This document discusses different types of music videos and common conventions. The main types are narrative-based videos, which relate the visuals to the song's lyrics and story; performance-based videos, which primarily feature footage of the artist performing; and concept-based videos, which take a more abstract, metaphorical approach. Common conventions across music video genres include the use of different camera angles, camera movement, mise-en-scene reflective of mood, and editing techniques like jump cuts. The document also summarizes Andrew Goodwin's music video theory about elements like the relationship between music and visuals, inclusion of the artist, and technical aspects.

1. Types & Conventions
of Music Videos

2. Narrative-based
Narrative based music videos focus heavily on an audio-visual relationship
in which the on-screen content reflects both the lyrics and genre of the song,
in either a linear (chronological) or fragmented (non-chronological) narrative.
This technique is often used to heighten audience engagement, wherein
they are prompted to consider the lyrics of a song in relation to their
meaning and/or associate them with the on-screen storyline. For this reason,
narrative-based music videos are often used to promote movies,
accompanying songs on the soundtrack of an upcoming release – for
example, Bruno Mars’ ‘It will rain’ was on the Twilight: Breaking Dawn
soundtrack, featuring footage from the film played through an on-screen
projector. Narrative-based music videos are further prone to adding diegetic
sound effects which would not be in the original song, however fit the
narrative (i.e a car starting, guns being fired, or character dialogue during an
instrumental part of a song)

3. Performance-based
Performance based music videos primarily consist of footage in which the artist is
performing their song. These music videos place heavy emphasis on lighting and
costume in order to make performance more visually appealing; however remain
uncommon due to their tendency to disengage audience with repeated shots of
performance. In order to prevent this, directors are prone to combine both narrative
and performance based styles, interrupting the main storyline with shots of the
performer. This is arguably an example of repetition and difference (Neale), wherein
both styles are used, however in combination rather than in isolation. An example of
this can be seen in Carly Rae Jepsen’s ‘Call Me Maybe’ music video, wherein shots
cut between the Carly performing alongside a band, and then starring in a narrative
suited to the lyrics. Performance shots are further prone to displaying iconography
associated with the genre - i.e acoustic/indie songs would typically show the singer
playing an instrument (often a guitar), whereas pop songs may be composed of
elaborate/sexualised dance routines.

4. Concept-based
Concept-based music videos are generally abstract/obscure, with
little direct correlation to narrative or lyrics. This ambiguity and lack
of verisimilitude becomes surreal for an audience, and often
entices them on the basis of originality, however also as a result of
metaphorical significance. These videos often enable directors to
have more creative freedom within the production, with strong
emphasis on the use of mise en scene to construct an abstract
image and/or scene. An example of a concept-based music video
is that Gotye’s ‘Somebody That I Used to Know’, wherein both the
walls and actors are gradually covered in paint, using various
colour to represent emotions throughout the song.

5. Conventions
The following conventions are typically found within music videos of all
genres/types:
O A variety of camera angles, in order to establish various aspects of the
scene i.e a long/establishing shot to display setting, a close up to show
character emotion, or mid/two-shot to establish character interaction and
relationship.
O Camera movement – the camera generally follows the artist
(performance-based) or actor (narrative-based) using a variety of tilts,
pans, tracking or crane shots, all of which contribute towards a more
visually pleasing sequence.
O Mise en scene is typically reflective of mood and genre within a video –
for example, more/sad emotional songs would feature low-key, saturated
lighting, whereas up-beat dance/pop songs are prone to displaying high
contrast, high-key lighting.
O Editing – jumps cuts are predominantly used within music videos in order
to increase pace and allow sudden changes from one scene to another,
whereas show fade/dissolve cuts are used in order to maintain and
establish tone when changing mood/time between scenes.

6. Andrew Goodwin – Music Video Theory
Andrew Goodwin’s music video theory proclaims the following conventions to be found
universally across all successful music videos:
1. Well-constructed/thought through beat – the music structure must be carefully
constructed, with the rhythm and artist voice creating a unique identification for the
song which can then be translated into story/narrative
2. Relation between music and visuals – Goodwin argues that a successful music
video makes use of this relationship in a skilful, engaging manner – i.e music videos
typically either illustrate the audio (directly explain/represent the lyrics through
narrative), use disjuncture (no relationship between music and visuals) or amplify
the song through repeatability (when images/camera shots are manipulated and
repeated over the course of a video).
3. Narrative and performance of a song – Goodwin believed it was important for an
artist to be involved in the video, whether this is through performance or acting within
a narrative, in order to engage fans/viewers with both the video and artist, as well as
providing context and understanding.
4. Star Image – Goodwin argues that various camera shots of the performer as a
protagonist helps to promote their star image/public reputation through their
representation within the video (i.e an indie singer performing with a guitar would
create different connotations with the artist than a pop singer dancing).
5. Technical Aspects – the use of mise-en-scene, camerawork, editing and audio help
to hold together a music video, whilst also establish and amplify tone (i.e sudden
changes in lighting or audio communicate sudden changes in atmosphere).

7. Examples
Relation between music and visuals /Technical Aspects - “Someone Like You”
(Adele) – in this case, the video is shot in black and white, with various close-up shots of
the artist in apparent emotional distress, hence amplifying the sombre, emotional tone set
by the song/lyrics. This is further applicable to final strand of Goodwin’s theory (‘technical
aspects’), wherein the use of black and white colouring, low-key lighting and handheld
camerawork creates a sense of authentic emotion/despair.
Narrative and performance of a song /Star Image– “Thinking Out Loud” (Ed Sheeran)
– Ed Sheeran’s appearance within this music video links to the ‘narrative and
performance’ aspect of Goodwin’s theory, wherein the video becomes increasingly
engaging through the presence of the singer. As a result, this further promotes the “star
image” of Ed Sheeran, wherein a video of him ballroom dancing connotes to the
genre/romantic lyrics within the song, contributing to an overall sense of brand identity in
association with his music.
An evaluation of this theory, however,
could be that the presence of a ‘star’ is
not necessary in the success of a
music video. For example, a music
video featuring a strong narrative with
strong actors would have a higher
chance of audience engagement than
that of a video with the singer acting in
a poorly constructed narrative.

8. Conclusion
Through this task, I have been able to gain a more profound understanding
of both the types and conventions of music videos, which will enable me to
make a more informed creative decision as to which of these I will
use/challenge within my own production. This is applicable to Neale’s
repetition and difference theory, wherein an understanding of common
conventions is necessary in order to construct a product with both repeated
and original aspects – for example, a lack of in-depth knowledge
surrounding conventions of music videos would make it difficult to challenge
them and create unconventional aspects of ‘difference’. This basic
understanding, therefore, is fundamental to the construction of a more
complex and unique product.