Analysing four music videos.

1. Music Video 1
Never be the same

2. Music Video Demonstrates Genre Characteristics.
• A key convention of pop videos is a performance element and/or narrative involving the artist throughout.
• The music video ‘Never Be The Same’ features this idea with a circular narrative that starts and finishes with the dialogue of Camila
saying ‘stop, turn it off!’ to the camera. This is done so the music video has a basic narrative the audience can easily follow whilst
having no real ending. This means that the audience will focus more on the song and Camila as though it features love and
relationships it focuses on her and who she is as a person.
• Dialogue is also used in the first 25 seconds, as diegetic sound is used when the artist talks and the noise of the camera as it moves
and zooms in and out. This connotes the idea of an unfiltered/uncut video reflecting the aesthetic vibes of retro media the audience
enjoy but also part of Camila’s true, simple personality she wishes to express. This also adds to the narrative as the audience gets an
understanding of the person with the camera (you hear a male voice speak) presenting a heterosexual relationship which is very
common within pop music videos as it’s a popular topic, especially amongst the teen/young adult audience.
• The music video also heavily features a performance element. We see this through many close up/medium shots of Camila lip-syncing
and dancing in different scenes.
• The use of Retro VHS effects creates aesthetic shots but also a first person narrative, showing small snapshots of the artist’s life within
the story. This creates enough of a narrative for the audience to be invested in whilst still having a heavily performance based music
video that promotes the artist through many close-up shots that are used throughout, signifying many different sides to her
personality (e.g. seductive, silly) that adds to her charming artist persona, making her more popular/likable.
• The use of action match cuts keeps the narrative moving quickly by showing the passage of time through different settings but also
shows how each side of Camila’s personality is apart of her.

3. Relationship Between Music and Visuals/Lyrics and Visuals
• Though for most of the video the lyrics are illustrating to the music video (mostly lip-syncing and clips of her dancing) there
are subtle scenes that indicate amplification of the lyrics. For example when the lyrics say ‘turn around and it would be you
babe’ and Camila then turns towards the camera.
• There is also a relationship between the music and the visuals. An obvious example is the multiple lip-syncing shots/scenes
featuring Camila throughout the music video that help establish that she’s the artist/singer but also apart of the narrative.
• The use of zoom and camera movements that match the pace of the music such as the dolly shot creates the idea of energy
whilst creating a sense of intimacy between the audience/viewer and the artist as the camera gets closer. Furthermore the
use of zoom makes you focus on the artist whilst matching the fast-pace music playing over the video.
• Synchronous sound is also used within the music video when Camila is lip-synching the lyrics of the song but also in her
gestures/actions. For example, Camila lifted her head up very quickly as the song picked up pace. This creates the idea of
energy and movement within the music video but also gets the audience to focus on Camila and the song as this is what they
are trying to promote.

4. The Demands of the Record Label will include lots of close-ups of the
artist and the artists may develop motifs which reoccur across their
work.
• There are many close up shots of Camila throughout the music video, signifying her as the artist but also so the audience gets
closer to Camila and her persona.
• Because she’s the only person in the music video, all the attention is on her gestures, expressions and how she comes across
through the music video. By making her quirky and fun but also artistic (abstract poses/gestures when she is lip-syncing) she
comes across as interesting and fun, something the target audience would relate to and enjoy.
• Camila Cabello doesn’t have a particular motif or style however in multiple videos (e.g. Havana, Crying in the Club,
Consequences) she has had a narrative based video that portrays her unfiltered persona.

5. Frequent Reference to the Notion of Looking and Particularly Voyeuristic
(Sexual) Treatment of the Female Body.
• The notion of looking within the music video is much more direct as rather than having another actor look at the artist
(encouraging the audience to do the same) the male actor in ‘Never Be The Same’ is behind the camera the whole time:
Therefore giving the idea that we are looking through the lover’s eyes at Camila. This makes the audience feel a personal
connection with Camila, as if they are in the narrative themselves.
• The mise-en-scene includes Camila wearing many different outfits for different scenes. At the beginning she is seen wearing a
simple white shirt, however in the following scenes she wears a bright red, abstract piece. This connotes the idea of a bold
and bright personality whilst fitting of pop genre by adding conventional, feminine clothing and makeup that’s revealing and
sexualised to appeal to the male audience but also the female (being glamorous, beautiful, popular)
• Camila’s gestures and facial expressions throughout the music video are quite seductive as she makes direct gaze with the
camera in a slouchy, provocative way. This follows conventional pop genre music videos as the female artist persona is often
sexualised and glamorised to appeal to the younger teenage audience who aspires to be beautiful and desired or enjoys
looking at attractive people.

6. There is Often Intertextual References (Films, TV Programmes, Other
Music Videos, etc)
• Due to this music video being a basic narrative mostly focusing on Camila as an artist herself, there aren't many intertextual
references. However, in one short shot, Camila is wearing a white dress whilst sitting down with her arms between her legs.
This pose is well known with the famous actress Marilyn Monroe who was not only seen as the most popular sex symbol of
the 1950s and early 1960s but a vibrant personality connoting the idea of Camila identifying apart of that personality with
herself.

7. Music Video 2
7 Rings

8. Music Video Demonstrates Genre Characteristics.
• The music video has no real narrative apart from the idea of partying, mostly being performance-based focusing on Ariana
and her wealth.
• The mise-en-scene in the music video uses conventional bright colours to connote a sexual, party atmosphere with the
lighting/tint being a strong pink and purple (e.g. Party lights).
• The setting is a large, beautiful house surrounded with people to signify a party and wealth which is something that is quite
common within the pop music genre as it targets a broad/mainstream audience who enjoy similar things. The panning shot
of Ariana singing in-front of the house further establishes this idea showcasing everyone in their outfits/makeup that are
aesthetically pleasing and that are popular fashion trends (e.g. Streetwear)
• The non-diegetic sound of helicopters and syrens that play at the beginning of the music video connote the idea of chaos and
going against the norm (e.g. Going against the law). This idea of rule breaking is quite common in music videos as relates to a
mainstream younger audience who are passionate and chaotic themselves (or at least view themselves that way) and
therefore find the artist (Ariana) and the song relatable and ‘on trend’.
• Dancing throughout the music video is a common performance trait to add interest to a music video.

9. Relationship Between Music and Visuals/Lyrics and Visuals
• The moment the lyrics begin to play in the track, a close up of Ariana’s face is presented, with her lip-syncing the words. This
illustration of the music establishes the artist within the music video and allows the narrative of Ariana’s persona to be
presented.
• The use of visual effects/graphics that appear on the screen (e.g. neon lightning bolts) match the fast pace music.
• Fade in/out used to change scenes throughout the music video, allows narrative to move forward as it shows different
aspects of Ariana’s persona.
• Ariana also performs gestures that amplifies the lyrics in the song (e.g. When she talks about her lip-gloss she points to her
lips) to further embed the lyrics within the music video.

10. The Demands of the Record Label will include lots of close-ups of the
artist and the artists may develop motifs which reoccur across their
work.
• There are many close up shots of Ariana throughout the music video, signifying her as the artist but also so the audience gets
closer to Ariana and her persona.
• Multiple different shots are used when showing Ariana as in her music video it features many people so establishing Ariana
as the artist separately from the narrative signifies her talents and personality.
• Ariana has developed a motif/style through her costumes and hair. Her iconic high, long ponytail and short mini dresses
feature in most of her music videos as this establishes a recognisable style the audience can recognise.

11. Frequent Reference to the Notion of Looking and Particularly Voyeuristic
(Sexual) Treatment of the Female Body.
• Ariana Grande's music video conveys her artist persona as very sexual, beautiful and luxurious which is very common with
pop artists in the industry often portraying similar things such as partying and relationships (e.g. Zara Larsson: Ruin My Life,
Louise Johnson: So Good). This allows the younger audience who often buys into brands and wealthy, carefree lifestyles to
aspire and relate to the artists and their songs.
• In the music video, the model Ariana Grande is often very sexualised with multiple scenes of her displaying suggestive poses
(e.g. Lying on the counter) and wearing revealing clothing whilst having direct gaze at the audience.
• Popular dances such as twerking are present throughout the music video that sexualise the artists and the other
models/actors whilst beig relevant with the younger audience who will recognise this dance.

12. There is Often Intertextual References (Films, TV Programmes, Other
Music Videos, etc)
• There are many intertextual references throughout the music video referring to Ariana and her past/music/persona.
• There is a subtle reference to her upcoming song NASA as it is spray painted on the wall in one of her scenes in the
background. By doing this the audience feel clever and happy as they’ve discovered something ‘hidden’ and therefore feel
like they have gotten a benefit from discovering the Easter egg that they then share on social media platforms, further
promoting the song to a mainstream audience.
• 7 Rings also has references to other music videos. For example there is a scene in which Ariana emerges through a dollhouse
wall which represents the dollhouse previously featured in her music video ‘Thank u, next’. These intertextual references to
her other music videos appeal to her fans who would have noticed this.
• Ariana’s style is very well-known, in particular her long ponytail. In one scene she is seen lying down on some stairs as her
ponytail drapes down them. This exaggeration of her style reinforces her motif, allowing her distinctive traits to stand out
from many other pop music artist.

13. Music Video 3
Beautiful

14. Music Video Demonstrates Genre Characteristics.
• A key convention of pop videos is a performance element and/or narrative involving the artist throughout.
• The music video ‘Beautiful’ features this idea with a narrative of a love story featuring the two main artists Camila and Bazzi
as the main characters. We know this as though there are multiple people featured throughout the music video, they are the
focal point with many long and close up shots involving them.
• The narrative is presented as a fairy tale with the diegetic sound at the beginning featuring street ambience (familiar to the
audience) and footsteps of a horse. This contrast immediately signifies the idea of a modern fairy tale with things that are
familiar to the audience/more ‘realistic’ and things that are less common.
• The mise-en-scene also features props such as a horse and carriage so the audience will be able to associate that with the
fairy tale narrative. And the multiple settings are conventional for a fairy-tale narrative (ballroom, balcony, forest with bright
lightning/blue tints)
• The use of effects to make the frame still (apart from Camila) further emphasises the fairy tale narrative of magic and mystery
whilst many close up and long shots of Bazzi chasing after Camila present a common narrative in which the boy chases after
the girl.
• There is also a performance element through the close up shots of Bazzi and Camila lip-syncing throughout the music video
to establish that they are both the artist and the characters within the music video.
• There is also a short dancing sequence to help emphasise the music but also match the narrative (e.g. ballroom dancing
connotes fairytales)

15. Relationship Between Music and Visuals/Lyrics and Visuals
• There are subtle links between the lyrics and the visuals. One example is at the beginning when the track says ‘beautiful
angel’ and Camila walks in wearing an angel costume, with the wings being the focal point for a long period of time through
the close up shots of them.
• Other links between the lyrics and visuals include when the song mentions the other person/girls and the video then focuses
on Camila. These links help involve the lyrics of the song into the narrative but can also be applied in everyday life (e.g. simply
being in love or thinking someone is beautiful) making the track relatable so young people will want to enjoy it whilst keeping
the narrative different/interesting.
• There is also a relationship between the music and the visuals. An obvious example is the multiple lip-syncing shots/scenes
featuring Camila and Bazzi throughout the music video that help establish that they’re the artist/singer but also the dance
sequence that matches the pace of the music.
• The use of multiple pedestal and truck shots as the characters walk/run match to the fast pace music that connotes energy,
matching the conventional ideas of pop music being upbeat as the audience are often younger and therefore enjoy music
they can party to/enjoy.

16. The Demands of the Record Label will include lots of close-ups of the
artist and the artists may develop motifs which reoccur across their
work.
• There are many close up shots of Camila and Bazzi throughout the music video, signifying them as the artists.
• Because there are multiple people within the music video, including many panny shots and close ups of the artists is
important to establish who they are, By placing them in visually interesting scenes the audience are more drawn to them
whilst the makeup/clothing is quite elaborate but conventional to each gender (e.g. Camila is wearing a golden facemask and
white dress whilst Bazzi wears a black suit) .
• Camila Cabello doesn’t have a particular motif or style however the contrast of a gorgeous white dress and trainers conveys
her bold personality as it is less conventional to wear such things together.

17. Frequent Reference to the Notion of Looking and Particularly Voyeuristic
(Sexual) Treatment of the Female Body.
• The notion of looking within the music video is conveyed through the male artist looking at Camila (encouraging the audience
to do the same). Bazzi looks at Camila in a very sensual way, sexualising the artist and making her seem more appealing to
the viewers.
• The mise-en-scene includes Camila wearing an angel outfit which is tight fitting and glamorous. This conveys her as very
desirable whilst also making her stand out from everyone else as she’s the only one wearing white whilst everyone else
blends in with the setting by wearing red/black/dark colours that match the lighting and red tint of the shot. Further
emphasising the audience to look at her.

18. There is Often Intertextual References (Films, TV Programmes, Other
Music Videos, etc)
• Due to the narrative being fairy tale based, it makes multiple references to popular fairy tales and classic romantics.
• One example is the reference to the fairy tale Cinderella. This is signified through the use of the horse and carriage at the
beginning of the music video, something that is easily associated with Cinderella as she arrives to the ball in a horse and
carriage as well. Further more, at the end of the music video a close up shot of the clock striking midnight is shown and
shortly after Camila is out of the scene very suddenly, leaving the male artist Bazzi alone. This reflects the ending of
Cinderella in which she has to leave at twelve. This reference to one of the most well-known fairy tales establishes the
romantic , story book theme the music video portrays.
• Another example is the reference to Romeo and Juliet. Many scenes such as the balcony, ballroom and fish tank can be
related back to the movie/play as they are all iconic, recognisable scenes. In the fish tank scene, Camila and Bazzi are placed
opposite each side, looking through the glass at each other whilst the use of multiple close up shots capture their romantic
expressions towards each other and in Romeo and Juliet a very similar thing happens. The use of this reference connotes the
young, ignorant love the characters have for each other, relating to the audience as they are young and will often feel these
strong emotions too.

19. Music Video 4
Pity Party

20. Music Video Demonstrates Genre Characteristics.
• Melanie Martinez ‘Pity Party’ is an alternative pop/electropop genre.
• One key convention of this is a narrative that occurs along with the actual performance of the music, usually involving a main
theme throughout the entire music video to look quite artistic. This is done in ‘Pity Party’ as not only is it telling the narrative
of a girl who has nobody to celebrate her birthday with but also the theme of childhood by using settings of bright coloured
bedrooms and props such as alphabet blocks, prams and teddy bears.
• The mise-en-scene such as bright colours and contrasting lighting used in multiple scenes further emphasis the synthpop
music genre whilst the costumes and makeup/hair that Melanie wears signifies childhood through the pastel colours, frills
and pigtails that all create a doll-like image/persona. Multiple long shots and close ups are used to emphasises these themes.

21. Relationship Between Music and Visuals/Lyrics and Visuals
• There are links between the lyrics and the visuals. One example is when the track says ‘it feels like I’m dying’ and a close up
shot of Melanie frowning is shown. The use of multiple close up shots to express the intense emotions of the artist reflect the
emotive language used to express the sadness/disappointment within the lyrics. Gestures such as hand movements to signify
flames are also used when the lyrics say ‘I’ll cry until my pity party’s in flames’ further emphasising the lyrics within the music
video.
• Other links between the lyrics and visuals include when the song mentions ‘why did I put my heart on every cursive letter?’
and in the previous scenes showed multiple abstract angles of Melanie writing invitation letters. This helps involve the
narrative with the song so it and in result the narrative is able to progress quickly as the track does.
• There is also a relationship between the music and the visuals. An obvious example is the multiple lip-syncing shots/scenes
featuring Melaine throughout multiple different settings/scenes in the music video that help establish that she is the
artist/singer but also apart of the narrative.