document discusses different genres of music such as rock, pop, and hip hop. It focuses on the rock genre and its subgenres like alternative rock, hard rock, and punk rock. Examples of popular rock bands like Dream Theater, Nickelback, and Avenged Sevenfold are provided along with screenshots and descriptions of elements from their music videos. Key aspects discussed include lighting, camera shots, locations, hair and makeup styles, and logos/fonts used by different bands. The document aims to analyze these elements to help inform the creation of the author's own music video for a school project.
Heavy rock music videos typically feature dark clothing, makeup on both men and women, dark lighting, instruments like guitars and drums, and sometimes depictions of vandalism. These conventions help define the genre. R&B music videos commonly show women in minimal clothing and men in low-rise jeans, often with dancing or intimate interactions between men and women to depict relationships. Both genres rely on close-ups to show emotion and convey meaning to audiences. Effective use of camera shots, lighting effects, and relevant settings are important for the editing and mise-en-scene of both heavy rock and R&B music videos.
Heavy rock music videos typically feature dark clothing, makeup on both men and women, dark lighting, instruments like guitars and drums, and sometimes depictions of vandalism. These conventions help define the genre. R&B music videos commonly show women in minimal clothing and men in low-rise jeans and tops, with dancing or intimate interactions between men and women. They are usually set in locations like beaches, clubs, or houses. Both genres rely heavily on close-ups, revealing shots, and effects to engage audiences and convey the mood of the song through visuals as well as music.
The document summarizes and analyzes four music videos for different indie/punk rock bands. It examines how each video demonstrates characteristics of the genres through elements like clothing, instruments, and being performance-based. It also looks at how the videos create relationships between the lyrics, music, and visuals to further illustrate and amplify the song. Each video is seen to have its own unique visual style while still fitting with conventions of music videos and their respective genres.
The document discusses the music video for the song "3 in the Morning" and how its visuals relate to the song's lyrics and narrative. It notes how the video's mise-en-scene and editing techniques illustrate the protagonist's drunken state and hallucinations, matching elements like the mirrored image telling him it's time to go home and showing missed calls on his phone. Special effects are used to represent his blurred and distorted vision from drinking. Overall, the visuals are crafted to directly relate to and represent the meaning and story told in the song.
The video begins with a close-up of Usher's "U" necklace against a black background. It then cuts between shots of Usher dancing with blue lighting and other people dancing on the dance floor. Near the end, Lil Jon and Ludacris make appearances, rapping and dancing along with changing colored lights in the club setting. The video emphasizes dancing, artistic expression, and elements of the hip hop and R&B genres through its filming techniques, lighting, costumes, and multiple artists collaborating.
This document analyzes and summarizes three music videos. For the first video, "Itch" by Nothing But Thieves, the summary notes that the video has a narrative style with random moments from the protagonist's day and maintains interest through unpredictable elements. It targets a niche audience. The second video, "PARKING LOT" by VANT, is performance-based, showing a rowdy crowd at the band's show. It cuts very quickly between shots. The third video, "Hook, Line & Sinker" by Royal Blood, is a live performance with no narrative. It focuses on illustrating the instruments and changing camera techniques and lighting to match the energy of the song.
The document provides ideas and planning for a music video coursework project. It discusses using the Haim songs "Forever" and "If I Could Change Your Mind" as inspiration. Example music videos are listed that use techniques like car scenes and rotating shots. Details are given for the mise-en-scene including dim lighting, location ideas, clothing styles, and casting suggestions. Camera work ideas include close-ups, wide shots, movement, and props. Editing and representation/messaging are also briefly mentioned.
The document discusses the codes and conventions used in different newspapers' layouts, images, language, and branding. It analyzes The Guardian, I News, and The Daily Mail. The Guardian focuses on balanced copy over images with a left-wing bias. I News prioritizes images and headlines in a scattered layout with a center-left stance. The Daily Mail takes a right-wing perspective with opinionated stories, celebrity gossip, and sensational language in a tabloid format.
The document discusses the generic conventions of UK tabloid newspapers. It provides examples from the front pages of The Sun, Daily Star, and Daily Mirror tabloids. Some key conventions highlighted include targeting working-class audiences, using informal language and sensational headlines, focusing covers on images over words, and presenting news as entertainment through edited photos or cartoons. The document also notes how these newspapers may sometimes subvert conventions by combining hard and soft news topics or taking unbiased political stances.
The document provides plans from Lydia and Isabella for creating mock newspaper front pages. Lydia's plan includes 6 pieces of copy with a hard headline about NHS pressure. It also includes using a formal writing style suited for ages 12-13+, an original image about phone dangers in schools, and a masthead with the name "The Daily Guide". Isabella's plan consists of 6 columns about maths at A-Level and the economy, with a headline asking if maths should be mandatory and an image of Rishi Sunak. It also includes a masthead called "The Informer" in blue. Both plans aim to emulate the styles of British broadsheet newspapers.
The document discusses different lighting techniques for photography, including under exposed, low-key lighting, standard setting, high-key lighting, over exposed, shallow focus, deep focus, monochrome, back lighting, and chiaroscuro. For each technique, the author describes how they adjusted settings like brightness, aperture, or lighting placement to achieve specific lighting effects in their photos of a water bottle.
The document outlines different photography techniques and styles for experimenting with available equipment, including monochrome portraits using shallow focus, medium long shots with deep focus, group shots, low and high key lighting, night and daytime outdoor shots, and mid shots using backlighting. Examples are provided for each technique along with an invitation to recreate some of the styles.
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APM event hosted by the South Wales and West of England Network (SWWE Network)
Speaker: Aalok Sonawala
The SWWE Regional Network were very pleased to welcome Aalok Sonawala, Head of PMO, National Programmes, Rider Levett Bucknall on 26 February, to BAWA for our first face to face event of 2025. Aalok is a member of APM’s Thames Valley Regional Network and also speaks to members of APM’s PMO Interest Network, which aims to facilitate collaboration and learning, offer unbiased advice and guidance.
Tonight, Aalok planned to discuss the importance of a PMO within project-based organisations, the different types of PMO and their key elements, PMO governance and centres of excellence.
PMO’s within an organisation can be centralised, hub and spoke with a central PMO with satellite PMOs globally, or embedded within projects. The appropriate structure will be determined by the specific business needs of the organisation. The PMO sits above PM delivery and the supply chain delivery teams.
For further information about the event please click here.
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Recall various terms of computer and its part
Understand the meaning of software, operating system, programming language and its features
Comparing Data Vs Information and its management system Understanding about various concepts of management information system
Explain about networking and elements based on internet
1. Recall the various concepts relating to computer and its various parts
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Title:
Lecture Notes - Unit IV - The Network Layer
Description:
Welcome to the comprehensive guide on Computer Network concepts, tailored for final year B.Sc. Computer Science students affiliated with Alagappa University. This document covers fundamental principles and advanced topics in Computer Network. PDF content is prepared from the text book Computer Network by Andrew S. Tenanbaum
Key Topics Covered:
Main Topic : The Network Layer
Sub-Topic : Network Layer Design Issues (Store and forward packet switching , service provided to the transport layer, implementation of connection less service, implementation of connection oriented service, Comparision of virtual circuit and datagram subnet), Routing algorithms (Shortest path routing, Flooding , Distance Vector routing algorithm, Link state routing algorithm , hierarchical routing algorithm, broadcast routing, multicast routing algorithm)
Other Link :
1.Introduction to computer network - /slideshow/lecture-notes-introduction-to-computer-network/274183454
2. Physical Layer - /slideshow/lecture-notes-unit-ii-the-physical-layer/274747125
3. Data Link Layer Part 1 : /slideshow/lecture-notes-unit-iii-the-datalink-layer/275288798
Target Audience:
Final year B.Sc. Computer Science students at Alagappa University seeking a solid foundation in Computer Network principles for academic.
About the Author:
Dr. S. Murugan is Associate Professor at Alagappa Government Arts College, Karaikudi. With 23 years of teaching experience in the field of Computer Science, Dr. S. Murugan has a passion for simplifying complex concepts in Computer Network
Disclaimer:
This document is intended for educational purposes only. The content presented here reflects the author’s understanding in the field of Computer Network
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2. Type of Music Video:
The music video is going to be a mix between a narrative and a performance video.
3. Example music videos/ ideas to add:
Olivia Rodrigo Music Videos:
Get him Back!- Olivia Rodrigo
https://www.youtube.com/watch?v=ZsJ-BHohXRI
This music video isn't necessarily a performance video however, I like the look of how the shots are made as they move into each other (Car scenes and the way the moving/ rotating
shots into each other). This music video would be considered as a narrative music video but some conventions like the outfits and the locations (the street) can be seen in many rock
music videos.
Obsessed- Olivia Rodrigo
In this music video, there is a main narrative that runs throughout. However, it interjects with clips of the artist and a band performing in what looks like a function room. The way
that the performance comes into the narrative is what I want my video to look like.
Obsessed live performance- Olivia Rodrigo
This is a performance video of Olivia Rodrigo singing on an empty stage. During the chorus of my music video, I want to use the same camerawork.
The Aces Music Videos:
Girls make me wanna die- The Aces
This contains a narrative but there are shots of the band performing that is seen in between the shots of the narrative. There are shots of the singer and the band behind at a high
angle which I like. This sort of curves the background. Denim jackets, and black clothing are frequent which can go with the codes and conventions of the grudge/ rock look.
Don't Freak- The Aces
The video is mainly performance based but includes a small narrative about the singer. The video is shot in black and white to maintain the moody rock feel. In the beginning
Stuck- The Aces
This music video starts off with someone playing a vinyl and then walks off into a different room. The band then appear under disco lights with guitars and microphones. The room
appears to be a living room with the lights turning darker to achieve a back lighting effect. It then cuts to them dancing/ being in shots individually. The dark lighting then turns back
to the disco lights. The dark lighting creates a ghost like effect where you can only see the outline of the people. The editing is fast paced as it moves in time with the music.
4. If I could change your mind- HAIM
https://www.youtube.com/watch?v=Ljg6g7BAdQo&pp=ygUbaWYgaSBjb3VsZCBjaGFuZ2UgeW91ciBtaW5k
This music video is a performance video. In the beginning three women are performing on a rotating circle, and they take turns to sing to the camera. They are seen to be wearing leather clothing which fits in with the typical
conventions of a rock clothing. It features sharp cuts of them doing sudden movements (such as snapping their fingers at the same time). Close up shots are frequent with them looking moody and the lighting covers a small
proportion of their face. At 20 seconds it then changes to them dancing in sync to the music with a red background with low key lighting. At 1:06 seconds they are then filmed on a stage dancing with their band name in the
background. They are then cut back to the rotating stage with them playing the guitar, a bass and the drums. At 2:03 seconds they are filmed with a instruments on stage. In terms of representation, it can be seen to face many
stereotypes as the three women make up the band. In many rock bands, it tends to be male dominated, so this deconstructs the preconceived ideas.
The Sound- The 1975
https://www.youtube.com/watch?v=FSnAllHtG70&pp=ygUJdGhlIHNvdW5k
This music video starts off with a gradual zoom into a box in the middle of a room where the band is in. Short clips are put together to introduce the different components of the song. Pink lighting is seen throughout the video.
Eyeliner, black nail polish and leather jackets are seen on the band members which goes with the codes and conventions. The lighting then changes back to regular white lighting. Close ups of the singer and the rest of the band
are shown as they are performing with instruments e.g. guitars, bass, drums, microphones. Other people are then seen to come into the shot and surround the box that the band are in. Eventually smoke starts to fill up the box.
They then are filmed outside of the box while sitting.
(Close ups of the singer)
Give it Up- The Beaches
Performance video of the band playing their instruments, e.g. drums, keyboard, guitar, microphones. It is in a studio room with a white background. It interjects with slow motion clips and shots that have been edited to look like an
infrared camera. They are wearing outfits that fit into the genre of rock music including dark clothing, mismatched clothes, boots and black tights. They are also wearing dark makeup such as the eyeliner. There is a lot of hair
movement and jumping in slow motion.
Celebrity Skin- Hole
https://www.youtube.com/watch?v=O3dWBLoU--E
I am using this as inspiration for some of the clothes that the band are using because as mention in my planning production, I want to challenge conventions by using bright colours.
NEW:
I don’t wanna live forever
The Sound
Tell me
5. Play the Greatest Hits- Wolf Alice:
https://www.youtube.com/watch?v=bhWAx67iGyc
6. Play the Greatest Hits- Wolf Alice:
Mise-en-Scene:
In the Play the Greatest Hits music video, it is heavily focused on the movement, camera angles, lighting and body
language.
Movement: It is a very upbeat song where both the camera shots and people are moving very rapidly. The camera
angles can be seen as 'all over the place' and 'messy' to create a grunge/ rock feel that many rock videos do. The
high energy of the video makes the audience almost 'join in' and 'move' to the music, in order to maintain a high-
quality performance. The spinning type camera shots link to the erratic behaviour of the singer and the video so
that the video can create a 'dizzy-like' effect.
Lighting: The lighting is a key feature for the music video, as it uses bold but dark colours. In the background there
is a bright blue and shining on the singers' face is a red light. Similarly to the movement, the lighting creates a
'fever dream' effect. It represents the unusuality of the video.
Camera angles: The camera angles tend to be close up shots of the singer and her face. This makes the audience
feel as though they are entering the mind of the singer as she sings the lyrics. The camera also takes long
exposure shots of the people in the crowd dancing to link to the 'fever dream' idea.
Body Language and Facial Expressions: The singer creates very strange facial expressions in the music video, to
create an unusual persona. It is as though the singer is experiencing a dream or a night out. Other than the singer
herself, there are other people featured in the video. These people are dancing in a 'disorderly manner' to add to
the strange vibe of the video.