Music VideosO A music video is a short film integrating a song and imagery, produced for promotional purposes.O More modern music videos are mainly used for marketing to promote sale of the song.O Music videos use a wide range of styles of film making techniques, including animation, live action filming and non-narrative approaches.O Many music videos do not interpret images from the song lyrics making them less literal than expected.O Before music videos if you was to hear music on the TV it would be through programs such as Top of the Pops, where people could watch live performances and interviews.
Andrew GoodwinAndrew Goodwin has identified a number of key features in music videos. Theyare:O - A relationship between the lyrics and the visuals, with the visuals illustrating, amplifying or contradicting the lyrics.O - A relationship between the music and the visuals, with the visuals illustrating, amplifying or contradicting the music.O - Genre-related style and iconography present.O - Multiple close-ups of the main artist or vocalist.O - Voyeurism often plays a major part, especially in relation to females.O - Intertextual references to other media texts may be present.O He says that music videos are often constructed by the link between the visuals and the song plus the artist. Relationships are built between these in the video, and the close-ups of the artists gives them the representation and publicity they require. Voyeurism is used to increase the video’s attractiveness, particularly to males, whilst intertextuality is often employed in humorous videos.O Many of these features are present in all music videos, depending on the genre of the song and the aim of the record company/artist
Andrew GoodwinO He said to listen to a song to get an idea of what the video may be about then watch the video to check the similarity.O For example Ed Sheeran Logo HouseO Listening to the lyrics of the song and watching the video you can get two completely different interpretation of the song.
Keith NegusO Negus challenges the connection between popular music and youth culture. He argues that popular music is listened to and performed by an ageing demographic. He also takes issue with the view that popular music is inherently rebellious.
Keith Negus, Popular Music in Theory (1996) O Punk rock finally challenged, deconstructed and exposed the mythologies of rock at the very moment when the original teenagers and youth of the rock generation were beginning to grow old and beginning to hear things in a different way: songs of generational rebellion, sexual liberation and social concern were starting to be used to advertise wine coolers, executive cars and personal insurance.
Theodor AdornoO Adorno saw Popular Music as the antithesis of Art Music. According to him it is pseudo-individualised offering only a thin veneer of diversionary pleasure that conceals from the listener its fundamentally formulaic quality.