This music video uses a combination of narrative and metaphorical elements to connect the visuals with the lyrics of the song. When the lyrics mention "she fights for her life", the visuals show a dramatic change in the bed sheets from light to dark colors. As the mood and tempo of the song changes from verse to chorus, the visuals also change dramatically. Props around the bed like coffee and a book suggest the woman is dreaming as she lies in bed. The pure and clean visuals maintain an innocent tone throughout the video as the woman's narrative is conveyed through the changing lyrics and music.
This music video for "Skinny Genes" by Eliza Doolittle uses animation and paper-like transitions to represent the lyrics metaphorically. Close-ups of the artist engage the audience as she dances and lip syncs. Though there is no narrative, the bright colors, comical gestures, and sense of joy portray the artist's happy-go-lucky personality. In comparison, the music video for "Amaranth" by Nightwish uses a darker aesthetic, faster pacing, and imagery of blood and fallen angels to represent the heavy metal genre in a more serious tone. Meanwhile, Owl City's "Fireflies" depicts a dream-like world through props like toys and a young boy's room to match
The music video for "On the Floor" by Jennifer Lopez featuring Pitbull depicts a dance party scene in Los Angeles featuring elaborate choreography and costumes. It draws from various dance music genres like electro house, electropop, eurodance, and Latin music. Fans were able to vote on their preferred ending for the video, allowing audience participation.
The document provides an analysis of the music video for the song "Homesick" by the indie rock band Catfish and the Bottlemen. It discusses several characteristics of the music video that demonstrate genres, including the band's clothing, hairstyles, and choice of instruments that are typical of indie rock. It also analyzes relationships between the music, lyrics, and visual elements of the video in terms of illustrating, amplifying, or contradicting different aspects. Intertextual references are made to other films featuring indie rock bands.
The document discusses various techniques used in music videos that were researched and incorporated into the student's own music video project. These include linking the visuals to lyrics, syncing shots with the music, using conventions of the pop genre like effects and gazes, and challenging some conventions by using simpler clothing styles. The student aimed to tell a narrative story through their video and received feedback that their use of music-to-video synchronization was successful at engaging the audience.
This document provides an analysis of the music video for Dua Lipa's song "New Rules". It discusses several features of the video in relation to typical conventions of music video genres. It notes that the video demonstrates characteristics of the pop genre through its minimal scenery, bright coloring, close-ups of the artist, and emphasis on Dua Lipa's styling and appearance. It also analyzes how the video creates relationships between the lyrics, music, and visuals to engage the audience. Motifs like Dua Lipa's consistent visual style and the use of "screen within screen" are also discussed.
The document summarizes Andrew Goodwin's theory on characteristics commonly found in music videos. Some key points include:
1) Music videos often demonstrate genre characteristics through their visuals, such as stage performances for metal videos and dance routines for boy bands.
2) There is frequent emphasis on notions of looking and voyeuristic treatment of the female body through props like mirrors and cameras.
3) Lyrics are commonly represented through visuals in illustrative, amplifying or contradictory ways.
The document then provides examples to illustrate these and other common music video techniques.
Task 8/9 - Music Video Analysis Powerpoint Finishedluke kennett
油
The music video for "Blinded By The Lights" by The Streets accurately depicts the story told in the song's lyrics through its visuals. It shows both the actions in the story and the emotions and confusion felt by the artist due to the drugs. Shaky camera work and blurred shots portray how messed up the character feels. The video represents both the good and bad effects of drug use.
The document discusses various theories related to music videos and how they apply to the student's music video "Miss You So". It examines Goodwin's theory of key features of music videos including beat, artist shots, relationship between visuals and lyrics, narrative, and technical aspects. It also discusses Barthes' codes, Levi-Strauss' binary oppositions, Todorov's narrative structure, postmodern elements, mise-en-scene considerations like costumes and location, editing techniques, and sound and packaging design. The student aims to both challenge and reinforce conventions through experimental elements like flashbacks and rewinding while maintaining conventional close-ups, transitions, and emphasis on the artist.
The video for "Mr. Brightside" by The Killers depicts a burlesque show setting with voyeuristic overtones. The lead singer feels jealousy as his love interest pays attention to another wealthy man. Various shots are used including close-ups of the singer and love interest. Jump cuts between the performance and narrative depict the story of the love triangle through the song's lyrics.
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.
The document outlines 7 key ideas for analyzing music videos, including how they demonstrate genre characteristics and relate lyrics and visuals. It then provides an analysis of Katy Perry's "Thinking of You" music video. The summary is:
Katy Perry's "Thinking of You" music video tells a narrative that illustrates the song's lyrics about a couple separated by war. It uses techniques common in pop music videos like performance clips and neutral colors. The visuals have strong relationships with both the lyrics and music through illustrating the story and cutting along the beat. Close-ups of Perry also promote her as an artist. While featuring risqu辿 costumes, the camerawork focuses on emotions rather than being overtly sexual.
The music video for Cinnamon Chasers' "Luv Deluxe" tells a narrative story without lyrics by using effective mis-en-scene and point-of-view shots. It follows two characters who meet, run away together partying and taking drugs in various locations, until eventually killing each other. The Naked and Famous' "All of This" video is predominantly a performance video, but also includes symbolic shots of objects relating to the lyrics. Robyn's "Be Mine" combines a performance video with narrative elements as she encounters an ex while singing about unrequited love.
The document provides an analysis of the music video for "Lean On" by Major Lazer. It finds some relationships between the lyrics and visuals but also instances where they do not match. It notes that the video cuts to the beat of the music. The artist is portrayed sexually to appeal to younger audiences, and girls in the video are dressed provocatively and dance in a sexualized manner. While there are no references to other works, the video is similar to Major Lazer's other videos in its focus on dance and use of girls. The video is deemed more conceptual than narrative-based due to its random dancing without a story.
The music video for Bastille's "Oblivion" follows the narrative of their previous video "Flaws" and does not feature the band members. It focuses on a female actress lip syncing the song in the middle of a demolition derby arena. Technical elements like camera work, lighting, and editing create a sense of realism and intensity that builds throughout the video. Intercut scenes provide context about the dangers of demolition derbies and the community they create. By the end, the actress appears nervous but determined to take part in the competition herself, continuing the story and themes of risk, destruction, and "oblivion" from the previous video.
The music video for Taylor Swift's "Love Story" tells the narrative of Swift's character falling in love with a man from a forbidden family. It uses techniques like jump cuts and close-ups to advance the story and elicit emotion from viewers. The video draws influences from Shakespeare's Romeo and Juliet with references to the famous lovers and a similar plot of forbidden love. It primarily uses a narrative structure to depict the story described in the song's lyrics.
Goodwin's theory proposes 8 key parts that can be applied to analyzing music videos: 1) links between lyrics and visuals, 2) links between music and visuals, 3) genre characteristics, 4) intertextual references, 5) notions of looking or eye candy, 6) voyeurism of looking into an artist's life, 7) demands of the record label, and 8) performance, narrative or concept-based styles. The document provides examples of how music videos by The Script, Pixie Lott, Demi Lovato, Eminem, Foo Fighters and Green Day demonstrate these different elements of Goodwin's theory.
Post 4 - External Group Music Video Analysisvcolquhoun12
油
1. The video analyzes three different music videos: We The Wild - You Lost My Mind, The Kooks - Forgive & Forget, and Sam Smith - I'm Not The Only One.
2. For the first video, it notes the indie theme and use of animation synced to the music. Shots of the singer are used to depict him "losing his mind".
3. For the second video, it discusses the tongue-in-cheek nature of the lyrics and use of identical female dancers and voyeurism. Live shots of the band performing are a main focus.
4. For the third video, it provides details on the story of a married couple dealing with infidelity
The document provides information about creating a music video for the song "To Anyone" by the indie rock band Crystal Whites. It discusses comparing the song to similar music videos to determine themes. It also analyzes lyrics and discusses using band members in the video to make it feel realistic. Location ideas and influences from other young bands' videos are presented. Elements of the rock/indie music video genre like focusing on performance over narrative and using natural low-budget settings are also covered.
The document analyzes the music video for the song "Carry Me" by the indie band Bombay Bicycle Club. It discusses several aspects of the video, including how it demonstrates genre characteristics of the indie genre through its unique animation style and lack of close-ups of the artist. It also examines relationships between the lyrics and visuals, music and visuals, use of motifs, notions of looking, and lack of intertextual references. Overall, the summary demonstrates how the video conveys the band's original style while also incorporating some common music video conventions.
Florence + The Machine "Dog Days Are Over" music video textual analysisHelen1245
油
The document analyzes Florence + the Machine's music video for "Dog Days Are Over." It summarizes that the video uses interpretive visuals that don't directly match the lyrics, featuring Florence being blindfolded by a wild woman. While some visuals coincide with lyrics about movement, most are left for viewer interpretation to match Florence's artistic style. The video also synchronizes its fast cuts and pacing with the changing music to engage viewers.
The video for Haim's "If I Could Change Your Mind" is mainly performance based, showing the band singing and dancing with their instruments under dim lighting throughout. While the lyrics don't directly relate to the visuals, the dark setting matches the deep meaning of the lyrics. Little Comet's "Joanna" video tells a narrative story through visuals that connect to the lyrics about one-night stands. The xx's "Crystalised" is also performance based with the band playing guitars and singing without a connecting narrative, using dark tones that reflect the song's mood.
The video summarizes Eminem's music video "When I'm Gone" in the following ways:
1) It shows Eminem's chaotic lifestyle through flashbacks as he raps about his life flashing before his eyes, with the visuals changing quickly between settings.
2) It presents Eminem in a vulnerable light as he confesses his past wrongdoings to a support group and emphasizes his love for his daughter to elicit empathy from the audience.
3) Towards the end, the camera work slows down and uses high key lighting on Eminem and his daughter during a happy moment in the garden, implying he now has control over his life and finds happiness in his family
The music video takes a narrative genre, telling the story of a woman leaving her partner. She packs up his belongings and embarks on a trip with friends to recreate an explosion seen on TV, blowing up his things on a yacht. Various shots and imagery are used to illustrate the song's meaning and show the woman gaining power and freedom. Stylistic elements like costumes, locations, and camerawork emphasize themes of empowerment, criminality, and the characters' control over their lives.
Music Video Analysis, Black Magic-Little MixCharlottehull
油
The video for Little Mix's "Black Magic" demonstrates several characteristics of the pop genre. It follows four unpopular girls who find a magic recipe that transforms them into attractive, popular characters. Throughout the video, there are shots of both the whole band and individual members, reflecting pop music video conventions. The girls' fashionable outfits and popularity also represent typical pop genre traits. The video creates a relationship between the lyrics and visuals by showing scenes that relate to the song's words. It also synchronizes the tone and atmosphere of the visuals with the music's beat and rhythm.
The music video for "Robbers" by The 1975 employs various narrative techniques. It tells the parallel stories of a couple robbing a store to fund their drug addiction, showing scenes that foreshadow their plans going wrong. While their love for each other is the central theme, the video also features elements like flashbacks, ambiguity, and symbolism to leave room for multiple interpretations. Fans enjoy piecing together the narrative codes and applying theories like binary opposites to understand the characters and their motivations. Overall, the complex narrative styles used make the video a distinctive representation of the indie genre.
This summarizes a document analyzing several music videos based on music video theory. It discusses Foster the People's "Call it What You Want" video, noting how it represents the band's indie genre through casual outfits and setting. Various shots link to lyrics, like a cracked wall representing breaking from ideas. It also shows an aspirational lifestyle but implies money doesn't buy happiness. For Arctic Monkeys' "One for the Road", the video introduces the song title through a woman's jacket and uses closeups and setting to represent the indie genre. Shots of a tractor link to the "one for the road" lyrics. Overall, the summary analyzes how the videos represent their genres and connect visually to the songs' lyrics
This document analyzes and summarizes several music videos using film theory concepts. It discusses characteristics commonly found in indie/alternative music videos like dim lighting, bands performing with instruments, and casual appearances. It also analyzes specific shots and scenes in the videos for Two Door Cinema Club - "What You Know", Arctic Monkeys - "When The Sun Goes Down", and The Vaccines - "If You Wanna" in relation to theories about the relationship between visuals and lyrics, star images, narrative/storytelling, and aesthetics.
Wolf Alice is a four-piece alternative rock band from London. Their music video for "You're a Germ" tells a horror narrative story through exaggerated facial expressions and amplified scenes that represent the lyrics. There are clear relationships between the lyrics, music, and visuals as events in the video heighten with the music and specific shots represent lyrics. Close-ups are used to focus on lead singer Ellie Rowsell and allow the audience to follow the story from different perspectives without directly addressing the camera like a conventional performance video.
The video for Jason Mraz's song "The Woman I Love" is analyzed. It is determined to be in the indie genre based on various conventions seen in the video, such as the symbolic representation of lyrics rather than literal, casual clothing of Mraz, and focus on emotion over performance. The camera work utilizes mid shots, medium close ups, and dolly shots of both Mraz and the woman to show emotion and connect the audience. The video effectively markets the artist by promoting his appealing appearance and allowing the music to reach a wide audience through online sharing. It aims to attract young women aged 14-26 by portraying an aspirational lifestyle and relationship.
The document discusses different styles of music videos, including impressionist, surrealist, voyeuristic, allusion, inter-textual, and interpretive styles.
For impressionist style, Katy Perry's "Firework" and "Wide Awake" videos are cited as examples that create a fantasy world through soft lighting and colors. Surrealist videos like LSD's "No New Friends" depict dream-like worlds. Voyeuristic videos like Katy Perry's "Bon Appetite" and Badshah's "Tareefan" feature the objectification of women. Videos with allusion styles like Train's "50 Ways to Say Goodbye" include unexpected twists. Ariana
The video for "Mr. Brightside" by The Killers depicts a burlesque show setting with voyeuristic overtones. The lead singer feels jealousy as his love interest pays attention to another wealthy man. Various shots are used including close-ups of the singer and love interest. Jump cuts between the performance and narrative depict the story of the love triangle through the song's lyrics.
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.
The document outlines 7 key ideas for analyzing music videos, including how they demonstrate genre characteristics and relate lyrics and visuals. It then provides an analysis of Katy Perry's "Thinking of You" music video. The summary is:
Katy Perry's "Thinking of You" music video tells a narrative that illustrates the song's lyrics about a couple separated by war. It uses techniques common in pop music videos like performance clips and neutral colors. The visuals have strong relationships with both the lyrics and music through illustrating the story and cutting along the beat. Close-ups of Perry also promote her as an artist. While featuring risqu辿 costumes, the camerawork focuses on emotions rather than being overtly sexual.
The music video for Cinnamon Chasers' "Luv Deluxe" tells a narrative story without lyrics by using effective mis-en-scene and point-of-view shots. It follows two characters who meet, run away together partying and taking drugs in various locations, until eventually killing each other. The Naked and Famous' "All of This" video is predominantly a performance video, but also includes symbolic shots of objects relating to the lyrics. Robyn's "Be Mine" combines a performance video with narrative elements as she encounters an ex while singing about unrequited love.
The document provides an analysis of the music video for "Lean On" by Major Lazer. It finds some relationships between the lyrics and visuals but also instances where they do not match. It notes that the video cuts to the beat of the music. The artist is portrayed sexually to appeal to younger audiences, and girls in the video are dressed provocatively and dance in a sexualized manner. While there are no references to other works, the video is similar to Major Lazer's other videos in its focus on dance and use of girls. The video is deemed more conceptual than narrative-based due to its random dancing without a story.
The music video for Bastille's "Oblivion" follows the narrative of their previous video "Flaws" and does not feature the band members. It focuses on a female actress lip syncing the song in the middle of a demolition derby arena. Technical elements like camera work, lighting, and editing create a sense of realism and intensity that builds throughout the video. Intercut scenes provide context about the dangers of demolition derbies and the community they create. By the end, the actress appears nervous but determined to take part in the competition herself, continuing the story and themes of risk, destruction, and "oblivion" from the previous video.
The music video for Taylor Swift's "Love Story" tells the narrative of Swift's character falling in love with a man from a forbidden family. It uses techniques like jump cuts and close-ups to advance the story and elicit emotion from viewers. The video draws influences from Shakespeare's Romeo and Juliet with references to the famous lovers and a similar plot of forbidden love. It primarily uses a narrative structure to depict the story described in the song's lyrics.
Goodwin's theory proposes 8 key parts that can be applied to analyzing music videos: 1) links between lyrics and visuals, 2) links between music and visuals, 3) genre characteristics, 4) intertextual references, 5) notions of looking or eye candy, 6) voyeurism of looking into an artist's life, 7) demands of the record label, and 8) performance, narrative or concept-based styles. The document provides examples of how music videos by The Script, Pixie Lott, Demi Lovato, Eminem, Foo Fighters and Green Day demonstrate these different elements of Goodwin's theory.
Post 4 - External Group Music Video Analysisvcolquhoun12
油
1. The video analyzes three different music videos: We The Wild - You Lost My Mind, The Kooks - Forgive & Forget, and Sam Smith - I'm Not The Only One.
2. For the first video, it notes the indie theme and use of animation synced to the music. Shots of the singer are used to depict him "losing his mind".
3. For the second video, it discusses the tongue-in-cheek nature of the lyrics and use of identical female dancers and voyeurism. Live shots of the band performing are a main focus.
4. For the third video, it provides details on the story of a married couple dealing with infidelity
The document provides information about creating a music video for the song "To Anyone" by the indie rock band Crystal Whites. It discusses comparing the song to similar music videos to determine themes. It also analyzes lyrics and discusses using band members in the video to make it feel realistic. Location ideas and influences from other young bands' videos are presented. Elements of the rock/indie music video genre like focusing on performance over narrative and using natural low-budget settings are also covered.
The document analyzes the music video for the song "Carry Me" by the indie band Bombay Bicycle Club. It discusses several aspects of the video, including how it demonstrates genre characteristics of the indie genre through its unique animation style and lack of close-ups of the artist. It also examines relationships between the lyrics and visuals, music and visuals, use of motifs, notions of looking, and lack of intertextual references. Overall, the summary demonstrates how the video conveys the band's original style while also incorporating some common music video conventions.
Florence + The Machine "Dog Days Are Over" music video textual analysisHelen1245
油
The document analyzes Florence + the Machine's music video for "Dog Days Are Over." It summarizes that the video uses interpretive visuals that don't directly match the lyrics, featuring Florence being blindfolded by a wild woman. While some visuals coincide with lyrics about movement, most are left for viewer interpretation to match Florence's artistic style. The video also synchronizes its fast cuts and pacing with the changing music to engage viewers.
The video for Haim's "If I Could Change Your Mind" is mainly performance based, showing the band singing and dancing with their instruments under dim lighting throughout. While the lyrics don't directly relate to the visuals, the dark setting matches the deep meaning of the lyrics. Little Comet's "Joanna" video tells a narrative story through visuals that connect to the lyrics about one-night stands. The xx's "Crystalised" is also performance based with the band playing guitars and singing without a connecting narrative, using dark tones that reflect the song's mood.
The video summarizes Eminem's music video "When I'm Gone" in the following ways:
1) It shows Eminem's chaotic lifestyle through flashbacks as he raps about his life flashing before his eyes, with the visuals changing quickly between settings.
2) It presents Eminem in a vulnerable light as he confesses his past wrongdoings to a support group and emphasizes his love for his daughter to elicit empathy from the audience.
3) Towards the end, the camera work slows down and uses high key lighting on Eminem and his daughter during a happy moment in the garden, implying he now has control over his life and finds happiness in his family
The music video takes a narrative genre, telling the story of a woman leaving her partner. She packs up his belongings and embarks on a trip with friends to recreate an explosion seen on TV, blowing up his things on a yacht. Various shots and imagery are used to illustrate the song's meaning and show the woman gaining power and freedom. Stylistic elements like costumes, locations, and camerawork emphasize themes of empowerment, criminality, and the characters' control over their lives.
Music Video Analysis, Black Magic-Little MixCharlottehull
油
The video for Little Mix's "Black Magic" demonstrates several characteristics of the pop genre. It follows four unpopular girls who find a magic recipe that transforms them into attractive, popular characters. Throughout the video, there are shots of both the whole band and individual members, reflecting pop music video conventions. The girls' fashionable outfits and popularity also represent typical pop genre traits. The video creates a relationship between the lyrics and visuals by showing scenes that relate to the song's words. It also synchronizes the tone and atmosphere of the visuals with the music's beat and rhythm.
The music video for "Robbers" by The 1975 employs various narrative techniques. It tells the parallel stories of a couple robbing a store to fund their drug addiction, showing scenes that foreshadow their plans going wrong. While their love for each other is the central theme, the video also features elements like flashbacks, ambiguity, and symbolism to leave room for multiple interpretations. Fans enjoy piecing together the narrative codes and applying theories like binary opposites to understand the characters and their motivations. Overall, the complex narrative styles used make the video a distinctive representation of the indie genre.
This summarizes a document analyzing several music videos based on music video theory. It discusses Foster the People's "Call it What You Want" video, noting how it represents the band's indie genre through casual outfits and setting. Various shots link to lyrics, like a cracked wall representing breaking from ideas. It also shows an aspirational lifestyle but implies money doesn't buy happiness. For Arctic Monkeys' "One for the Road", the video introduces the song title through a woman's jacket and uses closeups and setting to represent the indie genre. Shots of a tractor link to the "one for the road" lyrics. Overall, the summary analyzes how the videos represent their genres and connect visually to the songs' lyrics
This document analyzes and summarizes several music videos using film theory concepts. It discusses characteristics commonly found in indie/alternative music videos like dim lighting, bands performing with instruments, and casual appearances. It also analyzes specific shots and scenes in the videos for Two Door Cinema Club - "What You Know", Arctic Monkeys - "When The Sun Goes Down", and The Vaccines - "If You Wanna" in relation to theories about the relationship between visuals and lyrics, star images, narrative/storytelling, and aesthetics.
Wolf Alice is a four-piece alternative rock band from London. Their music video for "You're a Germ" tells a horror narrative story through exaggerated facial expressions and amplified scenes that represent the lyrics. There are clear relationships between the lyrics, music, and visuals as events in the video heighten with the music and specific shots represent lyrics. Close-ups are used to focus on lead singer Ellie Rowsell and allow the audience to follow the story from different perspectives without directly addressing the camera like a conventional performance video.
The video for Jason Mraz's song "The Woman I Love" is analyzed. It is determined to be in the indie genre based on various conventions seen in the video, such as the symbolic representation of lyrics rather than literal, casual clothing of Mraz, and focus on emotion over performance. The camera work utilizes mid shots, medium close ups, and dolly shots of both Mraz and the woman to show emotion and connect the audience. The video effectively markets the artist by promoting his appealing appearance and allowing the music to reach a wide audience through online sharing. It aims to attract young women aged 14-26 by portraying an aspirational lifestyle and relationship.
The document discusses different styles of music videos, including impressionist, surrealist, voyeuristic, allusion, inter-textual, and interpretive styles.
For impressionist style, Katy Perry's "Firework" and "Wide Awake" videos are cited as examples that create a fantasy world through soft lighting and colors. Surrealist videos like LSD's "No New Friends" depict dream-like worlds. Voyeuristic videos like Katy Perry's "Bon Appetite" and Badshah's "Tareefan" feature the objectification of women. Videos with allusion styles like Train's "50 Ways to Say Goodbye" include unexpected twists. Ariana
The document analyzes genre characteristics, lyrics and visuals, music and visuals, close ups, and digipak/album designs of the music videos "The Man Who Can't Be Moved" by The Script and "Juliet" by Lawson. Some key points:
1) The videos incorporate conventions of both rock (dark colors, live performances) and pop (lead singer at front, inclusion of natural light).
2) Visuals strongly connect to lyrics through illustrative matching of scenes to words.
3) Close ups are used frequently on faces to convey emotion and build connection with viewers.
4) Digipaks and album covers/posters feature band images and information clearly while
The document provides an analysis of genre characteristics, lyrics and visuals, and music and visuals in the music videos for "The Man Who Can't Be Moved" by The Script and "Juliet" by Lawson. Some key points made:
- Both videos include conventions of live performance but incorporate elements of both pop and rock genres.
- Visuals in both videos closely connect to and illustrate the lyrics being sung.
- Lighting, costumes, and close-ups of instruments follow conventions more of the rock genre.
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 for music videos in the rock/pop punk genre. It analyzes several existing music videos to identify typical elements. Key conventions identified include showing the band playing their instruments, incorporating live performance elements like crowds, portraying the band as relatable and not overly polished, including elements of rebellion or controversy, and focusing on the music over visuals or story. The document concludes that incorporating these elements like live instrumentation, energy and movement, and some comedy will help make an original music video successful in representing the genre.
This document discusses various conventions commonly found in music videos across different genres. It covers conventions related to performance, narrative, concept, introductions/outros, promoting the artist, choreography, editing techniques like cuts/fades and slow motion, pace/transitions, mise-en-scene elements like costume and lighting, and how conventions illustrate the genre. Specific music video examples are provided for many different genres to show how they either meet or challenge typical conventions for that style of music.
The document analyzes 6 music videos across different genres. It discusses relationships between lyrics and visuals, music and visuals, genre characteristics, and intertextuality. Key points include:
1) Music videos from alternative genres like Bastille may not directly amplify the meaning of songs through visuals in the same way pop videos do.
2) Rock videos typically feature bands performing throughout, while rap videos often depict aspirational lifestyles through clothing, money, and crime references.
3) Videos match pacing and cuts to beats and instruments in songs to enhance audience experience.
4) Intertextuality in Jay-Z and Justin Timberlake's "Holy Grail" references the biblical
The document outlines Goodwin's theory for analyzing music videos. It discusses five key aspects to examine: 1) The relationship between the lyrics, music, and visuals, 2) The narrative and performance, 3) Developing the star image, 4) Genre characteristics, and 5) Emphasis on the artist's appearance. Goodwin argues that an effective music video synchronizes the cuts and edits with the song's rhythm. It also establishes motifs to promote the artist's brand. Often the "male gaze" is used to appeal to male audiences through voyeurism and objectification of women.
This music video for "The Ghost of You" by My Chemical Romance uses several techniques from Andrew Goodwin's music video theory. It draws on conventions of the rock genre but subverts expectations by being narrative-driven rather than focused on performance. The video is set in 1940s-era America during war time and contrasts scenes of dancing with scenes of battle. It establishes characters and relationships through costumes, lyrics, and music tempo that link to the narrative. Close-ups of the band members also help develop their iconic styles.
This document contains summaries of two music videos:
1) Jack Penate's "Have I Been a Fool" depicts the artist running through a neighborhood and interacting with various girls, representing his promiscuous behavior as a "rockstar" stereotype. It uses lighting and camerawork to convey intimacy between him and the girls.
2) You Me at Six's "Kiss and Tell" shows the band performing at a wild house party, portraying the rock and roll lifestyle through quick cuts, crowds, and rough camera movements meant to immerse the viewer. The video balances performance scenes with depictions of the ongoing party.
Francesqa - Ghosts - Music Video Analysisharrywbfmv
油
The music video opens with shots of the band playing powerfully in an abandoned studio, representing their independence. Scenes show the singer wandering alone and lyrics about forgetting dreams, suggesting he's trying to move past difficulties. Shots alternate between the band's performance and a narrative of the singer and a woman whose white dress signifies innocence. Their intimate scenes seem to depict a relationship, but later they are shown separately, implying it has ended. The video effectively balances literal and metaphorical connections between lyrics and visuals.
A2 Media Coursework - Research - Music Video Analysis 6XTAwojobi
油
The document provides an analysis of six music videos from different genres:
1) ScHoolboy Q's "Collard Greens" - A hip hop video that conforms to commercial genre conventions like partying lifestyles.
2) Tyler, The Creator's "IFHY" - A concept-based narrative video using dolls to depict the artist's frustration in a relationship.
3) Erykah Badu's "Honey" - A neo soul video paying homage to origins through a record store setting and album cover impersonations.
4) The Verve's "Bittersweet Symphony" - A performance-based rock video conveying emotionlessness through the artist's expression.
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.
The music video for "She Is The New Thing" by The Horrors depicts the relationship between the singer and a woman through illustrations on a notepad. It uses a combination of animation and live footage of the band. The illustrations show the woman transforming into a monster that kills the band members, representing how the singer's view of her changed from attraction to disappointment. The video blends with the song's theme of love being a "disease" and presents a negative view of relationships through its disturbing imagery and storytelling through drawings.
The purpose of a music video is to market a song and artist. It aims to portray the artist appropriately for the genre's gender and as a role model. Artists are shown according to age, gender and genre to avoid negative attention.
The music video for "Wake Me Up When September Ends" by Green Day establishes a couple kissing in a field before cutting to close-ups of the lead singer. Various camera angles are used to show emotion and band members. During the performance, angles change with the beat for simplicity. Dramatic war scenes use faster cuts to depict a mood change.
The music video concept is about a boy learning to skateboard to impress a girl. He struggles at first but improves over time. Influences for the video include other Fall Out Boy music videos which use dark colors and lighting. The lyrics and visuals will be linked, showing him meeting the girl and protecting her from other boys. Close-ups, dark tones, and developing the band members' styles will help portray the pop punk/emo genre conventions.
Evaluation Of Music Video Project (Media)aliciachaffey
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The document provides an evaluation of a music video the author created based on a piano piece by Ludovico Einaudi. It discusses how the video effectively synchronized the visuals to the music's tempo and mood through editing. Scenes were chosen and shot to clearly convey the romantic narrative and develop a relationship between the performer and the story being told. Feedback is provided on how future videos could incorporate more close-ups of the performer to further engage the audience.
Evaluation Of Music Video Project (Media)aliciachaffey
油
The document discusses the evaluation of a music video the author created based on a piece of piano music by Ludovico Einaudi. The author analyzes what worked well in their video, including a clear narrative and good editing. Areas for improvement include framing shots better and ensuring the timing of the music and piano playing matched precisely. The author also reflects on using media technologies like iMovie in the construction, research, planning and evaluation of the project.
The document provides an analysis of the music video for the song "The Man Who Can't Be Moved" by the band The Script. It discusses several aspects of the music video including:
- Genre characteristics including inclusion of live performance clips and band member costumes that fit rock genre conventions.
- Strong connections between the lyrics and visuals, such as a character asking where he is when that line is sung.
- Use of natural lighting and pace of shots matching the tempo of the music.
- Close-ups of the lead singer showing emotion and connecting with the audience during both narrative and performance parts.
- Elements of the album packaging including photos of the band and design that continue themes and
2. IntroductionTo look at the representation and the reference to voyeurism. For example, the treatment of women and/or the way that they are looked at- such as through a window or through screens within the music video.The references to films and/or TV texts. (we call this intertextual). Star image and the way they might develop their one star iconography that links each music video. This may happen over time, in which the audience would by then decode it easily. (possibly knowing what to expect)The demand within the record label or company to have close ups of the artist.Different genres and iconography that occurs within music videos, linking them within each genre. For example- Rock/heavy metal bands, normally consist of them playing live in the music video.The relationship between the music and the artists/ mis en scene/ props and general look of the music video. For example- heavy metal bands would not be in a field full of flowers, holding teddy bears. Yet sometimes the do contradict. The relationship between the lyrics of the song and the visuals.
3. 1. Skinny GenesLyrics and visualsThe first this I can see is the use of animation. It is almost like each scene transition rips into another. This links with the song- taking of those skinny jeans. The motion of ripping of jeans is displayed when using those transitions. Also the song implies feelings of deep understanding for the lover in question. Therefore, the animation periods indicate this also. She also uses a clothing line to take unpin clothing showing the literal as well as the metaphorical. The audience could decode with text two ways- either by looking at the literal meaning or/and looking at the metaphorical response. There is also the sense of fun within the artist- Eliza Doolittle- retaliating to the fun side of the song. For example, she is suggesting she does not mind if her boyfriend is annoying towards her.The lighting is very bright- coming from studio lights all over the room- creating a powerful sense of joy in the song. (if you read between the lyrics and look at the visuals you can see that she is promoting herself to be a happy- go lucky person, who looks at the joys in life)Music and visualsThis is a physical and highly stylized presentation of the artist, due to her relationship towards the camera and most importantly the audience. What I mean by this is, within the chorus of the song she dances towards the camera, thus engaging with the audience- rather than a narrative. This is another point to be made- there is not a narrative to this music video. If there is not a story to tell, what is the message that this text is encoding? The answer is within the metaphoric symbols she uses. For example, the animation which resembles fragile paper which can be ripped apart and/or away. This can tell the audience that she is promoting her strong and independent- look- as most of the transitions show her ripping it. Also, this song is about her intimate love for her boyfriend, which is shown through the contrast of the tumbling cards and the chorus of the song- in which she dances to, using comical gestures for the word fight. The comparisons, again, promote that sense of happiness within the singer. (if you look at her other videos, she is also portraying that happy look and relaxed way of life)
4. Continued....Style and IconographyI would think that this music video would come under the genre of pop, as it doesnt differ from most pop songs. It would be placed in the class of Lily Allen- due to the music it self and the way it was sung. (the iconography and star construction of Lily Allen has lead me to compare this artist to her, thus showing Lily Allen style. )As it is in the pop genre there are some common conventions that appear such as the use of close ups, yet there are some differences which do over weigh it. The animation/ stop motion and transitions make it seem retro. (the close ups are to reveal all her emotion and happiness, thus engaging with the audience.)The use of bold colours such as blue, pink, creamy white and yellow, are in the background so they dont take over the whole screen. This is what the audience expects if they were to see a retro video made today. The audience would also be able to see this within the clothing and mis en scene within the music video. The artist herself, seems to have some empowerment over this video. The fact she dances freely and stares directly into the camera, shows she has confidence within her own style, thus the audience wanting to aspire to be her. Demand from record company.The use of the camera is very interesting. The camera does stay static most of the time- panning left and right on the odd occasion when she is dancing or tracking her as she walks down the hall. This is to help focus the attention to her and what she is saying. Also retro shots are normally shot at a slightly higher angle- encoding the information that it is a retro style.When looking at the video, on YouTube, I could see peoples comments indicate their understanding of the song. (some differ from others a little but most say generally the same thing). A good example of a record label asking for close ups is for Lady gaga and her music videos. In Poker face she has countless close ups and mid shots, focusing on her image and persona. Eliza Doolittle does this on a different level because it is not just about chorography, but it is also the words of the song. (This is shown by the lack of chorography, within the video)It is more on a metaphoric level.
5. Continued.....Star imageHow did she create her star image? And does she keep this consistent throughout her videos?Yes she does. If we looked at her other song- pack it up, you would be able to see her retro style shown by her clothing/ style of music and overall look of her music videos. (which are her main selling points to convey in front of a young audience). Her artistic power, gives her control over what she wears and how the audience will see this. For example, will they wear the same things that she is wearing? Would it affect what shops they go to? For example, would some one listening to a gothic rock song go into a pop culture, clubbing store? (though there would be some exceptions, there are so many of the same people, yet the media loves the generalise us, which then drives the star power and its influences).The music vehicle is the one the drives the stlye and sends it flooding towards us. This helps the audience when decoding a media text, such as a music video. In this case, she is promoting her happy-go-lucky nature and relaxed view about life- people want to aspire to this. (mis en scene- bold colours and metaphoric natures- show this).Representation and voyeurismWithin this video, she is seen as the independent artist- engaging with her eyes on the camera. Another way of talking about it would be to say that it is the camera that is flowing her about and watching her. She is clearly wanting this to happen, however, because she wants to engage the audience to her song. There isnt anybody else watching her within the video but there are points that show a mens point of view when looking at women. It starts of with the camera work. It sometimes follows down to her curves and the thigh area- like in many other pop videos in that genre. In this case, when then look at her from the perspective of a heterosexual man. However, through the nature of the song, it wouldnt surprise me because she is engaging with the camera and clearly likes it. Possibly showing that this she is talking to her lover also- who can also be the audience.
6. In Comparison to...A heavy metal genre.....For example, if we look at Amaranth by Night wish, at the beginning the music is calm which depicts the overall scene at that time. This油reminds me of油classical music and how they tell stories and paint a picture though the music. However this all changes when the drums/ guitar etc... come into play. The pace of the cuts become faster and show images of an fallen angel with blood and other gothic images. Again, this relates to the music and represents the epic style of the heavy metal genre.油油I can see how they also act around their instruments. For example if we look at the guitarist in the video, we can see that he dances with it- for example head banging. The hair plays a huge part because it shows his hard rock image. I have noticed that this look when playing the guitar is very popular. If you see the advert for guitar hero, they don't play the guitar softly. (though the advert is showing the representation of women a bit differently)
8. Owl city- Fire fliesLyrics and visualsThere are not any certain elements that draw the lyrics with the visuals. It is similar, if more so, to the metaphorical response shown, in the last video- Skinny Genes. The start of the music comes in gently representing the smooth sound which is yet to come- almost like a teaser. The audience would respond to this ideal a lot more when the word magic- shown as a button to be switched on- appears and works well, in time with the beat. The symbolic meaning, shows that there is not a key narrative running through this video, therefore the audience has to really on the band/music/artistic drive to understand and determine if they like the song. (and to know what it is about- for example- the key elements of this song are dreamy and imaginative, possible like an active imagination or daydreamer wishing they could stay like this forever) (possibly showing the undertones of the over song).There is one relationship between the words and the music- when the lyrics are spelled out on the toy. This among many things, is showing the audience the key elements about the meaning behind the song.Music and visualsI love the representation of innocents within this video- shown by the use of props/ mis en scene such as the toys and the room, shown to be a young boys room. The representation of the young boys room is shown by the colour blue- normally seen as a boys colour rather than pink, and the type of toys such as dinosaurs, train sets and robots. When the artist presses the magic button, the toys go or stop moving. This is showing the audience through metaphoric ways, that this song is magical and dreamy. (again the mix between with key words/ song and visuals show what type of genre it is in.)I also love how, it is the artist play the music. Relating to the visuals to shows that he is apart of that key feeling through out the song. So when an audience member feels they can connect, they can do it through him. (For example- I feel that way, sometimes, too)The editing is cut quite fast to hit ever other beat, revealing the more visuals, thus the ever growing understanding about the key feeling of the song. The lighting also hits every other beat. And, with both combined it shows that innocents. (possibly a child's point of view).
9. ContinuedStyle and IconographyThe genre is a mix between electronica and emo- pop. In comparison to the last video, the style is and undertone of the song is serious enough, for the artist not look engage with the camera. The way he is positioned within the video is very interesting. Rather than engaging in front of the camera, the artist hides behind hair to the right side of the full set. Occasionally there are close ups, yet they dont engage his full face, in full frontal view. Again this suggests the natural of the song. (being quite serious about how he feels, which in turn could and make the audience reflect about themselves)This is quite conventional for the certain style- emo. (Personally, I have never heard of emo-pop). But the style is the conventional face hidden/dark clothing/ dark undertones and a range of songs that are about raw emotion and feels- normally quite sinister. The star construction (ie: where he is positioned towards the camera/style/ way of playing the key board) is very geared towards showing the audience he is engaged in the emotion rather than the camera and/or being watched.Demand on the record companyA little bit more background on the artist Adam young: He was a sufferer of insomnia, would found diversions at night, down in his basement. It was then, where is created his music, which he placed on a social networking site for everyone to see and respond. I understand now the context and the reasons behind the song- which adds emphasis on the ideal that he engages with his feelings. He was singed up by Universal republic. I have explained before, that some record labels want close ups which highlights their persona. I believe they did this with the style in which it is shot. (for example- close ups of toys and manly side profiles of the in singer himself).
10. ContinuedStar PowerThis artist has a lot of star power. The construction includes his style/photography/music and the general way he thinks of himself and how we can decode that. What is he portraying? He is a young man portraying himself to be just that- making the younger audience want t become like him, if they feel the same way or can relate to his music in the same way. What is he and the record label trying to convey? He is talking about daydreaming and dreaming and how he would wish to stay in a dream, rather then seeing the cold harsh reality everyday- which for him was because he could not sleep. This can be shown using the conventions. If we looked at one of his photographs you can clearly say that he is not engaging towards any one or thing, and seems to be in a daydream. (ie: he doesnt seem to notice anything around him)VoyeurismWe are watching him play a song, in the video. It maybe live but the point to be made here, is the moving toys and animated objects that come alive when he plays- thus showing him taking the audience out of reality. In terms of representation- I find it is the room that shows this about young boys. (maybe some girls who burst out of the girl conventions). The room has certain toys, picked out to show the audience that it is a boys room. Why are they represented this way? It is to show innocence and playfulness that most young boys have when they are younger. The editing, such as the fast past cuts and camera work such as extreme close ups/closes ups helps in conveying this to the audience. What do you think about, if you were asked to play a young boy? Fast movements, playful nature and pure innocents. Even though, this is aimed at a slightly older audience, (both genders), the artist is trying the relate to that innocent side- that so many people try to do.
11. In comparison to...The narrative and representation of the warriors dance by the prodigy.....The story is about three match boxes starting up a night club. They enter the bar/pub and call upon other match boxes in the place. They then put lights on and start the rave. The fire then starts as they light up the place. The three match boxes escape while the other match boxes burn to pieces. The owner comes in and wonders what has happened. This construction has a lot of representation in it.The main one is the relation to alcohol and an overall wild nature and nightclubs. What kind of people go to these places? Do they all drink and break glasses? This is where the band come in to play 'music gods'. They almost protect the music from this. But do the have the right to highlight this within the promotion?
13. Her Morning Elegance / Oren LavieVisuals and lyricsThis music video is a mixture between narrative and metaphoric ideas, that go with the song and its tempo. For example, when the lyrics state- 'she fights for her life', visually the audience sees a dramatic change in the use of colour and texture, within the bed sheets. The colours represent the overall change in mood- it is dark and the key lyrics, 'she fights for her life' show this. When these keywords finish the mood changes again back to the colours white (showing innocents) and the tempo of the words being said slow down. The visuals have a dramatic rise and fall from the chorus to the verses. In the next verse she is running and the uses tempo speeds up representing to the audience the ideal of her 'fighting for her life'. What I notice about this is that it isn't a sinister response- more the age of innocents. I also feel that it is the narrative she is carrying that is being moved via the lyrics and music. (something I am going to look at next). The mis en scene is very pure- even those darker colours have some purity, maybe it is the clean cut look the sheets and pillows have. It is the mis en scene, here, that is used metaphysical.Visual and musicThe dramatic rise and fall doesn't end with the key words of the song. The key moments such as the women falling into the covers are also linked to the song. The tempo doesn't really speed up, but the combined lyrics and visuals make it appear that way. The props on the side of the bed also add to the dream. What do you do when you go to bed/get up in the morning? The coffee/book/shoes/slippers all show a good sense of life within narrative. She went to bed and is dreaming. Do dreams happen in the morning? It maybe be good light to shoot in, but it has been said that people do dream before they wake up. (levels of your sub con sous). However this could be foreseen as a daydream. I have picked this up by the use of natural light/props and stop motion. (something which drew my into this piece in the first place).
14. Continued...Style and IconographyThis is acoustic, possibly indie style music, therefore the music video shows this. The main artist appears only for a short time, but is a link between her and the dream that she is in. (for example- they appear to be riding a bike, she tilts her head back and he puts in back in place. This shows the audience that he is in control, but gently).The use of the high angle shot and few close ups (of the women) truly help, emphasis the pictorial sense of the music video. What I mean by this is, it is a story that needs to be told through pictures. (My understanding of stop motion, is that you take 24-25 pictures per a second). Therefore, there is no need to complicate a simple concept- the audience will up this up from the start, due to the quirky use of stop motion). The artist is the gentlemen in this music video, shown by his dress- by wearing the shirt and trousers. The fact that the colours are dark, emphasis his 'being' within the video. He is highly contrasted to the back ground showing his star power. The button of his shirt is undone- which makes me think that he is relaxed into his music- and this connects to the audience. Demand of record companyThis is how one of the music videos was made. I was amazed at the attention to detail and the countless hours it took for them to take all 2096 photographs. This piece of work was done using a still photographer, rather than a camera man. This is more of an artistic approach to creating a music video and I love it. I also love how the photos have been used to advertise the song and music video further. For example, the have been sent all over the world in a form of a exhibition and now people can by a photo from one of the 2096. So, here, one media text has turned into another one.The fact that it has been shown in many other forms than due music video, shows that people have been seeing this music video in many ways other than just on screen.
15. In comparison to......To Bayonce and her music video- HaloThe camera work and editing...The camera work was made to look natural. The fast cut montage ( the rendering of images impossible to grasp in the first viewing to promote more viewing) is soft and much gentler than the other two- where the pace is much faster to create more of an epic mood. The mood here is much softer and happier.The is conventional for this singer as she is a solo female artist with a broad audience appeal. She offers different kinds of moods within her music thus giving different pleasures to the audience. The colourisation here is very cold (consists of whites and blues) this is to insure the iconic image- which is soft and gentle. (this highlights her strong women image) There are light lines (blue light lines) that appear though out the video. This is to highlight the Halo theme within the video. Again this promote the video and makes it more viewable over and over again. There are also a lot of close ups which i quite conventional for music videos. This is because it is like a commercial for the singer/band. They are selling themselves and the close ups are there to show the star face.