Video analysis

MUSIC VIDEO ANALYSIS
SIMILAR PRODUCT RESEARCH

MUSIC VIDEO ANALYSIS
WITHIN THIS POWERPOINT I SHALL ADDRESS THE MUSIC VIDEO
‘CAPSIZE’ BY FRENSHIP USING ANDREW GOODWIN (1992) THEORY
TO AID MY ANALYSES…
• 1.USE GOODWIN AND BREAKDOWN SHOT BY SHOT= CAPSIZE
• 2.USE GOODWIN = YOU OUGHT TO KNOW
• 3. NARRATIVE THEORY= BLANK SPACE
6 KEY ELEMENTS TO A MUSIC VIDEO
WHEN ANALYSING MUSIC VIDEOS THERE ARE SEVERAL KEY ELEMENTS WHICH
MUST BE CONSIDERED BEFORE BEGINNING A FURTHER ANALYSIS IN REGARDS TO
THE TRUE PURPOSE OF THE MUSIC VIDEO. FIRSTLY BY EVALUATING ANDREW
GOODWIN'S 6 KEY PARTS TO ANY MUSIC VIDEO THIS WILL ALLOW US TO
UNDERSTAND THE PURPOSE BEHIND THE VIDEO IN MORE DEPTH.

6 KEY PARTS TO A MUSIC VIDEO…
VISUALS THAT FIT THE MUSIC
HERE ARE SOME EXAMPLES OF VISUALS FROM THE MUSIC VIDEO IN WHICH I AM GOING TO USE TO HELP ASSESS THE MUSIC
VIDEOS.

CAPSIZE- VISUALS THAT FIT THE MUSIC
FIRSTLY ONE MUST APPRECIATE THAT THE VISUALS WITHIN THE MUSIC VIDEO FIT THE
MUSIC ITSELF (IN THIS CASE I SHALL BE LOOKING AT THE MUSIC VIDEO 'CAPSIZE'). THE
CUTS ARE EVIDENTLY IN SYNC WITH THE RHYTHM AND BEAT OF THE SONG AND THUS
CREATES AND FURTHER DEVELOPS THE OVERALL ATMOSPHERE OF THE VIDEO. FOR
EXAMPLE, THE DANCERS USE MOVEMENTS THAT MATCH THE BEAT SUCH AS
ACCENTED BEATS TO MAKE THEIR MOVEMENTS MORE DYNAMIC AND POWERFUL-
THUS ALLOWING THEM TO CONNECT WITH THE AUDIENCE FURTHER. MOREOVER
EMPHASISING MOVEMENTS TO THE AUDIENCE AND SUGGESTING THAT SOME ARE
MORE IMPORTANT THAN PERHAPS OTHERS. THIS FURTHER ALLOWS THE SONG'S
PURPOSE TO COME ACROSS EFFECTIVELY. BELOW IS AN IMAGE WHICH REPRESENTS
THE FACT THAT ALL THE MOVEMENTS MATCH THE BEAT AND SYNC WITH THE MUSIC,
THIS IS EXTREMELY IMPORTANT FOR MUSIC VIDEOS SUCH AS THIS ONE AS IT
INCORPORATES THAT OF MOVEMENT.

GENRE CHARACTERISTICS
BELOW IS AN EXAMPLE OF A SCREENSHOT OF THE MUSIC VIDEO WHERE THERE ARE EVIDENT
ELEMENTS OF GENRE CHARACTERISTICS WHICH I SHALL EVALUATE ON THE NEXT SLIDE.

GENRE CHARACTERISTICS
AN ADDITIONALLY ELEMENT TO RESPECT IN REGARDS TO THE EVALUATING OF MUSIC
VIDEO'S IS THAT THERE WILL BE EVIDENT GENRE CHARACTERISTICS. WITHIN THIS
MUSIC VIDEO THIS IS THE GENDER OF THE CHARACTERS. THE SONG IS EVIDENTLY
ABOUT A COUPLE WHO ARE EXPRESSING THEIR EMOTIONS THROUGH THE USE OF
MOMENT. THE ONLY CHARACTERS ARE THE ONE FEMALE AND MALE WHO ARE THEN
THE ONLY APPARENT CHARACTERS PRESENT. THEY USE THE LIKES OF CONTEMPORARY
DANCE TO EXPLORE THERE EMOTION THROUGHOUT THE SONG. IN REGARDS TO THE
ETHNICITY OF THE MUSIC IT IS VERY BALANCED HENCE SUGGESTING IT IS FAIR AND
THERE IS NO APPARENT POWER THAT THE CHARACTERS HOLD OVER EACH OTHER
THAT STAGES THEM AGAINST THE OTHER. BELOW IS AN IMAGE OF THE COUPLE
EMBRACING WHICH OCCUR TOWARDS THE END OF THE MUSIC VIDEO.

RELATIONSHIP BETWEEN LYRICS AND VISUALS
THERE IS EVIDENCE WITHIN THIS MUSIC VIDEO THAT REPRESENT A RELATIONSHIP BETWEEN THE
LYRICS AND VISUALS. THIS IS APPARENT WITH THE CONSTANT REFERENCE TO THE ‘TIED’ AND THERE
‘RELATIONSHIP’ WHICH IS PRESENTED WITHIN THESE IMAGES.

RELATIONSHIP BETWEEN LYRICS AND VISUALS
A FURTHER ELEMENT TO A MUSIC VIDEO WHICH MUST BE CONSIDERED IS THAT
THERE SHOULD BE AN EVIDENT RELATIONSHIP BETWEEN LYRICS AND VISUALS.
THIS THEREFORE INSURES THE MESSAGE OF THE SONG GETS EFFECTIVELY TO THE
AUDIENCE INSURING ALL MESSAGES AND MEANINGS ARE PORTRAYED
EFFECTIVELY. THERE IS CONSTANT RELATION TO 'WATER' AND ELEMENTS
REGARDING THE 'TIED'. THIS IS THEN PORTRAYED WITHIN THE MISE-EN-SCENE OF
THE VIDEO WHICH IS SET IN A LAKE. THIS THEREFORE REITERATES THE MEANING
OF THE SONG AND SUGGESTS THAT THE WATER IS A REFLECTION OF THEIR
JOURNEY WITHIN THEIR RELATIONSHIP. MOREOVER ILLUSTRATING AN IMPORTANT
KEY PART TO A MUSIC VIDEO.

DEMANDS OF THE RECORD LABEL
THE RECORD LABEL WILL HAVE CERTAIN DEMANDS AND EXPECTATION FOR A MUSIC VIDEO… ONE
BEING LOTS OF CLOSE UPS OF THE ACTORS TO INSURE A ‘STAR’ IMAGE IS CREATED.

DEMANDS OF THE RECORD LABEL
TO CONTINUE, A DEVELOPING ELEMENT TO MUSIC VIDEOS (WHICH MUST BE CONSIDERED) IS THE
ELEMENT WHICH FOCUSES ON THAT OF THE DEMANDS REGARDING THE RECORD LABEL. WITHIN
ANY MUSIC VIDEO (NOT JUST EVIDENT IN THE LIKES OF THE 'CAPSIZE' MUSIC VIDEO) THERE IS
NEED FOR A VARIETY OF CLOSE UPS OF THE ARTIST WHICH THEN HAS THE ABILITY TO BECOME A
MOTIF WHICH IN TURN REOCCURS ACROSS THE MEDIA. THIS THEREFORE ALLOWS THE LABEL TO
SET A CERTAIN IMAGE WHICH WILL HELP TARGET SPECIFIC GROUPS TO PORTRAY TO THE
AUDIENCE AND MEET THERE NEEDS. THIS IS EVIDENT IN THE MUSIC VIDEO 'CAPSIZE' WHERE
THERE ARE ALWAYS SHOTS OF THE TWO MAIN CHARACTERS. THE TWO MAIN CHARACTERS ARE
ALWAYS IN THE SHOT AND THEREFORE BECOME A MAIN ELEMENT IN WHICH THE MUSIC VIDEO IS
CONSTRUCTED. THE LOCATION REMAINS CONSTANT AND ONLY THE LIGHTING CHANGES
(BECOMING BRIGHTER THROUGH THE RISING OF THE SUN WHICH IS REFLECTED IN THE SONG
ITSELF WHEN THE ‘COUPLE’ EXPRESS THEIR TRUE FEELINGS). THEREFORE TO REITERATE THIS
CREATES A MOTIF AS THE COUPLE THEN BECOME SOMETHING THE RECORD LABEL CAN
MOREOVER USE TO ENGAGE WITH THE AUDIENCE.

THE IMPORTANCE OF FREQUENT NOTION LOOKING
ON THE NEXT SLIDE I SHALL ADDRESS THIS IDEA AND EXPLAIN HOW IT CAN BE APPLIED TO THIS
MUSIC VIDEO.

THE IMPORTANCE OF FREQUENT NOTION LOOKING
THE FINAL ELEMENT TO CONSIDER WHEN LOOKING AT THE 6 KEY PARTS TO A MUSIC
VIDEO (IDENTIFIED BY ANDREW GOODWIN) IS THAT THERE IS FREQUENTLY REFERENCE
TO NOTION OF LOOKING (SCREENS WITHIN SCREENS, MIRRORS, STAGES, ETC.) AND
PARTICULARLY VOYEURISTIC TREATMENT OF THE FEMALE BODY. THE ‘MALE GRAZE’ IS
OFTEN USED TO ATTRACT A MALE AUDIENCE. THE MALE GRAZE IS A FOCUS ON
PRESENTENCING THINGS THAT APPEAL TO MALES. THE EMPHASIS ON LOOKING ALSO
INCLUDES THE ARTIST LOOKING DIRECTLY INTO THE CAMERA HELPING THE AUDIENCE
CONNECT WITH THE ARTIST. THIS HOWEVER ISN'T APPARENT IN REGARDS TO THE
MUSIC VIDEO 'CAPSIZE' AS THE FEMALE ISN'T SEXUALISED IN A SUPERFLUOUS REGARD
TO THE NARRATIVE. THIS THEREFORE DOESN'T CONFORM TO THE STEREOTYPICAL
REPRESENTATION OF MUSIC VIDEOS.

AFTER ASSESSING THE MUSIC VIDEO 'CAPSIZE'
THROUGH THE USE OF GOODWINS 6 KEY PARTS TO A
MUSIC VIDEO IT IS NOW VITAL TO EVALUATE HOW HIS
THEORY IS USED TO HELP ME ANALYSE MUSIC VIDEOS
IN DEPTH...
I SHALL NOW ASSES THE MUSIC VIDEO USING GOODWINS 5 WAYS TO ANALYSE A MUSIC
VIDEO.

5 WAYS TO ANAYLSE A MUSIC VIDEO…
THROUGH BEATS
ON THE NEXT SLIDE I SHALL ADDRESS HOW A MUSIC VIDEO CAN BE ANAYLSED
THROUGH THE USE OF BEATS.

THROUGH BEATS
ANDREW GOODWIN’S FIRST WAY TO ANALYSE A MUSIC VIDEO CONSISTS OF ‘SEEING
THE SOUND’. THE VOICE OF FRENSHIP IS PERHAPS CONSIDER VERY RELATABLE AND
NOT IN ANY WAY UNIQUE. IN THIS CASE TRADEMARKS AND THE CREATION OF A STAR
IMAGE IS NOT EASILY ACHIEVABLE AND THEREFORE COULD EXPLAIN WHY THIS SONG
PERHAPS NEVER BECAME ON THE TOP 10 UK CARTS SIMPLE DUE TO THE LACK OF
UNIQUENESS. IT DOES HOWEVER CREATE A STORY IN WHICH THE AUDIENCE CAN
EASILY RELATE TO. THIS IS DONE, PERHAPS NOT IN THE NORMAL WAY, INSTEAD
THROUGH THE USE OF MOVEMENT RATHER THAN AN ACTUAL STORY LINE.
PERSONALLY I FIND THIS MORE EFFECTIVE AND ALLOWS THE AUDIENCE TO FULLY
UNDERSTAND AND CONNECT WITHIN THE MEDIA TEXT AS IT IS MORE RELEVANT TO
THE PURPOSE OF THE VIDEO

NARRATIVE AND PERFORMANCE
THROUGH THE USE OF NARRATIVE AND PERFORMANCE.

NARRATIVE AND PERFORMANCE
AN ADDITIONAL ELEMENT TO CONSIDER IN REGARDS TO ANDREW GOODWIN’S
WAYS TO ANALYSE A MUSIC VIDEO IS THAT OF NARRATIVE AND PERFORMANCE.
THIS IS EVIDENT WITHIN THIS MUSIC VIDEO AS THERE ISN’T A COMPLETE
NARRATIVE TO THE TEXT. THEREFORE THE AUDIENCE IS LEFT WITH THE QUESTION
OF WHAT IS GOING TO HAPPEN NEXT/WHAT IS THE TRUE MEANING BEHIND THE
TEXT. THIS MUSIC VIDEO IS ADDITIONALLY VERY RELATABLE TO THE AUDIENCES
AS IT SHOWS THE MOVEMENT WITHIN A RELATIONSHIP AND THEREFORE BECOME
RELATABLE TO THE TARGET AUDIENCE. MOREOVER ALLOWING THE MUSIC VIDEO
TO BECOME EASIER TO WATCH OTHER AND OTHER AGAIN. A MAIN ELEMENT TO
THIS VIDEO IS THAT THE AUDIENCE NEEDS TO BELIEVE THAT THE TEXT IS REAL.
PERSONALLY, THROUGH THE USE OF SHOTS AND LIGHTING I BELIEVE THIS HAS
BEEN EFFECTIVELY ACHIEVED.

STAR IMAGE
THROUGH THE USE OF STAR IMAGE.

STAR IMAGES
THE TWO MAIN CHARACTERS ARE ESSENTIALLY THE ‘STAR’ ELEMENTS TO THE
FILM AND THEREFORE BOTH PRESENT THE MAIN IMAGE TO THE AUDIENCE. BOTH
CHARACTERS ARE REPRESENTED AS EQUAL AND THEREFORE HAVE THE SAME
AMOUNT OF POWER WITHIN THE MEDIA TEXT. THE META NARRATIVE DOES NOT
APPLY IN THIS RESPECT AS THERE ISN’T A PARTICULAR ‘BIG STORY’ AND
THEREFORE DOES NOT HAVE AN IMPORTANT PART TO PLAY IN THE MUSIC VIDEO
PRODUCTION PROCESS.

RELATION OF VISUALS TO THE SONG
THROUGH THE USE OF RELATION OF VISUALS TO THE SONG.

RELATION OF VISUALS TO THE SONG
THERE ARE 3 WAYS IN WHICH A MUSIC VIDEO WORKS TO PROMOTE
A SONG. THESE INCLUDE THE LIKES TO ILLUSTRATE, DISJUNCTION
AND AMPLIFY. ALL CAN BE APPLIED TO THE ANALYSES (TO SOME
EXTENT) WITHIN THE MUSIC VIDEO ‘CAPSIZE’. ‘CAPSIZE’
INCORPORATES THAT OF A VARIETY OF IMAGES TO ILLUSTRATE THE
MEANING OF LYRICS AND GENRE, THIS IS MOST COMMON WITHIN
MUSIC VIDEOS AND IS APPARENT WITHIN ‘CAPSIZE’. THROUGH THE
USE OF SHOTS OF THE COUPLE DANCING, IT THUS ILLUSTRATES
THROUGH THE MEANING OF LYRICS. IN REGARDS TO DISJUNCTION,
‘CAPSIZE’ CANNOT BE APPLIED. THERE IS AN EVIDENT STORYLINE
AND THUS CONTRASTS WITH COMPLETELY IGNORING THE MEANING
OF THE SONG.

TECHNICAL ASPECTS
THROUGH THE USE OF TECHNICAL ASPECTS.

TECHNICAL ASPECTS
THE TECHNICAL ASPECTS TO THIS MUSIC VIDEO CAN BE APPLIED… THE SONG
REPRESENTS PARTICULAR ELEMENTS THROUGH THE LIKES OF CAMERA ANGLES,
MOVEMENT, ANGLES, MISE-EN-SCENE, EDITING, SOUND, LIGHTING, COLOUR AND
SPECIAL EFFECTS (WHAT HOLDS THE VIDEO TOGETHER). ALL HELPS TO INSURE
MOOD AND ATMOSPHERE IS EFFECTIVELY PRESENTED WITHIN THE VIDEO. THE
MISE-EN-SCENE USED WITHIN THIS MUSIC VIDEO IS VERY SIMPLISTIC AND
THEREFORE INSURES THE FOCUS IS IN FACT ON THE LIKES OF THE MAIN ACTORS.
THIS EMPHASISE THE STORY LINE AND ILLUSTRATES THERE RELATIONSHIP.

‘YOU OUGHT TO KNOW’- APPLING
GOODWIN’S THEORY…
Here is shall complete an analysisi of ‘You
Ought To Know’ through the likes of
Goodwin’s theory to assess the music video.

WITHIN THIS ESSAY I HOPE TO EVALUATE ANDREW GOODWIN (1992) AND HIS THEORY REGARDING ‘HOW TO ANALYSE
MUSIC VIDEOS’. HIS THEORY CONSISTS OF FIVE DIFFERENT ELEMENTS. FIRSTLY HE SUGGESTS THAT WE SHOULD LOOK
AT THE BEAT OF THE MUSIC ITSELF. WITHIN ALANIS MORISSETTE’S MUSIC VIDEO ‘YOU OUGHTA KNOW’ THE ARTIST
VOICE IS REPRESENTED AS EXTREMELY UNIQUE. THIS FORMS AN IDENTIFICATION, CREATING A STAR IMAGE, WHICH
THE AUDIENCE FIND EASY TO CONNECT WITH. THIS ALLOWS THE MUSIC VIDEO TO BECOME MORE APPEALING TO THE
AUDIENCE. THIS MUSIC VIDEO IS ADDITIONALLY FOCUSING ON THE PERFORMANCE RATHER THAN THE NARRATIVE
WITHIN THE VIDEO.
HIS SECOND ANALYSES ELEMENT CONSISTS OF EVALUATING THE NARRATIVE AND PERFORMANCE WITHIN A VIDEO. IN
REGARDS TO THIS VIDEO, ALANIS IS CONSTANTLY WALKING THROUGH THE DESERT AND CHANGES OUTFITS FROM
BLACK TO WHITE. MOREOVER THE SONG FAILS TO GIVE A COMPLETE NARRATIVE, ULTIMATELY LEAVING THE
AUDIENCE TO DECIDE WHAT IS TRULY HAPPENING. ALANIS IS ADDITIONALLY SHOWN THROUGHOUT THE WHOLE
VIDEO (ACTING AS BOTHY THE NARRATOR AND THE PARTICIPANT). HOWEVER WE DON’T GET A COMPLETE IMAGE OF
HER FACE SUGGESTING THAT THERE IS AN ELEMENT OF MYSTERY. THIS HELPS TO DRAW THE AUDIENCE IN FURTHER.
THIS ACTS AS HIS THIRD ELEMENT TO HIS THEORY WHEREBY MUSIC VIDEOS HAVE A ‘STAR IMAGE’.
HIS FOURTH ELEMENT TO HIS THEORY ANALYSES THE REACTION OF VISUALS TO THE SONG, THIS IS DONE THROUGH
ILLUSTRATING, AMPLIFYING OR DISJUNCTION. WITHIN THE MUSIC VIDEO THE USE OF ‘AMPLIFY’ IS USED. ALANIS’S
IMAGE IS REPEATEDLY USED THROUGHOUT THE VIDEO TO CREATE ATMOSPHERE AND ULTIMATELY HELP TO CAPTURE
THE AUDIENCE.
THE FINAL ELEMENT TO HIS THEORY IS THE TECHNICAL ASPECTS WITHIN A MUSIC VIDEO. THROUGHOUT THIS MUSIC
VIDEO A RANGE OF CLOSE UPS AND FREQUENT CUTS ARE USED TO CREATE ATMOSPHERE AND EMPHASES THE MOTIF
BEHIND THE MUSIC VIDEO. MISE-EN-SCENE IS ADDITIONALLY USED TO CREATE MEANING AND SUGGEST AN EDGY
FEEL TO THE VIDEO WHICH MATCHES ITS GENRE. MOREOVER ENGAGING THE AUDIENCE FURTHER. IN CONCLUSION BY

NARRATIVE THEORY- APPLYING THEORISTS
TO A MUSIC VIDEO
TAYLOR SWIFT- BLANK SPACE
PROPP: WITHIN THIS MUSIC VIDEO, THE STORYLINE FOLLOWS THE LIKES OF TAYLOR AND HER 'BOYFRIEND'. IT SHOWS A BRIEF
SUMMARY OF THERE RELATIONSHIP BEFORE HE SUPPOSEDLY CHEATS ON HER. ULTIMATELY THERE ARE LIMITED CHARACTERS
WITHIN THIS MUSIC VIDEO, HOWEVER BOTH CHARACTERS STILL HAVE THE APPROPRIATE FEATURES WHICH CAN BE RELATED
TO PROPP. PROPP SUGGESTS THAT ALL CHARACTERS HAVE A SPECIFIC ROLE WHICH CAN BE SHOWN WITHIN THIS MUSIC VIDEO.
TAYLOR IS POSED AS THE HERO (THE CHARACTER WHO SEEKS TO FIND LOVE), WITH THE MALE CHARACTER POSING AS THE
VILLAIN WHO CHEATS ON HER AND RESULTS IN TAYLOR GOING 'INSANE'.
TODOROV: TODOROV BELIEVED THERE WAS A SEQUENCE THAT OCCURRED WITHIN MUSIC VIDEOS. IT BEGINS WITH THE INITIAL
EQUILIBRIUM... THIS IS THE SET UP OF TAYLOR MEETING HER 'BOYFRIEND'. THERE THEN FOLLOWS A DISRUPTION TO THE
EQUILIBRIUM WHEREBY THIS IS SHOWN WHEN HER BOYFRIEND SEEMS TO BE MESSAGING OTHER GIRLS. THIS THEN TRIGGERS
THE RECOGNITION OF THE DISRUPTION WHICH IS SHOWN WHEN TAYLOR BEGINS TO ARGUE AND WITH HIM BUT HIS ACTIONS
SEEM TO REPEAT THEMSELVES. AN ATTEMPT TO REPAIR THE DAMAGE THEN FOLLOWS WHERE TAYLOR FRANTICALLY TRIES TO
GET HIS ATTENTION BY DISTROSYING HIS STUFF AND SEEMING UPSET. TO FINALISES THE VIDEO THE NEW EQUILIBRIUM IS
FORMED AND TAYLOR IS SHOWN AS A NEW PERSON, SIMILAR TO HOW SHE WAS IN THE BEGINNING OF THE VIDEO WAITING
FOR THE NEXT MAN TO ENTER.
BATHES: BATHES BELIEVED THAT A MUSIC VIDEO CAN BE BROKEN DOWN INTO 5 DIFFERENT ELEMENTS WHICH HELP THE
VIEWER UNDERSTAND THE TEXT. TO BEGIN WITH THE ACTION CODE IS REPRESENTED IN THE FIGHT BETWEEN TAYLOR AND HER
BOYFRIEND. THIS IS MADE DRAMATIC THROUGH THE USE OF LIP SYNCING AND ACCENTED BEATS. THE REFERENTIAL CODE
SHOWS HOW THE BOYFRIEND IS TEXTING ON HIS PHONE WHILST TAYLOR IS LOOKING UP AT HIM. THIS GIVES THE AUDIENCE
THE INFORMATION THEY NEED TO FULLY UNDERSTAND WHAT IS GOING ON. THEN THE ENIGMA CODE IS WHAT TEASES THE
AUDIENCE. THIS IS DONE AT THE END OF THE MUSIC VIDEO WHERE THE BOYFRIEND QUICKLY DRIVES OFF AND TAYLOR IS
WAITING FOR THE NEW BOYFRIEND TO ENTER.
LEVI-STRAUSS- LEVI'S THEORY CAN BE USED TO DETERMINE THE OPPOSITION WITHIN THE TEXT. FOR EXAMPLE, WITHIN THE
BLACK SPACE VIDEO, THERE IS TAYLOR AS A CLAM, SWEET AND LOVING GIRL VS THE INSANE, JEALOUS, AND CRAZY

Video analysis

Recommended

Recommended

More Related Content

What's hot

What's hot (17)

Viewers also liked

Viewers also liked (20)

Similar to Video analysis

Similar to Video analysis (20)

Recently uploaded

Recently uploaded (20)

Video analysis