13. music video worksheet
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This document analyzes the music video for Celine Dion's song "Ashes" using several criteria for evaluating music videos. It notes that while the song was written for a film, the slow and graceful visuals match the song's music and lyrics better than what might be expected for an action film soundtrack. The video features Celine Dion prominently and references other media texts through its scenes, but breaks expectations by showing a male dancer rather than focusing on females as objects of desire.
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Marvel music video worksheet
The music video for Celine Dion's song "Ashes" featured in Deadpool 2 meets expectations for a film soundtrack song by incorporating humorous clips from the movie that match the dramatic emotion of both the lyrics and music. While Celine Dion performs prominently as the artist, the female characters are not objectified, and the video focuses on referencing humorously dramatic scenes from Deadpool 2 to accompany the song.
13. music video worksheet
The music video for Celine Dion's song "Ashes" from the movie Deadpool 2 meets expectations for a song written for a feature film. It has a slow, sad and classical style that references the movie Titanic, where Dion also sung. There are clear links between the lyrics and visuals of making something good from something bad. Dion sings the song very dramatically in line with it being from an action romance film. The video prominently features Dion as the main character and centers on her. It also contains intertextual references to the movie Deadpool 2, Titanic, and other media texts like Spiderman and N'Sync.
Music video worksheet
The music video for Celine Dion's song "Ashes" from the Deadpool 2 soundtrack subverts expectations by being slow and sad rather than upbeat to match an action movie theme. It features footage from Deadpool 2 of the titular character dealing with the destruction of his relationship, and the visuals are linked to both the song's lyrics about rebuilding from "ashes" and its rhythm. While featuring Celine Dion prominently throughout, it provides a female gaze by showing the male lead dancing in high heels rather than objectifying women. The video also includes multiple references to other films like Titanic, Spider-Man, and NSYNC to connect it intertextually to broader popular culture.
Music
The document analyzes Celine Dion's music video for "Ashes" using several criteria for genre conventions in music videos accompanying feature films. It finds that while the song lyrics are sad, they could relate to something going wrong in the action film's plot. There are also clips from the film included in the video to link the visuals and lyrics. The action in the video synchronizes with the rhythm of the song. Additionally, the females are portrayed as objects of male desire, the artist Celine Dion is featured prominently, and there are references to other media like the accompanying film.
Oog
The music video for Celine Dion's song "Ashes" meets expectations for a song written for a film by featuring fire imagery that relates to the song's lyrics and title. Celine Dion is featured prominently as the artist, and the video also contains references to other media like Titanic through Deadpool dancing to the song and mentioning the film at the end.
Analysis report
The document describes three music videos and analyzes their genre characteristics, relationships between lyrics/music/visuals, use of close-ups, references to looking, intertextual references, and whether the video illustrates, disjoints from, or amplifies the song. For "This too shall pass" by Ok Go, the video has no connection to the song lyrics or music (disjuncture). "The Fox" by Ylvis has a literal illustration of the song lyrics through people dressed as animals. "Take on me" by a-ha relates lyrics to visuals through a comic book device and shows instruments being played (amplification).
13. music video worksheet
This document analyzes Celine Dion's music video for "Ashes" using genre conventions. It notes that while the slow, sad song does not typically fit with an action film soundtrack, the emotional drama of the clips matches the lyrics. It also finds that the visuals synchronize with the music, with dramatic dancing corresponding to dramatic parts of the song. Additionally, the video subverts expectations of the male gaze by showing a male character dancing dramatically instead of focusing on female objects of desire.
13. music video worksheet
The music video for Celine Dion's song "Ashes" from the Deadpool 2 soundtrack meets expectations for a film tie-in song. It features a long cameo from Deadpool who humorously dances along to the lyrics. When the song hits the chorus, Deadpool's dancing matches the increased rhythm and energy of the music. Throughout the video, it intercuts between Deadpool's performance and clips from Deadpool 2 to promote the film. The video establishes Celine Dion's role as the artist through her prominence at the beginning.
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Marvel music video worksheet
The music video for Celine Dion's song "Ashes" featured in Deadpool 2 meets expectations for a film soundtrack song by incorporating humorous clips from the movie that match the dramatic emotion of both the lyrics and music. While Celine Dion performs prominently as the artist, the female characters are not objectified, and the video focuses on referencing humorously dramatic scenes from Deadpool 2 to accompany the song.
13. music video worksheet
The music video for Celine Dion's song "Ashes" from the movie Deadpool 2 meets expectations for a song written for a feature film. It has a slow, sad and classical style that references the movie Titanic, where Dion also sung. There are clear links between the lyrics and visuals of making something good from something bad. Dion sings the song very dramatically in line with it being from an action romance film. The video prominently features Dion as the main character and centers on her. It also contains intertextual references to the movie Deadpool 2, Titanic, and other media texts like Spiderman and N'Sync.
Music video worksheet
The music video for Celine Dion's song "Ashes" from the Deadpool 2 soundtrack subverts expectations by being slow and sad rather than upbeat to match an action movie theme. It features footage from Deadpool 2 of the titular character dealing with the destruction of his relationship, and the visuals are linked to both the song's lyrics about rebuilding from "ashes" and its rhythm. While featuring Celine Dion prominently throughout, it provides a female gaze by showing the male lead dancing in high heels rather than objectifying women. The video also includes multiple references to other films like Titanic, Spider-Man, and NSYNC to connect it intertextually to broader popular culture.
Music
The document analyzes Celine Dion's music video for "Ashes" using several criteria for genre conventions in music videos accompanying feature films. It finds that while the song lyrics are sad, they could relate to something going wrong in the action film's plot. There are also clips from the film included in the video to link the visuals and lyrics. The action in the video synchronizes with the rhythm of the song. Additionally, the females are portrayed as objects of male desire, the artist Celine Dion is featured prominently, and there are references to other media like the accompanying film.
Oog
The music video for Celine Dion's song "Ashes" meets expectations for a song written for a film by featuring fire imagery that relates to the song's lyrics and title. Celine Dion is featured prominently as the artist, and the video also contains references to other media like Titanic through Deadpool dancing to the song and mentioning the film at the end.
Analysis report
The document describes three music videos and analyzes their genre characteristics, relationships between lyrics/music/visuals, use of close-ups, references to looking, intertextual references, and whether the video illustrates, disjoints from, or amplifies the song. For "This too shall pass" by Ok Go, the video has no connection to the song lyrics or music (disjuncture). "The Fox" by Ylvis has a literal illustration of the song lyrics through people dressed as animals. "Take on me" by a-ha relates lyrics to visuals through a comic book device and shows instruments being played (amplification).
13. music video worksheet
This document analyzes Celine Dion's music video for "Ashes" using genre conventions. It notes that while the slow, sad song does not typically fit with an action film soundtrack, the emotional drama of the clips matches the lyrics. It also finds that the visuals synchronize with the music, with dramatic dancing corresponding to dramatic parts of the song. Additionally, the video subverts expectations of the male gaze by showing a male character dancing dramatically instead of focusing on female objects of desire.
13. music video worksheet
The music video for Celine Dion's song "Ashes" from the Deadpool 2 soundtrack meets expectations for a film tie-in song. It features a long cameo from Deadpool who humorously dances along to the lyrics. When the song hits the chorus, Deadpool's dancing matches the increased rhythm and energy of the music. Throughout the video, it intercuts between Deadpool's performance and clips from Deadpool 2 to promote the film. The video establishes Celine Dion's role as the artist through her prominence at the beginning.
Media 7 Goodwin analysis
This document discusses several elements that are commonly found in music videos, including intertextual references to other media, synchronization between the music and visuals through editing and dancing, relationships between lyrics and accompanying images, promotions of the artist, demonstrations of music genres, voyeurism through intimate settings, and framing with doors or windows.
Detailed analysis 1
This document provides a table to help structure analysis of music videos. It lists 7 key ideas to identify: 1) demonstration of genre characteristics, 2) relationship between lyrics and visuals, 3) relationship between music and visuals, 4) inclusion of close-ups and recurring artist motifs, 5) references to looking/voyeurism, 6) intertextual references, and 7) whether the video is performance, narrative or concept-based. The document then analyzes the music video for Justin Timberlake's "What Goes Around...Comes Around" based on these 7 ideas.
Presentation evaluation 4 littleladies1
The music video incorporates several conventions of Goodwin's music video theory. It synchronizes lyrics and visuals by showing the artist representing lyrics like "I'll be superman." It also edits to the beat of the music. The narrative depicts a troubled relationship, with the character singing about his girlfriend pushing him away by cheating on him. While not using sexualized voyeurism, it employs past memories through the artist filming his love interest. Overall, the video aims to follow R&B conventions by using a black male artist portraying a smooth but troubled character in the vein of artists like Trey Songz, Jason Derulo, and Ne-Yo.
What is a music video
Music videos have been defined as short moving images that accompany pre-existing music to encourage music sales in other formats. They are often used to enhance an artist's image and establish them as part of a musical genre. There is usually a relationship between the visuals and lyrics of a music video, whether illustrating, amplifying, or contradicting the lyrics. Common elements of music videos include close-ups of the main artist, genre-specific styles and iconography, references to voyeurism and objectification of women, and intertextuality through references to other media.
Detailed analysis (taylor swift)
This document provides guidance for analyzing music videos using 7 key ideas identified by Andrew Goodwin. It includes a table to help structure notes when analyzing the Taylor Swift music video "Wildest Dreams". The table examines genre characteristics, the relationship between lyrics and visuals/music and visuals, close-ups of the artist, references to looking, intertextual references, and whether the video is performance, narrative or concept-based. For the Taylor Swift video, it finds the video is mostly illustrative of the lyrics and music, with some amplification, and provides examples from the video.
Music video worksheet
This music video theory document discusses Celine Dion's song "Ashes" from the film Dead Paul 2. It analyzes the video in terms of genre conventions, the relationship between visuals and lyrics, the relationship between visuals and music, the treatment of females as objects, the focus on the artist, and any intertextual references. However, the document does not provide any analysis or conclusions.
Types and Styles of music videos
This document discusses different types and styles of music videos. The main types are performance-based, narrative-based, and concept-based videos. Narrative videos attempt to tell a story related to the song's lyrics through visuals. Performance videos primarily feature the artist singing and dancing. Concept videos are based on a specific theme. Styles include animation, interpretive, impressionist, intertextual, surrealist, and allusion videos, which use techniques like references to other works, abstract visuals, and dream-like elements.
Types and Styles of music videos
This document summarizes different types and styles of music videos. It discusses three main types: narrative based videos that tell a story related to the song's lyrics, performance based videos that primarily feature the artist singing and dancing, and concept based videos that are based on a particular theme. It then describes various styles of music videos including animated, interpretive, impressionist, using intertextuality, surrealist, and allusion. Examples are provided for each type and style.
Types and styles of music videos
This document discusses different types and styles of music videos. There are three main types: narrative videos that tell a story related to the song's lyrics, performance videos that primarily feature the artist singing and dancing, and concept videos based on a specific theme. Some common styles are animation, where the video uses cartoons, and interpretive, impressionist, intertextual, surrealist, and allusion styles that use abstract visuals open to audience interpretation. Examples are provided for each type and style.
Types and styles of music videos
This document discusses different types and styles of music videos. There are three main types: narrative-based videos that tell a story related to the song's lyrics, performance-based videos that primarily feature the artist(s) performing, and concept-based videos that are based on a particular theme or concept. Some common styles discussed are animation, interpretive, impressionist, intertextual, surrealist, and allusion. Examples are provided for each type and style.
Types and styles of music videos
This document discusses different types and styles of music videos. There are three main types: narrative-based videos that tell a story related to the song's lyrics, performance-based videos that primarily feature the artist(s) performing, and concept-based videos that are based on a particular theme or concept. Some common styles discussed are animation, interpretive, impressionist, intertextual, surrealist, and allusion. Examples are provided for each type and style.
Types and styles of music videos
This document discusses different types and styles of music videos. There are three main types: narrative-based videos that tell a story related to the song's lyrics, performance-based videos that primarily feature the artist(s) performing, and concept-based videos that are based on a particular theme or concept. Some common styles discussed are animation, interpretive, impressionist, intertextual, surrealist, and allusion. Examples are provided for each type and style.
Andrew Goodwin
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Goodwins music video analysis
Goodwin's analysis says the Tenacious D - Tribute music video displays typical rock genre characteristics through the two men playing guitars. It includes many close-ups of the artists, as record labels prefer, and frequently references the notion of looking through shots focused on the characters' faces. There is a clear relationship between both the lyrics and music, and their accompanying visuals in the video.
Theorists
Andrew Goodwin's theory states that music videos demonstrate genre characteristics through elements like dance routines, stage performances, and visual styles. There is often a relationship between the visuals and lyrics of the song, whether illustrative or contradictory. Star image creates character for the music artist and develops their reputation over time. Music videos can also reference other media through intertextuality with other videos, films, TV, or brands. Finally, Goodwin's theory notes that many music videos treat the female body in a voyeuristic way through camera angles and shots that emphasize sexuality.
Theorists
Andrew Goodwin's theory states that music videos demonstrate genre characteristics through elements like dance routines, stage performances, and visual styles. There is often a relationship between the visuals and lyrics of the song, whether illustrative or contradictory. Star image creates character for the music artist and develops their reputation over time. Music videos can also reference other media through intertextuality with other videos, films, TV, or brands. Finally, Goodwin's theory notes that many music videos treat the female body in a voyeuristic way through camera angles and shots that emphasize sexuality.
Andrew goodwin’s theory
The document outlines Andrew Goodwin's theory of 6 key features that are portrayed in music videos: 1) Genre characteristics, 2) Relationship between lyrics and visuals, 3) Relationship between music and visuals, 4) Close ups of the artist and recurring motifs, 5) References to looking, and 6) Intertextual references. The author then provides examples of music videos that demonstrate each of these features to support Goodwin's theory.
Goodwins features
The document discusses several relationships between music videos and the songs they accompany. It provides examples of how visuals can illustrate, amplify, or contradict lyrics and music. Record companies often include close-ups of artists to promote their branding. Music videos may also contain intertextual references to other music videos, films, or TV shows.
Music video styles
This document summarizes and categorizes the styles of three different music videos. The Ok Go video is categorized as a concept video because it uses everyday objects and a driving car to recreate the production of sound and music without a narrative story. The Taylor Swift video is categorized as a narrative video because it visually tells the story of the song's lyrics about a teenage romance. The David Crowder Band video is categorized as a performance video because it presents the band playing live on a stage for a large audience, even though the setting is a house attic or basement, emphasizing the feel of a concert performance.
Goodwin theory 2
This document analyzes the music video for "Bittersweet Symphony" by The Verve. It summarizes that the video represents the indie genre through its costumes, location, and body language. While the lyrics discuss a lack of change, the steady shots in the video do not relate to the rhythm of the music. The video aims to sell the artist as ignorant and rude to potentially appeal to female and male audiences looking for a "bad boy" figure to relate to. Close-ups and long shots are both used effectively to represent the artist's image and body language.
13. music video worksheet
The music video for Celine Dion's song "Ashes" from the Deadpool 2 soundtrack does not meet expectations for a film soundtrack song. While the film is upbeat, the song is slow and emotional. Additionally, the song is more fitting for a romance film rather than an action film like Deadpool 2. The lyrics of "Ashes" reference Deadpool's character who dies but comes back invincible, symbolizing rebuilding from remains. When the song gets more emotional, more upsetting scenes from the film are shown, portraying Deadpool's relationship. Deadpool subverts the male gaze by dancing in stiletto heels. Celine Dion is prominently featured and recognized throughout the video. The video also references
Goodwin’s theory
Andrew Goodwin identified 6 key conventions of music videos: 1) Demonstrating genre characteristics through imagery, 2) Having a relationship between the lyrics and visuals, 3) Having a relationship between the music and visuals where one reflects the other, 4) Including close-ups of the artist to promote them, 5) Frequently using imagery of looking or voyeurism, and 6) Making intertextual references. Effective music videos synchronize the visuals and pacing with the music to seem realistic, and illustrate the lyrics, while genre conventions are depicted through icons common to that style of music. Record labels also demand promotion of the artist through close-ups.
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Media 7 Goodwin analysis
This document discusses several elements that are commonly found in music videos, including intertextual references to other media, synchronization between the music and visuals through editing and dancing, relationships between lyrics and accompanying images, promotions of the artist, demonstrations of music genres, voyeurism through intimate settings, and framing with doors or windows.
Detailed analysis 1
This document provides a table to help structure analysis of music videos. It lists 7 key ideas to identify: 1) demonstration of genre characteristics, 2) relationship between lyrics and visuals, 3) relationship between music and visuals, 4) inclusion of close-ups and recurring artist motifs, 5) references to looking/voyeurism, 6) intertextual references, and 7) whether the video is performance, narrative or concept-based. The document then analyzes the music video for Justin Timberlake's "What Goes Around...Comes Around" based on these 7 ideas.
Presentation evaluation 4 littleladies1
The music video incorporates several conventions of Goodwin's music video theory. It synchronizes lyrics and visuals by showing the artist representing lyrics like "I'll be superman." It also edits to the beat of the music. The narrative depicts a troubled relationship, with the character singing about his girlfriend pushing him away by cheating on him. While not using sexualized voyeurism, it employs past memories through the artist filming his love interest. Overall, the video aims to follow R&B conventions by using a black male artist portraying a smooth but troubled character in the vein of artists like Trey Songz, Jason Derulo, and Ne-Yo.
What is a music video
Music videos have been defined as short moving images that accompany pre-existing music to encourage music sales in other formats. They are often used to enhance an artist's image and establish them as part of a musical genre. There is usually a relationship between the visuals and lyrics of a music video, whether illustrating, amplifying, or contradicting the lyrics. Common elements of music videos include close-ups of the main artist, genre-specific styles and iconography, references to voyeurism and objectification of women, and intertextuality through references to other media.
Detailed analysis (taylor swift)
This document provides guidance for analyzing music videos using 7 key ideas identified by Andrew Goodwin. It includes a table to help structure notes when analyzing the Taylor Swift music video "Wildest Dreams". The table examines genre characteristics, the relationship between lyrics and visuals/music and visuals, close-ups of the artist, references to looking, intertextual references, and whether the video is performance, narrative or concept-based. For the Taylor Swift video, it finds the video is mostly illustrative of the lyrics and music, with some amplification, and provides examples from the video.
Music video worksheet
This music video theory document discusses Celine Dion's song "Ashes" from the film Dead Paul 2. It analyzes the video in terms of genre conventions, the relationship between visuals and lyrics, the relationship between visuals and music, the treatment of females as objects, the focus on the artist, and any intertextual references. However, the document does not provide any analysis or conclusions.
Types and Styles of music videos
This document discusses different types and styles of music videos. The main types are performance-based, narrative-based, and concept-based videos. Narrative videos attempt to tell a story related to the song's lyrics through visuals. Performance videos primarily feature the artist singing and dancing. Concept videos are based on a specific theme. Styles include animation, interpretive, impressionist, intertextual, surrealist, and allusion videos, which use techniques like references to other works, abstract visuals, and dream-like elements.
Types and Styles of music videos
This document summarizes different types and styles of music videos. It discusses three main types: narrative based videos that tell a story related to the song's lyrics, performance based videos that primarily feature the artist singing and dancing, and concept based videos that are based on a particular theme. It then describes various styles of music videos including animated, interpretive, impressionist, using intertextuality, surrealist, and allusion. Examples are provided for each type and style.
Types and styles of music videos
This document discusses different types and styles of music videos. There are three main types: narrative videos that tell a story related to the song's lyrics, performance videos that primarily feature the artist singing and dancing, and concept videos based on a specific theme. Some common styles are animation, where the video uses cartoons, and interpretive, impressionist, intertextual, surrealist, and allusion styles that use abstract visuals open to audience interpretation. Examples are provided for each type and style.
Types and styles of music videos
This document discusses different types and styles of music videos. There are three main types: narrative-based videos that tell a story related to the song's lyrics, performance-based videos that primarily feature the artist(s) performing, and concept-based videos that are based on a particular theme or concept. Some common styles discussed are animation, interpretive, impressionist, intertextual, surrealist, and allusion. Examples are provided for each type and style.
Types and styles of music videos
This document discusses different types and styles of music videos. There are three main types: narrative-based videos that tell a story related to the song's lyrics, performance-based videos that primarily feature the artist(s) performing, and concept-based videos that are based on a particular theme or concept. Some common styles discussed are animation, interpretive, impressionist, intertextual, surrealist, and allusion. Examples are provided for each type and style.
Types and styles of music videos
This document discusses different types and styles of music videos. There are three main types: narrative-based videos that tell a story related to the song's lyrics, performance-based videos that primarily feature the artist(s) performing, and concept-based videos that are based on a particular theme or concept. Some common styles discussed are animation, interpretive, impressionist, intertextual, surrealist, and allusion. Examples are provided for each type and style.
Andrew Goodwin
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Goodwins music video analysis
Goodwin's analysis says the Tenacious D - Tribute music video displays typical rock genre characteristics through the two men playing guitars. It includes many close-ups of the artists, as record labels prefer, and frequently references the notion of looking through shots focused on the characters' faces. There is a clear relationship between both the lyrics and music, and their accompanying visuals in the video.
Theorists
Andrew Goodwin's theory states that music videos demonstrate genre characteristics through elements like dance routines, stage performances, and visual styles. There is often a relationship between the visuals and lyrics of the song, whether illustrative or contradictory. Star image creates character for the music artist and develops their reputation over time. Music videos can also reference other media through intertextuality with other videos, films, TV, or brands. Finally, Goodwin's theory notes that many music videos treat the female body in a voyeuristic way through camera angles and shots that emphasize sexuality.
Theorists
Andrew Goodwin's theory states that music videos demonstrate genre characteristics through elements like dance routines, stage performances, and visual styles. There is often a relationship between the visuals and lyrics of the song, whether illustrative or contradictory. Star image creates character for the music artist and develops their reputation over time. Music videos can also reference other media through intertextuality with other videos, films, TV, or brands. Finally, Goodwin's theory notes that many music videos treat the female body in a voyeuristic way through camera angles and shots that emphasize sexuality.
Andrew goodwin’s theory
The document outlines Andrew Goodwin's theory of 6 key features that are portrayed in music videos: 1) Genre characteristics, 2) Relationship between lyrics and visuals, 3) Relationship between music and visuals, 4) Close ups of the artist and recurring motifs, 5) References to looking, and 6) Intertextual references. The author then provides examples of music videos that demonstrate each of these features to support Goodwin's theory.
Goodwins features
The document discusses several relationships between music videos and the songs they accompany. It provides examples of how visuals can illustrate, amplify, or contradict lyrics and music. Record companies often include close-ups of artists to promote their branding. Music videos may also contain intertextual references to other music videos, films, or TV shows.
Music video styles
This document summarizes and categorizes the styles of three different music videos. The Ok Go video is categorized as a concept video because it uses everyday objects and a driving car to recreate the production of sound and music without a narrative story. The Taylor Swift video is categorized as a narrative video because it visually tells the story of the song's lyrics about a teenage romance. The David Crowder Band video is categorized as a performance video because it presents the band playing live on a stage for a large audience, even though the setting is a house attic or basement, emphasizing the feel of a concert performance.
Goodwin theory 2
This document analyzes the music video for "Bittersweet Symphony" by The Verve. It summarizes that the video represents the indie genre through its costumes, location, and body language. While the lyrics discuss a lack of change, the steady shots in the video do not relate to the rhythm of the music. The video aims to sell the artist as ignorant and rude to potentially appeal to female and male audiences looking for a "bad boy" figure to relate to. Close-ups and long shots are both used effectively to represent the artist's image and body language.
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13. music video worksheet
The music video for Celine Dion's song "Ashes" from the Deadpool 2 soundtrack does not meet expectations for a film soundtrack song. While the film is upbeat, the song is slow and emotional. Additionally, the song is more fitting for a romance film rather than an action film like Deadpool 2. The lyrics of "Ashes" reference Deadpool's character who dies but comes back invincible, symbolizing rebuilding from remains. When the song gets more emotional, more upsetting scenes from the film are shown, portraying Deadpool's relationship. Deadpool subverts the male gaze by dancing in stiletto heels. Celine Dion is prominently featured and recognized throughout the video. The video also references
Goodwin’s theory
Andrew Goodwin identified 6 key conventions of music videos: 1) Demonstrating genre characteristics through imagery, 2) Having a relationship between the lyrics and visuals, 3) Having a relationship between the music and visuals where one reflects the other, 4) Including close-ups of the artist to promote them, 5) Frequently using imagery of looking or voyeurism, and 6) Making intertextual references. Effective music videos synchronize the visuals and pacing with the music to seem realistic, and illustrate the lyrics, while genre conventions are depicted through icons common to that style of music. Record labels also demand promotion of the artist through close-ups.
Detailed analysis 2
This document provides guidance for analyzing music videos using 7 key ideas identified by Andrew Goodwin. It includes a table to structure notes when reviewing elements like genre characteristics, relationships between lyrics/music and visuals, close-ups of artists, notions of looking, intertextual references, and how the video illustrates, amplifies or contradicts the song. It then provides an example analysis of the James Blunt music video for "Carry You Home," noting elements like the soft rock genre characteristics matched the slow, calm visuals and steady tempo that illustrated the sad emotions in the lyrics.
Detailed Analysis of Music Videos
This document provides an analysis of conventions in music videos according to 7 features identified by Andrew Goodwin. It then analyzes 4 music videos based on Goodwin's features:
1. Ben Howard's "I Forget Where We Were" defies conventions by not showing the artist and having no clear relationship between lyrics and visuals.
2. Earl Sweatshirt's "Whoa" follows conventions by showing the artist prominently and having dreary visuals matching the song's feel.
3. Modern Baseball's "The Weekend" matches lyrics to visuals unlike typical indie videos and shows the band, fitting the indie genre.
4. The videos analyze reference to "looking", motifs, and
Goodwin theology
The Goodwin Theory from 1992 analyzes key elements that must be present in music videos. It views the music video as symbolizing the Bible in how it contains genre characteristics, relationships between music/lyrics and visuals, demands for close-ups of artists, references to looking, and being performance, narrative or concept-based. Andrew Goodwin identified 7 key ideas for music videos, which are demonstrated in analyses of Demi Lovato's "Made in the USA" and Ne-Yo's "Forever Now". Both videos show relationships between music/lyrics and visuals, meet record label demands, and reference other works through techniques like those found in films.
Taj Mahal
The document summarizes Goodwin's theory on how music videos demonstrate genre characteristics through the relationship between lyrics, music, and visuals. It notes that the Everything Everything music video closely matches the lyrics and changing music with abstract, flashing visuals, reflecting the alternative genre. There are no intertextual references or notions of looking typical of other genres.
Music video genres
1) The document discusses different genres of music videos including performance, narrative, humour/parody, surreal, interpretative/impressionist, and animation.
2) It provides examples of each genre using specific music videos and analyzes them through Goodwin's music video theory, looking at the relationship between the music and visuals.
3) Goodwin's theory examines whether the music and visuals are complementary, contradictory, or amplifying, and how each genre engages with different elements of the theory.
Types & Styles of music videos
This document discusses different types and styles of music videos. The main types are narrative-based, which tell a story related to the song's lyrics; performance-based, which primarily feature the artist performing; and concept-based, which are based on a specific theme or concept. Some common styles are animation, interpretive, impressionist, intertextual, surrealist, and allusion. Examples are provided for each type and style.
Narrative in music videos
The document discusses the relationship between narratives and lyrics in music videos. It describes how visuals can represent what a song's narrative is about and emphasize the meaning of lyrics. Additionally, it notes there should be a coherent relationship between narrative and musical performance, with a mix of both. Finally, it mentions how narratives often use binary opposites like good vs bad or love vs heartbreak to show where the story is going and allow the audience to take sides.
Narrative theorist
This document summarizes 7 features of music videos according to Andrew Godwins:
1. Music videos demonstrate genre characteristics through elements like dance routines, stage performances, or aspirations.
2. There is a relationship between lyrics and visuals, whether the visuals illustrate, amplify, or contradict the lyrics.
3. The tone and atmosphere of the visuals reflect the music through illustration, amplification, or contradiction.
It then provides examples of how a planned music video incorporates some of these features.
Applying goodwin’s theory to our video
The document outlines Goodwin's 8 principles for analyzing music videos: 1) Links between lyrics and visuals, 2) Links between music and visuals, 3) Genre characteristics, 4) Intertextual references, 5) Notions of looking, 6) Voyeurism, 7) Demands of the record label, and 8) Performance, narrative or concept-based videos. The presentation will apply these principles to analyze the music video created for the song "Constellations" by Enter Shikari.
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The document provides guidance on analyzing music videos using 7 key ideas identified by Andrew Goodwin. It includes a table to structure notes on analyzing the music video for the song "I'm Yours" by Jason Mraz. The summary is:
1) The music video for "I'm Yours" by Jason Mraz is categorized as pop rock and features genre characteristics like catchy rhythms and beats mixed with a rock instrumental style to appeal to a general audience.
2) The visuals in the video amplify the lyrics by showing Jason making a heart shape with his hands during the lyrics about being loved.
3) The lighting and video cuts increase with the rhythm and beat, such as using darker
Elliot Woodward Music Video Anaylsis
The music video for Bastille's "The Things We Lost in the Fire" illustrates several of Andrew Goodwin's characteristics of music videos. It demonstrates the indie rock genre through a creative story-based performance that reflects the breakup experience that inspired the song's lyrics. The narrative is linked to the lyrics through symbolic visuals, and the tone and pacing of the visuals matches the atmosphere of the music. Close-ups of the lead singer are used to convey emotion. The video also establishes Bastille's visual style through its use of location changes and cross-cutting between the performance and story elements.
Elliot Woodward Music Video Anaylsis
The music video for Avicii's "Wake Me Up" tells a narrative story of a mother and daughter who arrive in a strange town where they feel unwelcome. The mother attends a party where Avicii performs on stage. The video contrasts the old town with the colorful music festival party scene. It demonstrates the indie electronic music genre through its natural lighting, subtle yet varied color palette, and two central locations. The lyrics and visuals illustrate the story of the mother and daughter seeking a sense of belonging.
Maroon 5 Analysis
The music video for Maroon 5's "Sugar" contains elements of illustration, amplification, and contradiction between the lyrics, music, and visuals. It references the film "Wedding Crashers" by featuring the band uninvited at weddings. There are close-ups of the lead singer throughout to emphasize the record label's priority. The video balances performance scenes with a narrative of the singer alone, hiding his true feelings despite the happy lyrics and wedding celebrations shown.
Music Video Analysis
The document provides an overview of Andrew Goodwin's theory on characteristics found in music videos. It lists 7 main points: 1) Music videos demonstrate genre characteristics, 2) There is a relationship between lyrics and visuals where lyrics are represented through images, 3) The relationship between music and visuals where the visual tone reflects the music, 4) Record labels demand close ups of artists and artists develop recurring motifs, 5) Frequent references to looking through screens and mirrors and voyeuristic treatment of female bodies, 6) Artists develop recurring motifs that establish their visual style, 7) Intertextual references to other media like films and other music videos.
Music video analysis
The document provides an overview of Andrew Goodwin's theory on characteristics commonly found in music videos. It lists 7 key points: 1) Music videos demonstrate genre characteristics, 2) There is a relationship between lyrics and visuals, with lyrics typically being represented illustratively, amplifyingly, or contradictingly through images, 3) The tone and atmosphere of visuals typically reflects that of the music illustratively, amplifyingly, or contradictingly, 4) Record labels demand close-ups of artists, and artists may develop recurring visual motifs, 5) Videos frequently reference notions of looking and may treat the female body voyeuristically, 6) Artists often develop recurring visual motifs, and 7) Videos sometimes include intertextual references to
Music Video Analysis
Wolf Alice is a four-piece alternative rock band from London. Their music video for "You're a Germ" tells a horror narrative story through exaggerated facial expressions and amplified scenes that represent the lyrics. There are clear relationships between the lyrics, music, and visuals as events in the video heighten with the music and specific shots represent lyrics. Close-ups are used to focus on lead singer Ellie Rowsell and allow the audience to follow the story from different perspectives without directly addressing the camera like a conventional performance video.
Andrew Goodwin's Theory
Andrew Goodwin's theory states that there are five key aspects to an effective music video: 1) Thoughtful analysis of the song's beat and lyrics, 2) A relationship between the visuals and song, 3) A narrative and performance of the song by the artist, 4) Emphasizing the star image of the protagonist through camera shots, 5) Technical elements like lighting, editing, and effects that enhance the video. Goodwin believed visuals should illustrate, amplify, or sometimes contradict the lyrics and that the artist's involvement improves engagement. Technical aspects like mise-en-scene are also important to produce a professional, entertaining video.
Media defining a music video andrew goodwin
The document summarizes Andrew Goodwin's analysis of key aspects of music videos from his 1992 book "Dancing in the Distraction Factory". Goodwin identified five aspects for analyzing music videos: 1) relating the lyrics and visuals through the "thought through beat", 2) using narrative and performance, 3) technical elements like camerawork and editing, 4) the relationship between the song and visuals, and 5) promoting the star image. He believed these elements were important for engaging audiences and promoting songs through music videos.
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13. music video worksheet
- 1. Goodwin’s Music Video Theory Ashes – Celine Dion Genre Conventions (what do we expect from a music video of a track written to accompany a feature film? – does this meet our expectations?) you don’t expect an action film to have an romantic (titanic like) song. You would expect an fast loud upbeat song. Relationship between visual and lyrics (are there links between the action and the words of the song?) visual are linked to the movie by the fact the movie is about trying to make something beautiful (making the best out of the situation) Relationship between visual and music (are there links between the action and the rhythm of the song?) the scenes are slow and graceful which link to the slow and graceful music Voyeuristic treatment (male gaze) (are the females in the video positioned as objects of male desire?) It’s a man dancing which is opposite to what you would expect Focus on artist (brand recognition) (is the artist featured prominently?) focus on her face Intertextual references (are there references to other media texts?) Spiderman, titanic, n-sync