Weeks 1-3

1. Forms, Conventions & Intertextuality

2.  To develop understanding of the conventions
of music videos
 To know the different types of intertextuality
 To develop analytical skills in exploring the
music video genre

3.  Can you think of 5 conventions of music
video?
 Andrew Goodwin identifies a number of key
features which distinguishes the music video
as a form…

4.  A relationship between the lyrics and visuals
(illustrating, amplifying or contradicting the lyrics)
 A relationship between music and visuals
 Particular genres may have their own video style and
iconography
 A demand from the record company for lots of close-
ups of the main artist
 Artist develops their own star iconography in and out
of their videos
 Reference to voyeurism (screen within screen,
binoculars, cameras…)
 Intertextual references

5.  Shot movement, angle and distance all need
to be analysed
 Camera may move alongside the artist as
they walk but could also be used to create a
more dramatic feel to a stage performance

6.  Close-ups predominate partly because of the
size of the screen but also to create a sense of
intimacy

7.  Mainly fast cut montage making most images
impossible to grasp on first viewing
 Some may have a slower, gentler pace with
gentler transitions to establish mood, thus
appealing to a wider audience
 Editing can be used to position the audience
on the side of the artist within the story

8.  Watch this video…what do you notice about
editing?

9.  Many film directors started as music video
directors or also direct music videos
 Jonas Akurlund
 MichelGondry
 Spike Jonze
 John Landis
 Sofia Coppola
 Michael Bay
 BenWheatley

11.  Influences mainly from fashion, film and art
photography
 Specific catwalk references
 Now video games to appeal to a younger
demographic

12.  Parody
 Pastiche
 Referencing
 Homage

13.  Pastiche is the imitation of a text’s
features by another text.
 It could be in the same style or feature similar
motifs or even be a copy of the original.
 Sometimes a pastiche copies the style from a
period in time.

15.  Parody is pretty much the
same but is a comic
version of the original.
 Parody often exaggerates
features of the original.
 Anything that takes itself
too seriously is up for
parody.

17.  This is when particular elements of the video
borrow from other texts
 This could be a prop, costume, or hair style.

18.  This is when the video pays tribute to another
media text

20.  These four types of intertextuality do not
have to exist exclusive of one another
 A video can be a mix of any four

21.  Sigmund Freud
 Erotic pleasure
gained from looking
at a sexual object
who is unaware they
are being looked at
 Screen within
screens
 Webcams/CCTV/
Binoculars

22.  The Male Gaze
 Argues the main viewpoint
is male
 Women sexualised in the
media
 A powerful controlling
gaze at the female on
display
 She is passive

23.  Sexually provocative and in control of it
 Inviting sexual gaze
 Is the female flesh on display simply a cynical
exploitation of the female body to increase
(largely) male profit margins, or a life-
enhancing assertion of female self-
confidence and sexual independence?

34.  Analyse three music video examples from
three different genre
 Write up to 500 words for each
 Bullet points/table/annotation of print
screens