Blog 11

1. Blog 11 CASE STUDY 2 Emil Nava
•Emil Nava
• Began as a runner for film
production companies
• Worked for Blink Productions
• Now freelances for OB
Management

2. CASE STUDY 2 Emil Nava
• After working as a runner graduated to Assistant Director (A.D.)
where he would manage the video shoots
• He signed to Academy – who are the biggest music video production
company
• Then worked for Between the Eyes and now works mainly for Pulse

3. CASE STUDY 2 Emil Nava
• Emil’s first budget was for the band Kid British and the track Our House
• Budget - £20,000
• Location – Manchester
• Cast – local people
• 1 day for filming
• 2/3 days for editing
• 10 days pre-production
• Demonstrates the very tight timescales involved
• http://www.youtube.com/watch?v=ltPxz4PinDA

4. Emil Nava on being a Music Video Director.
• http://www.youtube.com/watch?v=S5L07sR9SO0
• http://www.youtube.com/watch?v=l7UYOrWOypI
• Jessie J “Wild”
• http://www.youtube.com/watch?v=jrNLsC_Y9Oo&list=PLpF8XG51rqc
1TdFmOEtYeW8DZmPb379pI
• “Domio” behind the scenes

5. CASE STUDY 2 Emil Nava
• At his busiest Emil has made 24 music videos in one year
• When he began shooting videos for independent labels the budget
would be as low as £5,000 to £10,000
• His most expensive video to date has been for Jessie J and the budget
was £160,000

6. CASE STUDY 2 Emil Nava
• Has now begun to make adverts, which generally have a far higher budget and production values but which
allow for less creative freedom
• http://www.youtube.com/watch?v=jmlWSaKrclk

7. CASE STUDY 2 – Emil Nava’s Videos
• Paloma Faith ‘30 Minute Love Affair'
• Client Sony - Director Emil Nava
• http://www.youtube.com/watch?v=O0O2DfNRxv4

8. CASE STUDY 2
• Paloma Faith 'Picking Up the Pieces'
• Client Sony - Director Emil Nava
• Cost - £80,000
• http://www.youtube.com/watch?v=Ijel4Vcqd9g

9. CASE STUDY 2
• Ed Sheeran 'Lego House'
• Client Atlantic - Director Emil Nava
• http://www.youtube.com/watch?v=c4BLVznuWnU

10. CASE STUDY 2
• Jessie J 'Do It Like A Dude'
• Client Island - Director Emil Nava
• Cost - £25,000
• http://www.youtube.com/watch?v=pOf3kYtwASo

11. CASE STUDY 2
• Rita Ora 'RIP'
• Client RocNation - Director Emil Nava
• http://www.youtube.com/watch?v=L1l9WST5lXM

12. CASE STUDY 2
• Ed Sheeran 'You Need Me'
• Client Atlantic - Director Emil Nava
• Cost - £35,000
• http://www.youtube.com/watch?v=ZXvzzTICvJs

13. CASE STUDY 2
• Jessie J 'Price Tag'
• Client Island
• Director Emil Nava
• http://www.youtube.com/watch?v=qMxX-QOV9tI

14. CASE STUDY 2
• Emil’s Top Tip
• Use Extreme Close Up on faces
wherever possible
• Do not shoot whole of video in
medium shot/long shot
• Example – Sinead O’Connor –
Nothing Compares to U
• Godley & Crème - Cry

15. CASE STUDY 2
• Some of the Production Companies that OB work with are:
• Pulse Films
• Rocket
• Agile Films
• Friends
• Wonda

16. CASE STUDY 2 – OB Management
• OB Management work as agents for music video directors. They
describe themselves as, “ three straight up dudes who work out of
Denmark Street London”.
• Their aim is to:
• Nurture talent
• Work with production companies
• Work with record labels
• Match the right director to the right artists

17. Ideas on How to Analyse Pop
Videos
http://www.slideshare.net/sarahhemingway/analysis-of-three-music-videos-
using-goodwins-terminology-2242768

18. Andrew Goodwin Key features of Music
Videos
• Andrew Goodwin in Dancing in
the Distraction Factory (1992)
has identified the following
features of music videos:

19. Key features of Music Videos
1. Music videos demonstrate genre characteristics (eg stage
performance in metal video, dance routine for boy/girl band).
2. There is a relationship between lyrics and visuals (either
illustrative, amplifying, contradicting).
3. The demands of the record label will include the need for lots
of close-ups of the artist and the artist may develop motifs
which recur across their work (a visual style) EG Katy Perry /
Michael Jackson (to be analysed in separate blogs).
4. There is frequently reference to the notion of looking
(screens within screens, telescopes, etc) and particularly
voyeuristic treatment of the female body.
5. There is often intertextual reference (to films, TV
programmes, other music videos, etc).

20. Relation of Visuals to Song
Music videos can
use a set of images
to illustrate the
meaning of lyrics &
genre, this is the
most common
This is similar to
repeatability.
Meanings and
effects are
manipulated and
constantly shown
through the video
and drummed
into our vision
This is where the
meaning of the song
is completely
ignored
There are three ways in which music videos
work to promote a song

21. Laura Mulvey.
Please copy these points down for future reference.
Laura Mulvey’s theory relates to classical Hollywood cinema. However,
we can apply some of her ideas to our work on the pop video.
How many of these characteristics apply to Music Videos?
The male gaze =
• women viewed as the objects of male erotic desire – in film and
audience
• men active / women passive.
• Women do not have agency – they do not move the plot forward.
• The audience is forced to identify with male gaze.
• Cinema reflects patriarchal (male dominated) society
• Patriarchy and phallocentrism linked – phallus (penis) a symbol of
power – e.g. in cinema guns = phallus = power.

22. Using media language to analyse Pop Videos.
• Camera work: angle - high or low; long, medium or close up; over
the shoulder - point of view, tracking, pan, steadycam.
• Editing: speed (long or short take); Style – straight cut, dissolve, fade,
wipe, jump cut.
• Mise en Scene: setting/location, props; hair/make up/costume;
positioning of characters in frame; body language/facial expression;
colour; lighting – high or low?