Hannah Lux Davis and Dominic O'Riordan are music video directors who have worked with major artists across different genres. Davis got her start in film school and has since directed videos for artists like Ariana Grande, Nicki Minaj, and Little Mix. Her videos often feature bright colors and fast edits that match the upbeat pop songs. O'Riordan began as a production assistant and has directed videos for DJ Fresh, Diplo, and Example. His videos typically showcase urban environments and styles associated with genres like EDM. Both directors draw from film and music video theories to represent lyrics visually and keep viewers engaged.

1. HANNAH LUX DAVIS
Birthday: May 17th 1986
Birthplace: Bellevue, WA
Age: 31
Childhood and Education: At 18, she moved to LA and
enrolled in the BY Film Academy. Then graduated in 2006.
Inspirations: She was inspired by childhood music videos and in editing, she was self taught. Also,
she liked the creativity and freedom in which directing gave her.
Artists worked with:
2012: hiphop – Lil Wayne + Drake = MTV Video Award
2014: pop – Ariana Grande + The Weeknd = VMA Nomination
2015: pop – Ariana Grande = nominated twice
Source: http://www.cosmopolitan.com/career/a62666/Hannah-lux-davies-music-video-director-get-that-life/

2. Little Mix – Power ft. Stormzy
- Mise en Scene
Within her performance directed video, ‘Power’, by Little Mix ft. Stormzy,
there is intertextuality which Goodwin states is an element of music videos.
They incorporate well known drag queens from the show, ‘Rupaul’s Drag
Race’, which is use of synergy. This may have been used as a way to promote
the programme since Little Mix is a well known pop group so fans of them will
then be intrigued by seeing the drag queens.
In the scenes, there is a rainbow flag which is the LGBTQ symbol. The slight
reference to this may be a way to support the community and encourage
their fans to do so, since they are influential on the younger audience.
The video is also representative of Neil Postman’s theory, where he talked
about the effect on media and childhood. This is appropriate to mention as
Little Mix’s main audience will consist of young girls. As the girl group are
adults, they act their age and so the children and young girls especially are
exposed to adult behaviour and would then want to act older too, in order to
be more like them. For example, in the mise en scene of costuming, the girls
are seen showing a lot of their body. This is seen through sexual imagery such
as finger biting and slow motion shots of their body, showing them as mainly
admired for their looks. Hannah Lux Davies’ intentions wouldn’t of been for
them to be objectified however as she directed through a female lens, rather
than males but still wanted the audience to enjoy the video, voyeuristically.

3. Little Mix – Power ft. Stormzy
- Camera Work
At the beginning of the video, there is a close up shot of text: ‘Girl Power’.
This makes an initial connection between the song title and the video as the
audience is then informed that the song is about supporting girls. Although
some clips of their costuming can be seen as them being sexualised, it can
alternatively be interpreted as the girls being empowered by dressing in a
way in which makes them feel good about themselves. Goodwin’s Dancing in
the Distraction Factory theory links with this as the visuals support the
lyrics.
Hannah has also chosen to include long shots of the girl group together. This
further illustrates the song’s theme of girl power due to the girls walking
side by side with each other, looking like a part of a team.
The majority of camera shots are medium shots when lip syncing in order to
establish familiarity between the individual group members and audience.
Dyer talked about Paradox of the Star where the audience see the artist and
know they are real yet as they posses fame, they are out of reach.

4. Little Mix – Power ft. Stormzy
- Editing/Sound
This song has been kept simple in terms of editing due to the video being very
busy and colourful within the mise en scene. Therefore, editing on top of that
would have been too much to see and hard to focus on anything as a viewer.
The editing used include fast cuts in correlation to the music as Vernallis talked
about how the video cuts to the beat of the music, which is evident in this music
video. Additionally, with the faster parts of the song, such as the verses, the cuts
are quicker to match this pace, whereas slower parts of the song such as the
hook, have less cuts and are often in slow motion, again matching visually to the
sound.
In terms of colour, the editing used has also emphasized colours by upping the
saturation or making some clips more yellow toned as shown below. As colours carry
connotations, yellow signifies positive energy, warmth and happiness which are all
portrayals of how the girl group want their audience to feel and so represent
themselves this way as an influence.

5. HANNAH LUX DAVIS
Nicki Minaj & David Guetta - "Hey Mama"
This narrative and performance music video was released in 2015. It follows a
woman, Nicki Minaj, saying how she can be a good partner for her man through
the lyrics. This is shown by: ‘Yes I be whatever that you tell me when you ready’
as she states she will be there whenever needed. This is reinforced through the
narrative as Nicki appears as a hologram when the song starts, implying she can
be quick to act. Goodwin would say this is evidence of lyrical amplification due to
the visuals representing the meaning behind what’s being said. Supporting this
further are the encoded signs of love, as talked about by Hall, throughout the
video such as clips of a couple kissing which then get decoded by the audience
the preferred way as they see a happy couple and relate it to what the artist
wants.
In another clip, she is seen wearing a black cat suit, which connotes sexually to
dominance and power. This is emphasised by the word ‘you’ which accompanies
this clip.
The mise en scene of setting is in a desert area which contrasts with the
costuming element as Nicki Minaj wears a pink wig. This represents her as very
loud and gives her a character which has been constructed by the director, Davis,
a memorable persona. Dyer would say Nicki’s construct is in place for financial
gain as when people think of her, they also think of her character traits.

6. In the video, the editing is very fast to match the song’s quick
pace. Even within mise en scene, elements of speed are used such
as the vehicles driving across the desert. This is evident of music
videos being recycled due to the common placement of speed,
girls and wealth being shown across the spectrum of music videos.
Michael Shore theorises this to benefit the male audience as it
contains their adolescent fantasies, conveying ‘soft core
pornography’ from the ‘clichéd imagery’. Therefore, opening the
audience up to males as well as females, who already dominate
the audience of Nicki Minaj fans.
The artist appears as a flickering hologram in this music video
which is an example of special effects being used. This creates
antirealism and provides for Carlson’s theory of binary opposites
driving the narration of music videos forward as the hologram is
abstract compared to the people, who are naturalistic. This
creates interest as it is not common for it to be shown in this way
and so acts as a unique talking point, gaining popularity for the
video.
HANNAH LUX DAVIS
Nicki Minaj & David Guetta - "Hey Mama"

7. Hannah Davis has stuck to pop conventions for this music video as
the colours are bright and stand out. Again, like with the Little
Mix video, it appears to be high in saturation along with a range
of bright colours being in shot.
Often, Nicki Minaj is in close up shots due to the song being in
collaboration with other artists yet her having most prevalence
due to her popularity. Therefore, the viewer is forced to focus
more on her than anyone else as it helps them gain a sense of
familiarity and are more intrigued to continue their watch.
Long shots are used when there is a dancing or establishing shots
are used to see the setting. This gives the music video more
background so the viewer can understand what it going on.
When singing, she maintains direct mode of address with the
camera. This is effective as it draws the viewer in as if Nicki is
talking to them specifically, making them feel important.
Within sound, the edit is made to match this. Especially seen in
clips where the sound is performed in an action, such as the
dancer clapping his hands together when the drum is heard.
HANNAH LUX DAVIS
Nicki Minaj & David Guetta - "Hey Mama"

8. This song is a 2016 release by the singer Ariana Grande. It is a narrative and performance combination on the
topic of love. Todorov’s theory of narrative is applicable to this music video as it begins in equilibrium, then
disequilibrium occurs and Ariana’s character acknowledges this, resulting in finding a fix so a new equilibrium is
found at the end.
As shown in the beginning, Ariana and her partner are seen together in close proximity, connoting to love and
togetherness. Then, disequilibrium is depicted through the mid shot clips where she is seen with another man.
The recognition of disruption is shown by her the mise en scene of facial expressions as she glances over to him
unhappily, remembering she is with someone else. Efforts to restore peace are then made as a next step, seen
by mise en scene of costuming as Ariana’s partner is seen in security clothing, connoting to protection and
safety, as wanted in a relationship. Equilibrium is then restored at the end of the linear narrative, seen by
Ariana and the original man back together, with repetition of the bike scene, giving the video a cyclical
structure.
HANNAH LUX DAVIS
Ariana Grande – Into You
Equilibrium New Equilibrium
Acknowledgement
Disequilibrium Solving

9. The song begins with a beat of a drum, paired with black flashes on screen to
match the sound heard, as discussed by Vernallis. Additionally, the sounds made
are mimicked by what is seen such as the speed of the establishing shots being a
fast zoom act as the electronic sound heard before the chorus.
HANNAH LUX DAVIS
Ariana Grande – Into You
There is lip syncing throughout the video by the
artist where she is in close up shots so the audience
can admire her beauty. Mulvey would agree and say
that females are only looked at for their
appearance. Especially with certain shots, they are
sexualised too as their body is made to be the
focus, so they are objectified. For example, there
is a mid shot of Ariana, making her body the main
focal point, aided by the lack of costuming.
The line ‘aint close enough’ is depicted through the
close up shot of Ariana and the man about to kiss,
conforming to Goodwin’s Dancing in the Distraction
Factory Theory.

10. HANNAH LUX DAVIS
Ariana Grande – Into You
Ariana is represented as youthful and girly due to the purple toned
lighting creating a soft look. This look is a reinforcement of Wolf’s
Beauty Myth theory; Ariana Grande is seen as the typical ideology of
‘beauty’, being youthful, thin and having silky hair. Therefore, this
ideology is seen through music videos and keeps women in place in a
patriarchal society as if they don’t feel beautiful, they stay out of the
way and work on it, leaving males to dominate.
The purple has connotations of peace and tranquillity, meaning at this
state of equilibrium, everything is seen as good which contrasts later
with the mise en scene of lighting.
In the disequilibrium state, flash lighting is used where the viewer takes
on the preferred reading and sees this as bad lighting as the brightness is
harsh looking compared to the scenes of Ariana alone or with her
partner.

11. DOMINIC O’RIORDAN
From:
London, England
Clients worked with:
-Sony Music
-Ministry of Sound
-Adidas
-Nintendo
Source: dominicoriordandirector.com,
https://www.goodfromyou.co/friends-
gallery/2016/5/13/dominic-oriordan
Awards:
2015 - Best Music Video at the
IMVA’s for ‘The Beach – From
Above’
Artists worked with:
-DJ Fresh
-Diplo
-Leona Lewis
-Olly Murs
-Little Mix
-JLS
O’Riordan has worked with a range of genres within music and also styles of edit, such as adverts,
TV and campaigns.
“I started out as a runner on commercials and music videos making 100’s of cups
of tea and holding the door open for people (I make a really good cup of tea
now). I was really lucky to be on set with some very talented directors and
whenever I wasn’t making tea or stood holding a door open I tried to learn all I
could from them. Then in my spare time I used to shoot low budget UK hip hop
music videos and borrow gear from the companies I used to work with and it kind
of went from there really.”

12. DOMINIC O’RIORDAN
Example – The Answer
The Answer follows a narrative style and is by the artist Example. Within the
beginning of the song, there is on screen text of the song and the artist. As
this is a new release of 2018 as the artist has been off the music scene for a
few years, the text helps to promote his name again. The text also credits
the producer of the song, ‘Diztortion’. The placement of the text in the
central third makes it the focus of the clip so the audience is made to read
this, aided by the interesting font choices and white text as it stands out
against the background.
The mise en scene of costuming is popular clothing worn by EDM listeners as
the characters are seen wearing Adidas and Kappa branding, hoodies and
puffer jackets. Also the settings used are deemed typical for EDM fans as
they are seen in locations such as graffiti filled parks, tunnels and clubs,
with a music orientated theme throughout, seen by the prop of the
headphones the protagonist wears. This is due to the interests arising from
the working class backgrounds as these areas are commonly available to
people from working class backgrounds and places they live in. Therefore, it
creates a sense of familiarity as they will recognise places like in the music
video and be able to relate it to their own situation.

13. DOMINIC O’RIORDAN
Example – The Answer
There is initial non diegetic sound used where the beginning of the
song is heard when one of the character’s has his headphones on.
However, as soon as other characters arrive in the scene, the boy
takes his headphones off and the music is replaced by diegetic
sound, where the voices of people are heard and are also seen on
screen before the song begins fully. Within the dialogue, ‘We have a
party to get to’ is heard and so sets the basis for the narrative and
the audience know to anticipate this later on.
As the music starts, it is quiet and faded to begin with then gets
louder with more clarity when the group walk into the party through
the door.
Example is seen imitating a clapping noise which Goodwin’s theory
links in with due to the link of visuals and sound being made here as
it has been amplified in this instance.
The whole video is paced in terms of editing to the sound of the
music as well, highlighting Vernallis’ theory as the sound and
imagery are synchronised. This makes the music video more
enjoyable to watch and flow better.

14. DOMINIC O’RIORDAN
Example – The Answer
When entering the party, a close up shot of a girl drinking alcohol
is seen. This conforms to the representations of EDM listeners
being involved with anti social behaviour and interested in this
culture. The stereotypes are reinforced throughout the video
with shots of smoking, clubbing and hanging out in places they
shouldn’t be.
The direct mode of address shots with Example lip
syncing are all moving, as if constructed the vision the
characters have when intoxicated due to the disjointed
camera angles and movements being used.
As seen in the images, the mise en scene of lighting is
prevelant in this music video as different colours are
used to set the mood and reinforce the ‘dance’ element
of Example’s music as it would be expected to be played
in club environments.

15. DOMINIC O’RIORDAN
The Beach – From Above
This is a less well known song, released in 2015. It is a narrative music video, in the indie genre.
It’s about people who are going about their own lives yet know something to do with the infinity
sign will join them together so they can rise up against problems they experience.
The song starts of with diegetic sounds of police sirens contrapuntal to the calm clips of a boy
with his eyes closed. This is a non linear narrative as disequilibrium is evident from the start.
Youths are represented as violent due to the prop of a knife being held against someone's face in
the beginning, accompanied by angry facial expressions such as wide eyes and stern gestures.
Supporting Goodwin’s theory, the
lyrics are amplified with the line
‘take me to that place from above’,
where the extreme long shot of the
city is seen with all the teenagers
who had been through something
bad floating in the air. Additionally,
when ‘from above’ is heard, the
character looks to the sky as if
imagining it.

16. DOMINIC O’RIORDAN
The Beach – From Above
A tracking shot is used to follow the boy character around his house. It is shaky
connoting to instability and worry which he may be feeling due to the circumstances
he lives in.
There is repeated imagery of sunsets and the sky, relating all the individual stories
together as they all have the same hope of going to somewhere ‘above’, as in the title
of the song.
A mid shot of the girl character and a stranger is shown, which to devoted fans of the
band, they would recognise the stranger as being the singer and so it creates a fourth
wall effect where they see something out of the ordinary and something unexpected
briefly which relates the song back to the artist.

17. DOMINIC O’RIORDAN
The Beach – From Above
Propp talks about the type of characters within a
narrative. There is a hero, who is often seen at the
beginning so that the audience can establish a connection
with them more so than the other characters who appear
after. The hero is on a quest, to get to the ‘above’.
There is also a villain, who opposes the hero and so tries
to stop him from getting to that place. This is seen in the
tunnel clip where the hero is pushed against the wall,
getting harassed then chased outside by the group.
The donor and the helper is the girl who helps the hero as
she also knows the symbol, acting as the ‘magic tool’.
This is evident in the mid shot where the symbol has been
spray painted onto the wall and as it’s colourful, it
contrasts and is obvious to the audience that there is a
connection between the two characters.
The ‘above’ is the place they have longed for and so takes
the place of any characters as the reward.

18. DOMINIC O’RIORDAN
Olly Murs – Right Place Right Time
The concept music video follows Olly Murs on his tour life.
Piano playing is seen at the start of the song where a piano
is also heard which is evidence of Goodwin's theory as what
is heard is also seen.
There is further lyric amplification throughout the song too.
For example, ‘life line’ is accompanied by a mid shot of the
artist in a recording studio, meaning his music is very
important to him as it is now his life.
“The right place the right time“ is a lyric as well as the
song’s title which is paired with a close up shot of Olly
signing his record deal, implying he counts himself lucky for
being able to get to the stage he is at now.
A comedic and light-hearted feel has been taken with this
song as shown through the lyrics: ‘I’m hanging on’, being
matched with the clip of Olly hanging onto a ladder,
connoting to him being grateful for what he has and that he
doesn’t want to let it go.

19. DOMINIC O’RIORDAN
Olly Murs – Right Place Right Time
In editing, a split screen has been used which is a form of more modern editing. It has
been used here to show how much he has progressed, from messing around with his
friends on holiday to performing in front of thousands on stage.
The pace of the song matches the editing as Vernallis talks about.
This is also kept up with the speed of cuts matching the music’s
tempo. The clips are all fast paced, showing how much he has
achieved in a short amount of time and the concept behind the
video is about how he appreciates what he has, by showing him
from where he started to where he’s got to.

20. DOMINIC O’RIORDAN
Olly Murs – Right Place Right Time
There are close ups of the artist throughout the video,
creating a connection between the audience and
himself. This is effective as the audience can see the
emotion in his face due to the shot being close up and
so what he sings, they are more likely to believe he
means it. Additionally, it means the audience are able
to recognise him more due to increased familiarity
over time
Olly wanted to be represented as himself and go
against the ‘fakeness’ other artists may uphold.
Dominic helped him achieve this by putting in clips of
him fooling around and being silly yet having fun so
that he seemed genuine and relatable to his audience.
This therefore contradicts Dyer’s theory of Paradox of
the Star as Olly is not being made to be someone he is
not.

21. Jake Nava
Jake got a film degree which then drove him towards being a
music video director.
He has worked with artists such as: Arctic Monkeys, Britney
Spears, Kanye West, Beyoncé, Lana Del Ray, Shakira and Adele
Brands he has worked with include: Puma, Bacardi, Maybelline,
HSBC and Armani
Awards won by him are:
-D&AD nominations for an anti gun crime campaign
-Ranked #3 Most Influential Music Videos of All Time for
Beyoncé - Single Ladies
-5th Best Music Video director in 2011
Source: http://www.cherrystudio.net/directors/jake-nava.html
A lot of his work features females looking provocative and concentration
on shots of the artist.

22. Arctic Monkeys - Arabella
Jake Nava
From the start, there is the Parental Advisory logo, a
warning of explicit content, indicating this video is not for
younger viewers and that the band is aimed at a mature
target audience, due to nudity being present.
There is a film reel effect which matches the
layout of the music video as it’s placed at the
start; film is seen before sent off to get
developed so this shows it to be in its initial
stages. The music video filtered in black and
white so the audience knows that it is going to
take on a vibe from a much earlier date. This
effect is accompanied by a sound input of a
reeling noise to increase the legitimistic feel of
looking through an old school camera.

23. Arctic Monkeys - Arabella
Jake Nava
The clip here is in reverse, showing that there will be a narrative
surrounding this character the audience is first introduced to.
She is immediately sexualised due to the mise en scene of
costuming in which her feminine features are made more
noticeable. Other females later on are seen in the same
phantasmagorical manner, wearing little and showing a lot. This
supports Mulvey’s Male Gaze due to the director being male and
the band members also being male, and so benefitting them.
In sound, throughout the video, the visuals and sound of drums
link together very well as every beat or noise, the camera shot
changes or moves to match what is heard. For example, in this
part of the song, a drum beat is heard, making the clip change to
this long shot of mopeds driving along a road. The prop of
mopeds also supports the band’s 1960’s aesthetic as these were
popular around that time.

24. Arctic Monkeys - Arabella
Jake Nava
The singer of Arctic Monkeys is seen in this close up shot which
introduces the performance element of the song. Differently from
the other music videos, he is not seen in direct mode of address,
suggesting that he is performing to an audience. As Goodwin says
lyrics match visuals, the singer acts out the words: ’her little finger
and I ride it endlessly’, by pointing his little finger up in the air. This
is an illustration of what can be heard and so amplifies the lyrics and
makes it clearer.
There are stills within this music video, again paced
with the music, to hold the audience’s attention briefly
for that moment as the whole music video is fast paced
and so it gives a chance for the viewer to see what’s
going on before it changes to something new. This is a
unique style of edit which Nava takes on, giving him
edge.

25. Beautiful Liar – Beyoncé and Shakira
Jake Nava
Smoke is used at the start of this performance based music video, to
give a sense of mystery as the audience can’t clearly see what lays
beneath. In the music video, both artists are made to look similar
through mirrored dance moves and costuming, hair and makeup.
This matches the song’s message as they are being represented as
the same, and so its suggested that they have both been through the
same deal
In this long shot, there is vignette lighting, where it darkens around
the edges. This reverts focus onto the artist as she is in the centre
third. As she wears a black dress in the mise en scene of costuming,
it contrasts with the brighter light starting out in the middle, putting
all the attention on Beyoncé.

26. Beautiful Liar – Beyoncé and Shakira
Jake Nava
There is an extreme close up shot of the artists’ midriff, where they
aren’t a lot of costuming, while dancing. This gives males voyeuristic
pleasures due to the moves being sexual. This arguably, is what makes
music videos successful as the male audience like to see this and the
female audience likes to aspire to be this. John Berger would agree as
his statement: ‘men look, woman appear’ is evident here as there are
no men involved in this video so assuming they are part of the
audience means they’re objectifying.
This long shot includes both singers lip syncing and
dancing in the rain. The setting is in shallow water in
a thunderstorm, connoting to power as they’re stood
strongly amongst a storm. This suggests they are
strong together because they have a similar story to
tell.

27. Beautiful Liar – Beyoncé and Shakira
Jake Nava
The main thing differing the two artists is the colour
scheme they are in. Shakira holds the sepia filter,
whereas Beyoncé holds the grey toned lighting.
This again can connote to female empowerment as the
song is about a man who cheated and them coming out
stronger because of it; Shakira represents land and
Beyoncé represents sea as if they own the world and
aren’t being held back by men.
As it is a low angle shot, it also puts them in a position of dominance as they’re looking down at the
camera and the audience looks up at them. Again, this makes them appear powerful and in control.
From Nava’s music videos, it’s clear to see his directing style is less involved with colour and more
about representations of the artists or characters. This is because the other director’s music videos
are bright and play with coloured lighting a lot more to make brighter videos. However this could
just be due to these videos being older, where technology was less advanced.

28. Audio Bullys - Way Too Long
Jake Nava
This video has diegetic sound of the car prop driving past at the
start. This intrigues the viewer as they know a storyline will
accompany this song and so pay attention to what’s happening.
The camera movements are shaky here, as if it has been filmed
hand held. This gives it a homemade feel which is conventional
of the indie/rap genre. Again, this is an older song, released in
2012 so the footage isn’t as good quality as others which could
also be part of the reason why. The clips in this video are low in
saturation, adding to the indie conventions of colour as they
tend to keep things neutral toned.
During the beginning clips, there are reverse shots between the
boy in bed and the boy outside the house, building tension as
the clips are fast paced and so the audience knows to
anticipate something to happen soon along this non-linear
narrative style music video; the video starts with disequilibrium
as it shortly follows with on screen text saying: ‘two weeks
earlier’, going back in time and allowing the song to start.

29. Audio Bullys - Way Too Long
Jake Nava
Within mise en scene of costuming, one character is seen
wearing Adidas branding which is also conventional for this
music genre due to it being perceived as vintage, further
highlighted by the faded colour filter it has.
It also stereotypes the listeners of this genre as troublesome
due to it being deemed ‘immoral’ by outsiders. Contributing to
this factor, the actual narrative is about the buying and selling
of drugs and so this also negatively portrays the fans, yet it is of
interest to them so they have a niche target audience.
The two shot of the singer and another member of the band is
shown where they’re walking down the setting of a street. This
allows the audience to see the artist and gain familiarity of
him. Dyer’s star theory is applicable here due to this; the
audience can visually see his appearance is ‘normal’ and
achievable, yet as he gains thousands of views, and the
narrative is put together for entertainment, they can’t relate
to his true self as that is not shown on camera.

30. Audio Bullys - Way Too Long
Jake Nava
A montage of clips are shown here with several stills
being shown one after the other. This goes with the
lyric: ‘all those kids who were your mates’ as the
stills act as flashbacks to the ‘mates’ so the audience
sees memories through the perspective of the person
being sung to.
The music at this point slightly fades, correlating
to what’s being shown as the character is drunk
and when intoxicated, senses become less
strong, mimicked through the sound getting less
clear. Therefore, Goodwin would say the
connection between sound and visuals are an
amplification as the visual aid accompanies the
music so the audience can feel what the
character feels at that moment in time.