6a music video comparison exercise
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The document compares and analyzes the mise-en-scene, camera shots, and relationship between music and visuals/lyrics in music videos by Nicki Minaj and Christina Perri. For Nicki Minaj's videos, the analysis finds strong relationships between music and visuals/lyrics but the mise-en-scene and camera shots present women as sexual objects. Christina Perri's videos present women in a less sexualized light and with sad/dull visuals and music that match the represented emotions. The document concludes the videos create different representations of women - Nicki Minaj's as sexual objects and Christina Perri's as not to be disrespected.
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6a music video comparison exercise
The document compares and analyzes the mise-en-scene, camera shots, and relationship between music and visuals/lyrics in music videos by Nicki Minaj and Christina Perri. For Nicki Minaj's videos, the analysis finds strong relationships between music and visuals/lyrics but the mise-en-scene and camera shots present women as sexual objects. Christina Perri's videos present women in a less sexualized light and with sad/dull visuals and music that match the represented emotions. The document concludes the videos create different representations of women - Nicki Minaj's as sexual objects and Christina Perri's as not to be disrespected.
6a music video comparison exercise
The document compares and analyzes the mise-en-scene, camera shots, and relationship between music and visuals in music videos by Nicki Minaj and Christina Perri. For Nicki Minaj's "Super Bass" video, the analysis notes her pink outfit, an ice motorcycle prop, and strong synchronization between the fast lyrics and dancing. Christina Perri's "Jar of Hearts" video depicts her in a wedding dress outside a house with dull lighting and close-ups of her sad face.
6a music video comparison exercise
This document compares and analyzes the mise-en-scene, camera shots, editing, and representations in music videos by Nicki Minaj and Christina Perri. For Nicki Minaj's videos, the analysis finds sexualized camera shots and costumes that represent women as sexual objects. Christina Perri's videos depict sadder themes through dull lighting and costumes, representing women as not to be objectified. The document examines how the visual elements and music style relate in each video.
6a music video comparison exercise
The document compares and summarizes the mise-en-scene, camera shots, and relationship between music and visuals in music videos by Nicki Minaj and Christina Perri. For Nicki Minaj, the video features props like a pink Ferrari and costumes like Minaj wearing a giraffe. There are close-up shots of Minaj and an ice motorcycle that match the song's lyrics about wealth and fame. For Christina Perri, the video takes place in a dark studio with glow-in-the-dark costumes and changing close-up shots that match the tempo of the song.
Goodwin’s theory
The document analyzes Goodwin's theory and how it relates to the music videos for "This is What You Came For" by Calvin Harris featuring Rihanna and "Radioactive" by Imagine Dragons. It discusses how each video uses techniques like thought beats, narrative and performance, star image, and relation to visuals to enhance the listening experience and promote the songs and artists. For example, lighting is synced to the beat in "This is What You Came For" and props like a jail cell relate directly to the narrative in "Radioactive".
Andrew goodwin’s theory
Andrew Goodwin's theory outlines six characteristics commonly found in music videos: 1) Genre characteristics, 2) Relationship between lyrics and visuals, 3) Relationship between music and visuals, 4) Close ups of artists/recurring motifs, 5) Voyeuristic treatment of women, 6) Intertextual references. The document discusses how a music video project will apply these characteristics, such as showing a guitarist to represent the genre, matching visuals to lyrics, and changing scenes based on the music's emotion. Inspiration came from other artists' music videos.
Evaluation: Developing & Challenging & Conventions
The document discusses the development and challenging of conventions in three music promotional materials created by the author: a music video, digipak, and magazine advertisement.
For the music video, the author analyzes theories from scholars like Sven Carlsson, Michael Shore, and Andrew Goodwin, and explains how their video conforms to Carlsson's concepts of performance and narrative videos. Shot types, editing, mise-en-scene, and effects were used to tell a story and reflect the song's emotions.
For the digipak and ad, the author details design choices like typography, images showing a journey, a black and white color scheme reflecting themes, and minimal text for a visual audience. Compar
Mise en scene
Mise en scene refers to everything placed within a scene, including props, costumes, and lighting. For their music video, the group picked bright colors for the actors' clothes to match the lively, pleasant theme. Scenes from the film DreamGirls were included to advertise both the Beyonce song and the film. The video also portrayed the atmosphere of relationships through shots of a photoshoot, characters meeting and arguing. While mostly lively, the woman singing at the end was framed in dark shots to convey sadness. Mise en scene is an essential aspect of crafting a music video that fits the artist's lyrics.
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6a music video comparison exercise
The document compares and analyzes the mise-en-scene, camera shots, and relationship between music and visuals/lyrics in music videos by Nicki Minaj and Christina Perri. For Nicki Minaj's videos, the analysis finds strong relationships between music and visuals/lyrics but the mise-en-scene and camera shots present women as sexual objects. Christina Perri's videos present women in a less sexualized light and with sad/dull visuals and music that match the represented emotions. The document concludes the videos create different representations of women - Nicki Minaj's as sexual objects and Christina Perri's as not to be disrespected.
6a music video comparison exercise
The document compares and analyzes the mise-en-scene, camera shots, and relationship between music and visuals in music videos by Nicki Minaj and Christina Perri. For Nicki Minaj's "Super Bass" video, the analysis notes her pink outfit, an ice motorcycle prop, and strong synchronization between the fast lyrics and dancing. Christina Perri's "Jar of Hearts" video depicts her in a wedding dress outside a house with dull lighting and close-ups of her sad face.
6a music video comparison exercise
This document compares and analyzes the mise-en-scene, camera shots, editing, and representations in music videos by Nicki Minaj and Christina Perri. For Nicki Minaj's videos, the analysis finds sexualized camera shots and costumes that represent women as sexual objects. Christina Perri's videos depict sadder themes through dull lighting and costumes, representing women as not to be objectified. The document examines how the visual elements and music style relate in each video.
6a music video comparison exercise
The document compares and summarizes the mise-en-scene, camera shots, and relationship between music and visuals in music videos by Nicki Minaj and Christina Perri. For Nicki Minaj, the video features props like a pink Ferrari and costumes like Minaj wearing a giraffe. There are close-up shots of Minaj and an ice motorcycle that match the song's lyrics about wealth and fame. For Christina Perri, the video takes place in a dark studio with glow-in-the-dark costumes and changing close-up shots that match the tempo of the song.
Goodwin’s theory
The document analyzes Goodwin's theory and how it relates to the music videos for "This is What You Came For" by Calvin Harris featuring Rihanna and "Radioactive" by Imagine Dragons. It discusses how each video uses techniques like thought beats, narrative and performance, star image, and relation to visuals to enhance the listening experience and promote the songs and artists. For example, lighting is synced to the beat in "This is What You Came For" and props like a jail cell relate directly to the narrative in "Radioactive".
Andrew goodwin’s theory
Andrew Goodwin's theory outlines six characteristics commonly found in music videos: 1) Genre characteristics, 2) Relationship between lyrics and visuals, 3) Relationship between music and visuals, 4) Close ups of artists/recurring motifs, 5) Voyeuristic treatment of women, 6) Intertextual references. The document discusses how a music video project will apply these characteristics, such as showing a guitarist to represent the genre, matching visuals to lyrics, and changing scenes based on the music's emotion. Inspiration came from other artists' music videos.
Evaluation: Developing & Challenging & Conventions
The document discusses the development and challenging of conventions in three music promotional materials created by the author: a music video, digipak, and magazine advertisement.
For the music video, the author analyzes theories from scholars like Sven Carlsson, Michael Shore, and Andrew Goodwin, and explains how their video conforms to Carlsson's concepts of performance and narrative videos. Shot types, editing, mise-en-scene, and effects were used to tell a story and reflect the song's emotions.
For the digipak and ad, the author details design choices like typography, images showing a journey, a black and white color scheme reflecting themes, and minimal text for a visual audience. Compar
Mise en scene
Mise en scene refers to everything placed within a scene, including props, costumes, and lighting. For their music video, the group picked bright colors for the actors' clothes to match the lively, pleasant theme. Scenes from the film DreamGirls were included to advertise both the Beyonce song and the film. The video also portrayed the atmosphere of relationships through shots of a photoshoot, characters meeting and arguing. While mostly lively, the woman singing at the end was framed in dark shots to convey sadness. Mise en scene is an essential aspect of crafting a music video that fits the artist's lyrics.
Narrative theorists
Andrew Goodwin identified 7 key characteristics typically found in music videos: 1) Demonstrating genre characteristics 2) Relationship between lyrics and visuals 3) Relationship between music and visuals 4) Close-ups of artists 5) References to looking/voyeurism 6) Recurring motifs 7) Intertextual references. The document discusses applying these characteristics, specifically matching genre, lyrics, and music, to their music video.
Steve Archer's theory is that music videos should have a strong relationship between narrative and performance. Cutting between these keeps audiences engaged. The document discusses balancing narrative and performance in their video, inspired by the original "The Mother We Share" video.
John Stewart's theory is that
Lights And Music Presentation
The music video aimed to create a marketable product that differed from typical boy band videos by adding additional elements to seem original. It used conventions like matching outfits and a setting that complemented the song's theme of light and darkness. Shots transitioned from daylight to torchlight to introduce the setting and signify the change in time of day. Although it did not fully comply with narrative theories, it included aspects like a build up to a dance scene. The video demonstrated characteristics of the pop-dance genre through elements like bright lights, varied camera angles, and a group dance that incorporated the quirky nature of the song. Close up shots represented individual band members while medium and long shots represented the band as a whole.
Evaluation q1
This document analyzes how the author's media product uses and is influenced by conventions of real music videos. It provides examples from the author's video as well as popular music videos to illustrate techniques like relating lyrics to visuals, editing visuals to match the beat, representing the band, defining genre through performance, using various lighting and locations, employing green screens, and utilizing split screening. The author concludes that drawing inspiration from successful existing music videos helped them conform to conventions and create a video that would appeal to their target audience.
Andrew Goodwin’s Theory & Analysis of Music Videos
This document outlines Andrew Goodwin's theory for analyzing music videos based on codes and conventions. It discusses several elements:
1) Seeing the sounds - how the visuals in a video relate to the music through illustration, amplification, or contradiction. Faster songs typically use quicker cuts while slower songs use longer shots.
2) Narrative and performance - videos tell a story and feature artist performance to engage viewers. Artists are usually the main subject.
3) Star image - videos promote the artist and their development. Artists have signature styles of representation.
4) Relation of visuals to song - visuals can disjuncture, amplify, or illustrate the song's meaning.
5)
Andrew Goodwin’s Theory and Analysis of Music Videos
This document outlines Andrew Goodwin's theory for analyzing music videos based on codes and conventions. It discusses several elements:
1) Seeing the sounds - how the visuals relate to the music through illustration, amplification, or contradiction. Faster songs use quick cuts while slower songs use longer shots.
2) Narrative and performance - videos need a storyline and performance element to engage viewers. Artists typically act as both performer and narrator.
3) Star image - videos promote the artist as the main subject and increase their profile through close-ups and screen time. Artists develop signature styles of representation.
4) Relation of visuals to song - videos can disjuncture, amplify, or illustrate
Set, Props, Costume + Make-up
The document discusses the set, props, costumes, and makeup for a music video. It describes setting the video in a bedroom and alleyway at night to seem naturalistic. Props will be minimized to avoid distraction, though books will represent the song's lyrics. Costumes will be casual like indie t-shirts. Makeup and hair will also be natural and minimalist to focus on the music and lyrics rather than visual elements.
Set, Props, Costume + Make-up
The document outlines the set, props, costumes, and makeup for a music video. It describes setting the video in a bedroom and alleyway to seem naturalistic. Props will be minimal to avoid distraction from the lyrics. Costumes will be casual styles like t-shirts to match the indie genre. Makeup and hair will also be natural and minimalist to reflect the natural approach and keep attention on the music.
Set, Props, Costume + Make-up
The document outlines the set, props, costumes, and makeup for a music video. It describes setting the video in a bedroom and alleyway to seem naturalistic. Props will be minimal to avoid distraction from the lyrics. Costumes will be casual styles like t-shirts to match the indie genre. Makeup and hair will also be natural and minimalist to reflect the natural approach and keep attention on the music.
Set, Props, Costume + Make-up
The document outlines the set, props, costumes, and makeup for a music video. It describes setting the video in a bedroom and alleyway to seem naturalistic. Props will be minimal to avoid distraction, though books are included. Costumes will be casual styles like t-shirts to match the indie genre. Makeup and hair will also be natural and minimalist to reflect the artists' typical style and keep attention on the music.
Question 1
- Andrew Goodwin's theory describes three types of relationships between songs and music videos: illustration, amplification, and disjuncture. Carol Vernallis discusses how music videos attract audiences through techniques like breaking continuity editing rules, using jump cuts and special effects, and matching camera movement and edits to the music.
- The summarized music video follows Goodwin's "amplification" concept by adding extra layers of meaning through a metaphor in the video that does not contradict the lyrics. It also uses Vernallis' ideas of editing to the beat to link the video and song. However, it challenges her theory by not using techniques like swipes to attract audiences.
Treatment Sheet
The document discusses plans for a music video for the song "Fluorescent Adolescent" by the band Arctic Monkeys. It will feature the band performing in a rented music studio practice room to capture their live energy. It will also show the band in their everyday lives to convey their youthful lifestyle. The video takes inspiration from other indie music videos that feature the band's clothing styles and focus on their performances as well as more casual settings.
S Ummary Dan+Sheridan
Our music video "Way Back into Love" tells the story of two strangers meeting and falling in love. We used various camera shots and angles to present the artists and capture their body language. Editing techniques like split screens and subtle transitions helped tell a complex narrative. The sound was non-diegetic, matching the song's lyrics. Bright costumes represented happiness within public settings. The narrative follows the characters from morning preparation through their first meeting and kiss. The pop genre and romance sub-genre target teenagers and adults. Gender is equally represented through equal roles and readiness depictions. The audience is meant to think about love though some may challenge the quick romance.
question 1
This document discusses the creative decisions made in developing a music video. It describes taking inspiration from other music videos in terms of incorporating performance, using confined car scenes to focus on a couple, and including a narrative to make the song more relatable. Equilibrium theory was also applied to the narrative structure to start with the couple happy, introduce conflict, and resolve it to increase understandability. Inspiration was drawn from other album covers and posters to design promotional materials in a simple, effective way focused on the key information.
'Hit me baby one more time'
The document analyzes Britney Spears' music video for "Hit Me Baby One More Time". It discusses the various camera shots used, including close-ups of Spears' face and long shots of the choreography. It also notes the bright costumes that appeal to audiences but contrast with the dull school setting. The representations in the video portray teenagers in school and fit with stereotypes of teens in the early 2000s. The director, Nigel Dick, was well-known for directing other popular music videos and films. The analysis believes the video expresses stereotypes of pop artists and teens through its style and is an iconic video from the early 2000s.
Mise en Scene
The document analyzes the film techniques used in the creator's music video and compares them to Taylor Swift's music video "You Belong With Me". Some conventions were developed, such as using props like photos to convey narrative, while others were challenged, such as using more noticeable makeup and locations based on affordability rather than popularity. Both videos feature a boy-girl romantic storyline, and employ two-shot shots as well as other conventional techniques to develop characters and relationships.
Question 1
The document discusses theories on the relationship between music and music videos, as well as editing techniques in music videos. It summarizes Andrew Goodwin's theory that there are three types of relationships: illustration, amplification, and disjuncture. It also summarizes Carol Vernallis' ideas about editing techniques like jump cuts and camera movements. The document then discusses how the music video applies amplification by adding metaphorical meaning without contradicting the lyrics. It also uses editing to the beat and various base tracks to build structure, while challenging some of Vernallis' theories. Influences from Ed Sheeran and Oasis videos are also mentioned.
In what ways does your media product use
in what ways does your media product use, develop or challenge forms and conventions of real media products?
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.
6a music video comparison exercise
The document compares and analyzes the mise-en-scene, camera shots, and relationship between music and visuals/lyrics in music videos by Nicki Minaj and Christina Perri. For Nicki Minaj's videos, the analysis finds strong relationships between music and visuals/lyrics but the representations of women are as sexual objects. Christina Perri's videos have sad music, visuals, and lyrics with representations of women as not to be objectified. The document concludes there are two very different representations of women between the artists' videos.
6a music video comparison exercise
The document compares and analyzes the mise-en-scene, camera techniques, and relationship between visuals and music in music videos by Nicki Minaj and Christina Perri. For Nicki Minaj's "Super Bass" video, the analysis finds strong synchronization between visuals and fast-paced lyrics/music. However, for another Minaj video, the dancing does not fit the lyrics. Christina Perri's "Jar of Hearts" video uses close-ups and dull lighting to match the song's somber tone.
6a Music Video Comparison
The document compares and analyzes the mise-en-scene, camera shots, and relationship between music and visuals in music videos by Nicki Minaj and Christina Perri. For Nicki Minaj's video, it notes the studio setting, props like a pink Ferrari, Nicki's giraffe costume, and close-up shots of Nicki that match the bragging lyrics. For Christina Perri's video, it describes the black-and-white, dull lighting and her wedding dress costume, with slow panning shots that suit the depressing lyrics. It also analyzes technical elements like editing, shots, and synchronization of visuals and music in both videos.
6a music video comparison exercise
This document compares and analyzes the music videos of Nicki Minaj and Christina Perri using technical film terms. It discusses the mise-en-scene, camera shots, and relationship between music and visuals/lyrics in sections of each video. For Nicki Minaj's video, it notes her bright costumes and close-up shots of her face. For Christina Perri's video, it describes a dark street location and her white dress. It concludes that Nicki Minaj's video shows a negative representation of women through suggestive costumes, while Christina Perri's portrays men negatively through the storyline.
More Related Content
What's hot
Narrative theorists
Andrew Goodwin identified 7 key characteristics typically found in music videos: 1) Demonstrating genre characteristics 2) Relationship between lyrics and visuals 3) Relationship between music and visuals 4) Close-ups of artists 5) References to looking/voyeurism 6) Recurring motifs 7) Intertextual references. The document discusses applying these characteristics, specifically matching genre, lyrics, and music, to their music video.
Steve Archer's theory is that music videos should have a strong relationship between narrative and performance. Cutting between these keeps audiences engaged. The document discusses balancing narrative and performance in their video, inspired by the original "The Mother We Share" video.
John Stewart's theory is that
Lights And Music Presentation
The music video aimed to create a marketable product that differed from typical boy band videos by adding additional elements to seem original. It used conventions like matching outfits and a setting that complemented the song's theme of light and darkness. Shots transitioned from daylight to torchlight to introduce the setting and signify the change in time of day. Although it did not fully comply with narrative theories, it included aspects like a build up to a dance scene. The video demonstrated characteristics of the pop-dance genre through elements like bright lights, varied camera angles, and a group dance that incorporated the quirky nature of the song. Close up shots represented individual band members while medium and long shots represented the band as a whole.
Evaluation q1
This document analyzes how the author's media product uses and is influenced by conventions of real music videos. It provides examples from the author's video as well as popular music videos to illustrate techniques like relating lyrics to visuals, editing visuals to match the beat, representing the band, defining genre through performance, using various lighting and locations, employing green screens, and utilizing split screening. The author concludes that drawing inspiration from successful existing music videos helped them conform to conventions and create a video that would appeal to their target audience.
Andrew Goodwin’s Theory & Analysis of Music Videos
This document outlines Andrew Goodwin's theory for analyzing music videos based on codes and conventions. It discusses several elements:
1) Seeing the sounds - how the visuals in a video relate to the music through illustration, amplification, or contradiction. Faster songs typically use quicker cuts while slower songs use longer shots.
2) Narrative and performance - videos tell a story and feature artist performance to engage viewers. Artists are usually the main subject.
3) Star image - videos promote the artist and their development. Artists have signature styles of representation.
4) Relation of visuals to song - visuals can disjuncture, amplify, or illustrate the song's meaning.
5)
Andrew Goodwin’s Theory and Analysis of Music Videos
This document outlines Andrew Goodwin's theory for analyzing music videos based on codes and conventions. It discusses several elements:
1) Seeing the sounds - how the visuals relate to the music through illustration, amplification, or contradiction. Faster songs use quick cuts while slower songs use longer shots.
2) Narrative and performance - videos need a storyline and performance element to engage viewers. Artists typically act as both performer and narrator.
3) Star image - videos promote the artist as the main subject and increase their profile through close-ups and screen time. Artists develop signature styles of representation.
4) Relation of visuals to song - videos can disjuncture, amplify, or illustrate
Set, Props, Costume + Make-up
The document discusses the set, props, costumes, and makeup for a music video. It describes setting the video in a bedroom and alleyway at night to seem naturalistic. Props will be minimized to avoid distraction, though books will represent the song's lyrics. Costumes will be casual like indie t-shirts. Makeup and hair will also be natural and minimalist to focus on the music and lyrics rather than visual elements.
Set, Props, Costume + Make-up
The document outlines the set, props, costumes, and makeup for a music video. It describes setting the video in a bedroom and alleyway to seem naturalistic. Props will be minimal to avoid distraction from the lyrics. Costumes will be casual styles like t-shirts to match the indie genre. Makeup and hair will also be natural and minimalist to reflect the natural approach and keep attention on the music.
Set, Props, Costume + Make-up
The document outlines the set, props, costumes, and makeup for a music video. It describes setting the video in a bedroom and alleyway to seem naturalistic. Props will be minimal to avoid distraction from the lyrics. Costumes will be casual styles like t-shirts to match the indie genre. Makeup and hair will also be natural and minimalist to reflect the natural approach and keep attention on the music.
Set, Props, Costume + Make-up
The document outlines the set, props, costumes, and makeup for a music video. It describes setting the video in a bedroom and alleyway to seem naturalistic. Props will be minimal to avoid distraction, though books are included. Costumes will be casual styles like t-shirts to match the indie genre. Makeup and hair will also be natural and minimalist to reflect the artists' typical style and keep attention on the music.
Question 1
- Andrew Goodwin's theory describes three types of relationships between songs and music videos: illustration, amplification, and disjuncture. Carol Vernallis discusses how music videos attract audiences through techniques like breaking continuity editing rules, using jump cuts and special effects, and matching camera movement and edits to the music.
- The summarized music video follows Goodwin's "amplification" concept by adding extra layers of meaning through a metaphor in the video that does not contradict the lyrics. It also uses Vernallis' ideas of editing to the beat to link the video and song. However, it challenges her theory by not using techniques like swipes to attract audiences.
Treatment Sheet
The document discusses plans for a music video for the song "Fluorescent Adolescent" by the band Arctic Monkeys. It will feature the band performing in a rented music studio practice room to capture their live energy. It will also show the band in their everyday lives to convey their youthful lifestyle. The video takes inspiration from other indie music videos that feature the band's clothing styles and focus on their performances as well as more casual settings.
S Ummary Dan+Sheridan
Our music video "Way Back into Love" tells the story of two strangers meeting and falling in love. We used various camera shots and angles to present the artists and capture their body language. Editing techniques like split screens and subtle transitions helped tell a complex narrative. The sound was non-diegetic, matching the song's lyrics. Bright costumes represented happiness within public settings. The narrative follows the characters from morning preparation through their first meeting and kiss. The pop genre and romance sub-genre target teenagers and adults. Gender is equally represented through equal roles and readiness depictions. The audience is meant to think about love though some may challenge the quick romance.
question 1
This document discusses the creative decisions made in developing a music video. It describes taking inspiration from other music videos in terms of incorporating performance, using confined car scenes to focus on a couple, and including a narrative to make the song more relatable. Equilibrium theory was also applied to the narrative structure to start with the couple happy, introduce conflict, and resolve it to increase understandability. Inspiration was drawn from other album covers and posters to design promotional materials in a simple, effective way focused on the key information.
'Hit me baby one more time'
The document analyzes Britney Spears' music video for "Hit Me Baby One More Time". It discusses the various camera shots used, including close-ups of Spears' face and long shots of the choreography. It also notes the bright costumes that appeal to audiences but contrast with the dull school setting. The representations in the video portray teenagers in school and fit with stereotypes of teens in the early 2000s. The director, Nigel Dick, was well-known for directing other popular music videos and films. The analysis believes the video expresses stereotypes of pop artists and teens through its style and is an iconic video from the early 2000s.
Mise en Scene
The document analyzes the film techniques used in the creator's music video and compares them to Taylor Swift's music video "You Belong With Me". Some conventions were developed, such as using props like photos to convey narrative, while others were challenged, such as using more noticeable makeup and locations based on affordability rather than popularity. Both videos feature a boy-girl romantic storyline, and employ two-shot shots as well as other conventional techniques to develop characters and relationships.
Question 1
The document discusses theories on the relationship between music and music videos, as well as editing techniques in music videos. It summarizes Andrew Goodwin's theory that there are three types of relationships: illustration, amplification, and disjuncture. It also summarizes Carol Vernallis' ideas about editing techniques like jump cuts and camera movements. The document then discusses how the music video applies amplification by adding metaphorical meaning without contradicting the lyrics. It also uses editing to the beat and various base tracks to build structure, while challenging some of Vernallis' theories. Influences from Ed Sheeran and Oasis videos are also mentioned.
In what ways does your media product use
in what ways does your media product use, develop or challenge forms and conventions of real media products?
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.
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Andrew Goodwin’s Theory & Analysis of Music Videos
Andrew Goodwin’s Theory & Analysis of Music Videos
Andrew Goodwin’s Theory and Analysis of Music Videos
Andrew Goodwin’s Theory and Analysis of Music Videos
Similar to 6a music video comparison exercise
6a music video comparison exercise
The document compares and analyzes the mise-en-scene, camera shots, and relationship between music and visuals/lyrics in music videos by Nicki Minaj and Christina Perri. For Nicki Minaj's videos, the analysis finds strong relationships between music and visuals/lyrics but the representations of women are as sexual objects. Christina Perri's videos have sad music, visuals, and lyrics with representations of women as not to be objectified. The document concludes there are two very different representations of women between the artists' videos.
6a music video comparison exercise
The document compares and analyzes the mise-en-scene, camera techniques, and relationship between visuals and music in music videos by Nicki Minaj and Christina Perri. For Nicki Minaj's "Super Bass" video, the analysis finds strong synchronization between visuals and fast-paced lyrics/music. However, for another Minaj video, the dancing does not fit the lyrics. Christina Perri's "Jar of Hearts" video uses close-ups and dull lighting to match the song's somber tone.
6a Music Video Comparison
The document compares and analyzes the mise-en-scene, camera shots, and relationship between music and visuals in music videos by Nicki Minaj and Christina Perri. For Nicki Minaj's video, it notes the studio setting, props like a pink Ferrari, Nicki's giraffe costume, and close-up shots of Nicki that match the bragging lyrics. For Christina Perri's video, it describes the black-and-white, dull lighting and her wedding dress costume, with slow panning shots that suit the depressing lyrics. It also analyzes technical elements like editing, shots, and synchronization of visuals and music in both videos.
6a music video comparison exercise
This document compares and analyzes the music videos of Nicki Minaj and Christina Perri using technical film terms. It discusses the mise-en-scene, camera shots, and relationship between music and visuals/lyrics in sections of each video. For Nicki Minaj's video, it notes her bright costumes and close-up shots of her face. For Christina Perri's video, it describes a dark street location and her white dress. It concludes that Nicki Minaj's video shows a negative representation of women through suggestive costumes, while Christina Perri's portrays men negatively through the storyline.
6a music video comparison exercise
The document compares and analyzes the music videos for Nicki Minaj vs Christina Perri. It discusses the mise-en-scene, camera shots, movement, positioning, and relationship between music and visuals/lyrics for both videos. For Nicki Minaj's video, it notes her changing costumes and locations as she dances with clones to the lyrics. For Christina Perri's video, it describes her sitting alone in a dress holding flowers, walking sadly down a foggy road, and remembering kissing her lover in the rain.
6a music video comparison exercise
The document compares and analyzes the music videos of Nicki Minaj and Christina Perri based on mise-en-scene, camera shots, and the relationship between music and visuals/lyrics. For Nicki Minaj's videos, the settings are bright studios with props like motorbikes and speakers made of ice, and the shots include close-ups and group dances. Christina Perri's videos take place on foggy abandoned streets, with dark costumes and themes to match the depressing music and lyrics. The representations created by the Nicki Minaj videos depict women as objects of male desire, while the Christina Perri video suggests happiness requires a rich, good-looking boyfriend.
6a music video comparison exercise
This document compares and analyzes the music videos of Nicki Minaj and Christina Perri. It discusses the mise-en-scene, costumes, lighting, camera shots, and relationships between music and visuals in both videos. The Nicki Minaj video uses bright colors and close-ups of her face to portray a happy mood, while the Christina Perri video takes place in a dark street and shows her with a sad facial expression, telling a story of a broken heart. Overall, the Nicki Minaj video creates a more negative and sexual representation of women without a clear story, while the Christina Perri video portrays a negative representation of men through its plot of a man breaking
6a music video comparison exercise
The document compares and analyzes the music videos of Nicki Minaj vs Christina Perri using technical film terms. It discusses the mise-en-scene, camera shots, editing techniques, and relationships between the music, visuals, and lyrics in each video. It notes that Nicki Minaj's video uses bright colors and depicts her as wealthy and powerful, while Christina Perri's takes place in a dark setting and represents women whose hearts have been broken by men. In conclusion, it finds that Nicki Minaj's video represents pop/hip-hop with sexualized female characters, while Christina Perri's portrays women as strong figures who cannot be used by men.
21 Guns - Greenday Video Analysis
The camerawork in the "21 Guns" music video by Green Day is symbolic of the song's style and mood. Close-ups show the singer's blank expressions while establishing shots show the full band playing together. During the climax, handheld shots emphasize the chaos with unstable angles. Panning shots revolve around the singer to portray his authority. Fast editing matches the music's pace, cutting quickly during destruction. Shots link the singer and lyrics. The mise-en-scene creates a dark, messy setting through costumes, lighting, and props that fit the indie/rock genre and theme of suppression.
Mise en scene
Mise en scene refers to everything placed within a scene, including props, costumes, and lighting. This document discusses how mise en scene will be used in a music video by selecting different colored clothes to represent the protagonists, with a girl wearing pink and a boy wearing blue. Though the theme is lively, the setting will be pleasant with bright colors. Scenes from the film Dreamgirls will be included to advertise both the music and the film. The atmosphere changes from lively to sad at the end to create different impressions. Mise en scene is an essential aspect of crafting an effective music video that fits the song's lyrics.
Music Video Analysis
The document analyzes Andrew Goodwin's 7 features of music videos and provides examples from the music videos of Lana Del Rey's "Young and Beautiful" and Rihanna featuring Jay-Z's "Umbrella". It discusses how the videos demonstrate their genres, relate lyrics to visuals and music to visuals, focus on the artists, reference looking and the female body, develop motifs, and include intertextual references.
Music Video Pitch Amended
The group proposes a music video for Taylor Swift's "Out of the Woods" that splits between a narrative and performance. The performance will take place in the woods with close-ups and mid-shots of Swift lip syncing. The narrative will follow Swift and a male character's anxious relationship developing from carefree to tense. Dancers will be briefly featured through close-ups superimposed over Swift to add atmosphere. The video aims to portray Swift's brand as dreamlike and innocent through her white dress and makeup in the woods setting.
Summer assignment
The music video for "Work Out" by J. Cole shows his interest in a girl he likes but is uncertain about pursuing a relationship with. There are close-ups of both J. Cole and the girl to emphasize their starring roles. The upbeat music matches well with the transitions between scenes in the video. References are made to the notion of looking through shots of the girl in a bikini, intended to sexualize and increase viewership of the video.
Director Research
Antti Jokinen is a Finnish music video director known for his dark and Gothic visual style. He favors dark color palettes and moody lighting to portray the emotion in songs. Notable works include music videos for Nightwish, Kelly Clarkson, Westlife, and Will Smith. Jokinen is also known for experimenting with contradictory narratives, such as having women portray male band members to highlight the song's message. His lighting, compositions, and close-ups are effective at conveying intensity and emotion.
Alfie
The music video for "In the Name of Love" by Martin Garrix and Bebe Rexha tells a simple love story through visuals that represent the lyrics. It shows two young characters initially separated but then finding each other by a pool, representing their discovery of love. The video uses fast editing, vivid colors, and performance shots of Bebe Rexha singing to portray the emotions of the pop love song. It draws inspiration from the film The Great Gatsby through its ornate mansion setting and flashy costumes.
Codes&Conventions
This document discusses several codes and conventions that are commonly used in music videos. It covers the use of narrative, performance, notions of looking, mise-en-scene, editing techniques, costumes, props, and more. It provides examples for each convention from various popular music videos. The narrative section explains that most videos correspond with the song's lyrics and tell a story. Performance is discussed as being more common in female artists' videos. Notions of looking focus on stereotypes through dress, eye contact, and gender roles. Mise-en-scene considers lighting, setting, characters and how they relate to the genre and message. Editing is crucial for special effects and drawing in viewers. Costumes and props are also
Task 7
This document analyzes three music videos using Goodwin's terminology for analyzing relationships between lyrics, music, and visuals in music videos. It summarizes the key relationships and elements in each of the following music videos:
1) "I Can Barely Breathe" by Manchester Orchestra, which relates lyrics about running from problems to visuals of a person being taken by a tornado.
2) "This Could Be Anywhere in the World" by Alexisonfire, which relates lyrics about a distressed city to visuals of fire and water and emphasizes the band's live performance.
3) "If You Would Come Back Home" by William Fitzsimmons, which focuses on the close-up of the
Omarion O Evaluation
The music video depicts a man expressing his feelings for a girl through dance and rhyme. It shows his struggles and efforts to get the girl, from singing alone in his home to dancing with her at the end. Various camera techniques like close-ups and changing angles are used. The lighting remains dim throughout to set the mood. The video serves as an example of techniques used in R&B music videos.
Music video pitch
The group proposes a music video for Taylor Swift's song "Out of the Woods." They will split the video between a narrative and performance. The performance will take place in the woods, showing Taylor singing amidst close-ups and mid-shots. The narrative will follow Taylor's character and a male as their relationship develops from carefree to anxious, as described in the song's lyrics. The video will cut between the three sections of performance, narrative, and insert shots of dancers to represent the message of the song.
Music Video
This music video for At The Drive-In uses exclusively live footage, showing the band's energetic performances and popularity on stage without being commercialized. Sharp editing synchronizes each shot perfectly with the song. The video also focuses on the lead singer who is very physically active during songs.
The Futureheads video has the lyrics directly affecting the images, such as showing wolves after the singer howls. Shots of the band playing in the forest amplify the action. The video portrays the band being chased by love in the form of hounds.
The Airborne Toxic Event video depicts someone remembering an old girlfriend through changing backgrounds and shots within shots. Ghostly images of the band and girlfriend become more real
Similar to 6a music video comparison exercise (20)
6a music video comparison exercise
- 1. Music Video Comparison Nicki MenajvsChrisitnaPerri
- 2. Mise-en-scene (location, props, costume, lighting) In this scene Nicki menaj is wearing a pink onzie. The props she has is a moterbike made out of ice. They are on a set The lighting is very bright. Camera shots, movement and position the camera shots are close ups of her eyes and face. They also have some close ups of her breasts. Relationship between music & visuals (editing) The relationship between the music and visuals is strong because when Nicki menaj is singing the chorus the lyrics go with the dancing. Relationship between music & lyrics (editing) The relationship is strong because the beat is fast and so is the lyrics.
- 3. Mise-en-scene (location, props, costume, lighting) The lighting is bright this also fits in with the music. Camera shots, movement and position the camera shots are quite far out as you can see the whole body but they do have a close up of their bums. Relationship between music & visuals (editing) The relation ship is strong because Nicki is singing “I got that super bass” and there are speakers in the background Relationship between music & lyrics (editing) The relationship is strong because The lyrics are fast and so is the music.
- 4. Mise-en-scene (location, props, costume, lighting) The lighting is dark They are in a dark room They have glow in the dark dresses. Camera shots, movement and position The camera shots are quite far as they want the men watching the video to watch the women dance on top of the men in the video Relationship between music & visuals (editing) The relationship is not strong as Nicki is dancing on the men and and singing “I got that super bass” which dose not fit in with the visuals. Relationship between music & lyrics (editing) The relationship is not strong as the music is slow and the lyrics are fast.
- 5. Mise-en-scene (location, props, costume, lighting) It looks like she is wearing a wedding dress. She is outside as house. The lighting is dull. Camera shots, movement and position The camera shots are close as they want you to see the sadness her face. Relationship between music & visuals (editing) The music and the visuals have a strong relationship because the music is sad and the visuals are sad and the visuals are dull and sad. Relationship between music & lyrics (editing) The relationship is strong as the music goes with the lyrics.
- 6. Mise-en-scene (location, props, costume, lighting) The lighting is bright and the props are a destroyed car she is wearing a white dress which looks like a wedding dress. Camera shots, movement and position the camera shot is at head height and is quite far out so you can see her body lanuage. Relationship between music & visuals (editing) The relationship between the music and the visuals is strong as the music is sad and so is the visuals. Relationship between music & lyrics (editing) The relationship between the music and the lyrics is strong as the music is sad and dull and so it the lyrics.
- 7. Mise-en-scene (location, props, costume, lighting) Camera shots, movement and position Relationship between music & visuals (editing) Relationship between music & visuals (editing)
- 8. What representations are created? Nicki Menaj Video: In this video the representation that is created is that women are very sexual and shall be used as a sexual object. Christina Perri Video: In this video the representation that is created that women are not sexual objects and not to be messed with.
- 9. Compare the two video’s using the technical terms in these videos there are two very different representations in the Nicki manaj women are seen as sexual objects but in the Christianas video women are seen as something that should not be messed with.