A2 media task 8 theorists
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Andrew Goodwin believes that music videos are simply a visual interpretation of the lyrics of a song. Taylor Swift's "You Belong With Me" supports this view with its literal interpretation, while Justin Timberlake's "Cry Me A River" is more metaphorical but still links to the lyrics. However, videos like Fatboy Slim's "Praise Him" and Ed Sheeran's "Don't" have abstract videos with little connection to the lyrics. Carol Vernallis identifies four ways to analyze music videos: through narrative and performance; diegesis and how a story is created; camera shots and framing; and editing, which may break continuity for effect.
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Task 8
Andrew Goodwin believes that music videos are a visual interpretation of song lyrics. Some videos, like Taylor Swift's "You Belong With Me" directly illustrate the lyrics through narrative. However, other videos like Oliver Heldens and Becky Hill's "Overdrive" do not relate to the lyrics at all. Justin Timberlake's "Cry Me a River" uses heavy rain and low lighting as a metaphorical representation of the lyrics. Carol Vernallis identifies four ways to analyze music videos: narrative, editing, camera movement/framing, and diegesis. Narrative videos are directly based on lyrics through performance or story, while diegesis creates a self-contained world for the video. Camerawork often uses
Andrew Goodwin’s Theory
Andrew Goodwin identified six key features of music videos: 1) they demonstrate genre characteristics through content like indie videos showing musical talent, 2) there is a relationship between the lyrics and visuals that can be illustrative, amplifying or contradictory, 3) the relationship between the music and visuals is on beat, and 4) they meet the demands of record labels through promotion of the artist's brand and image.
Andrew goodwin theory
Andrew Goodwin established a theory in his 1992 book "Dancing in the Distraction Factory" identifying six main elements that audiences observe in music videos. These elements are: 1) the relationship between lyrics and visuals, 2) the relationship between music and visuals, 3) genre-related style and iconography, 4) multiple close-ups of the artist, 5) voyeurism and focusing on the female body, and 6) intertextual references to other media. Goodwin's theory provides a framework for understanding how music videos engage audiences through illustrating, amplifying, or contradicting the music, lyrics, and artist's persona.
Introduction to deconstructing music videos
This document summarizes different types of music videos and their characteristics. It identifies three main types: videos where the artist lip syncs to the song, videos that tell the story of the song, and videos that interpret the song through a narrative. Effective music videos generally reflect the genre of music, have visuals that relate to the music and lyrics, use close-ups of the artist to build their brand, and may reference looking or other media.
Music vids styles 2017
This document discusses different styles and conventions in music videos. It explains that music videos commonly promote a single, artist, or album. They entertain audiences and help set the meaning of songs through visual imagery. Typically, music videos are 3-4 minutes and combine live performance, narrative elements, and visuals like computer graphics. Videos often contain performances by artists, narratives that relate to the song lyrics, or conceptual themes. Conceptual videos may focus on themes, symbols, or interesting visual ideas rather than narrative or performance. The document provides examples and further explanation of different music video elements and styles.
Andrew Goodwin
Andrew Goodwin proposed a theory of music video analysis focusing on 6 key relationships: 1) Between lyrics and visuals, 2) Between music and visuals, 3) Genre-related style and iconography, 4) Close-ups of artists to promote their image, 5) Close-ups of lead artists with others in the background, and 6) Intertextual references to other media. Goodwin argued that music videos serve as advertisements to anchor meaning for songs and promote artists, rather than following common narrative structures.
Goodwin and Music Video
Goodwin published a book in 1992 called "Dancing in the Distraction Factory" where he came up with codes and conventions for music videos. He identified 7 key features of music videos: 1) They demonstrate genre characteristics, 2) There is a relationship between lyrics and visuals, 3) There is a relationship between music and visuals, 4) They include close-ups of the artist, 5) Artists develop recurring visual motifs, 6) They frequently reference the notion of looking, and 7) Often include intertextual references to popular culture. Goodwin's theory provided a framework to analyze how elements are commonly used in music videos.
Andrew goodwin
This document outlines Andrew Goodwin's analysis of conventions in music videos from his 1992 work "Dancing in the Distraction Factory". It identifies five key conventions: 1) Genre-specific characteristics, 2) Relationships between lyrics/music and visuals, 3) Developing style/genre motifs and close-ups for star image, 4) Voyeuristic treatment of the female body, and 5) Intertextual references. Students are assigned to research music videos that exemplify these conventions and include examples and screenshots in their analysis.
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Task 8
Andrew Goodwin believes that music videos are a visual interpretation of song lyrics. Some videos, like Taylor Swift's "You Belong With Me" directly illustrate the lyrics through narrative. However, other videos like Oliver Heldens and Becky Hill's "Overdrive" do not relate to the lyrics at all. Justin Timberlake's "Cry Me a River" uses heavy rain and low lighting as a metaphorical representation of the lyrics. Carol Vernallis identifies four ways to analyze music videos: narrative, editing, camera movement/framing, and diegesis. Narrative videos are directly based on lyrics through performance or story, while diegesis creates a self-contained world for the video. Camerawork often uses
Andrew Goodwin’s Theory
Andrew Goodwin identified six key features of music videos: 1) they demonstrate genre characteristics through content like indie videos showing musical talent, 2) there is a relationship between the lyrics and visuals that can be illustrative, amplifying or contradictory, 3) the relationship between the music and visuals is on beat, and 4) they meet the demands of record labels through promotion of the artist's brand and image.
Andrew goodwin theory
Andrew Goodwin established a theory in his 1992 book "Dancing in the Distraction Factory" identifying six main elements that audiences observe in music videos. These elements are: 1) the relationship between lyrics and visuals, 2) the relationship between music and visuals, 3) genre-related style and iconography, 4) multiple close-ups of the artist, 5) voyeurism and focusing on the female body, and 6) intertextual references to other media. Goodwin's theory provides a framework for understanding how music videos engage audiences through illustrating, amplifying, or contradicting the music, lyrics, and artist's persona.
Introduction to deconstructing music videos
This document summarizes different types of music videos and their characteristics. It identifies three main types: videos where the artist lip syncs to the song, videos that tell the story of the song, and videos that interpret the song through a narrative. Effective music videos generally reflect the genre of music, have visuals that relate to the music and lyrics, use close-ups of the artist to build their brand, and may reference looking or other media.
Music vids styles 2017
This document discusses different styles and conventions in music videos. It explains that music videos commonly promote a single, artist, or album. They entertain audiences and help set the meaning of songs through visual imagery. Typically, music videos are 3-4 minutes and combine live performance, narrative elements, and visuals like computer graphics. Videos often contain performances by artists, narratives that relate to the song lyrics, or conceptual themes. Conceptual videos may focus on themes, symbols, or interesting visual ideas rather than narrative or performance. The document provides examples and further explanation of different music video elements and styles.
Andrew Goodwin
Andrew Goodwin proposed a theory of music video analysis focusing on 6 key relationships: 1) Between lyrics and visuals, 2) Between music and visuals, 3) Genre-related style and iconography, 4) Close-ups of artists to promote their image, 5) Close-ups of lead artists with others in the background, and 6) Intertextual references to other media. Goodwin argued that music videos serve as advertisements to anchor meaning for songs and promote artists, rather than following common narrative structures.
Goodwin and Music Video
Goodwin published a book in 1992 called "Dancing in the Distraction Factory" where he came up with codes and conventions for music videos. He identified 7 key features of music videos: 1) They demonstrate genre characteristics, 2) There is a relationship between lyrics and visuals, 3) There is a relationship between music and visuals, 4) They include close-ups of the artist, 5) Artists develop recurring visual motifs, 6) They frequently reference the notion of looking, and 7) Often include intertextual references to popular culture. Goodwin's theory provided a framework to analyze how elements are commonly used in music videos.
Andrew goodwin
This document outlines Andrew Goodwin's analysis of conventions in music videos from his 1992 work "Dancing in the Distraction Factory". It identifies five key conventions: 1) Genre-specific characteristics, 2) Relationships between lyrics/music and visuals, 3) Developing style/genre motifs and close-ups for star image, 4) Voyeuristic treatment of the female body, and 5) Intertextual references. Students are assigned to research music videos that exemplify these conventions and include examples and screenshots in their analysis.
Music theorists
Andrew Goodwin and Carol Vernallis propose theories about elements of music videos. Goodwin identifies five key elements: narrative and performance, star image, technical aspects, relationship between visuals and music, and visualizing the music. Vernallis' theory focuses on four construction elements: narrative, editing, camera movement/framing, and diegesis. Both note music videos may not follow traditional narrative or editing structures and emphasize the relationship between visuals and music.
Music video initial research
The document discusses different purposes, typologies, and conventions of music videos. It outlines three typologies of music videos defined by Frith: performance videos that show a band performing, narrative videos that tell a story, and conceptual videos that have an abstract idea with no relationship to the song. It provides examples for each typology. The document also discusses seven conventions of music videos put forth by Goodwin, such as a relationship between lyrics/music and visuals, and reference to voyeurism in treatment of women.
Notes on Andrew Goodwin
Andrew Goodwin identified 6 key elements that are often featured in music videos: 1) visuals that match the rhythm and cuts of the song, 2) characteristics common to different music genres, 3) visuals that portray the lyrics, 4) promotion of the artist by the record label, 5) the artist looking at themselves, and 6) references to other media like films. Goodwin also described 5 ways to analyze a music video: 1) examining the structure and voice of the song, 2) the narrative and performance, 3) how the star is represented, 4) how the visuals relate to the lyrics, and 5) technical aspects like camerawork, editing, and effects. Analyzing these elements can provide insight
Andrew goodwin's 6 features of music videos
Andrew Goodwin identified 6 key features of music videos: 1) Videos demonstrate characteristics of their musical genres. 2) Lyrics and visuals are related. 3) Music and visuals are related. 4) Record labels emphasize close-ups of the artist to promote their image. 5) Videos frequently reference the idea of looking through screens and often treat the female body in a voyeuristic way. 6) Videos sometimes make intertextual references to other media like films.
Media music video types
There are three main types of music videos: narrative based videos tell a story through actors or the artist, performance based videos focus on the artist performing, and concept based videos are based on an unusual idea unrelated to the song. Narrative videos may feature characters or film clips, performance videos show the artist from different angles, and concept videos are aimed at niche audiences.
Music video Initial Research
The document discusses different purposes and types of music videos. It describes that music videos can aim to entertain, promote, or tell a narrative. The document also summarizes Frith's three typologies of music videos: performance videos focus on performing, narrative videos tell a story, and conceptual videos have an abstract idea. Examples are given of each type, such as the Arctic Monkeys' "Teddy Picker" exemplifying a performance video through its footage of the band. The document further outlines Goodwin's seven conventions that most music videos conform to, such as relating the lyrics or music to the visuals.
Music video types
The document describes three types of music videos:
1. Performance videos focus on the artist singing and playing their song, conveying the live concert experience.
2. Narrative videos tell a story through a sequence of events, commonly a love story.
3. Conceptual videos rely on metaphor and poetic form to create a mood rather than tell a linear story, allowing for multiple interpretations.
Music video goodwin task rm
Andrew Goodwin identified 6 key features of music videos in his 1992 theory: 1) They demonstrate genre characteristics. 2) There is a relationship between lyrics and visuals. 3) A relationship between music and visuals. 4) Record labels demand close-ups of artists and recurring motifs. 5) Frequent references to looking and voyeurism of female bodies. 6) Intertextual references to other media. Goodwin's theory can be used to analyze music videos by considering if they are performance, narrative, or concept-based and how elements of each are used. Students were instructed to analyze older music videos in pairs using Goodwin's categories over 7 slides with screenshots and clips.
Indie pop Conventions
Indie music videos typically include both a narrative storyline and shots of band members performing their instruments. This combination of narrative and performance elements makes indie music videos more entertaining than only including one or the other. Additionally, indie music videos generally adhere to the concepts of amplification and disjuncture in promoting the music. Amplification involves expanding on a lyrical theme visually, while disjuncture means the video has no connection to the song's lyrics or sound.
Media Theory
Andrew Goodwin's theory is that music videos extend on the lyrics of a song by visually representing their meaning. Videos can take lyrics literally and tell a story, or metaphorically. Many videos prove this by helping audiences understand the intended meaning. However, genres like pop may prioritize emotion over literal lyrics.
Carol Vernallis' theory has four concepts: narrative, editing, camerawork, and diegesis. Narratives in videos may be disjointed, allowing audience interpretation. Editing breaks conventions by cutting to the beat. Establishing shots set the scene, and close-ups emphasize expression over completeness of action. Most videos support her theory, especially regarding editing aligned to the music.
Music Video Initial Research
The document discusses different frameworks for analyzing music videos. It summarizes Frith's three typologies of music videos as performance, narrative, or conceptual. Examples are given for each type. The document also outlines Goodwin's seven conventions for music videos, which include close-ups of artists, developing star iconography, references to voyeurism, and relationships between lyrics/music and visuals. Genres are also said to have consistent styles.
Analysing a music video
The document analyzes Katy Perry's music video for her song "California Gurls" using theories from Andrew Goodwin and Laura Mulvey. It discusses how the genre of pop music appeals to masses through catchy lyrics and scenes of partying. The relationship between the music and visuals is key, with the video matching the style and pace of the song. Goodwin's theory that record labels demand close ups of the artist is also evident. Mulvey's concept of the "male gaze", where women are viewed as objects for male pleasure, can be seen in examples of suggestive body language and point-of-view shots in the video.
Goodwins theory
There is a relationship between the lyrics and visuals in music videos, with the visuals either illustrating, amplifying, or contradicting the lyrics. Music videos use techniques like voyeurism, intertextual references, and close-ups of the artist to gratify viewers. The lyrics in one song contradict the music video by saying "nobody's watching" when the video shows the artist in a close-up, being watched.
Carol vernallis theory
Carol Vernallis developed a theory of music video based on four key concepts: narrative, diegesis, editing, and camera movement/framing. For narrative, she says the music video visuals should respond to the song's narrative. Diegesis should be revealed slowly. Editing in music videos can break conventions through techniques like jump cuts and cutting with lyrics. Camera movements and framing should flow with the lyrics and use distinctive styles.
Media task 23
Music videos often ignore common narrative structures and instead function as advertisements. Andrew Goodwin identified 6 essential points about music videos: 1) Representing the lyrics visually, 2) Matching the visuals to the music's beat, 3) Incorporating genre-related styles and icons, 4) Using close-ups of the artist to promote their image, 5) Employing voyeurism, especially regarding female artists, and 6) Making intertextual references to other media texts for humor.
Applying Goodwins Theory
The document provides guidance on analyzing music videos based on Goodwin's 6 points of analysis: 1) Music videos demonstrate genre characteristics through elements like stage performances or dance routines. 2) There is a relationship between the lyrics and visuals that can be illustrative, amplifying, or contradictory. 3) The relationship between the music and visuals can also be illustrative, amplifying, or contradictory. 4) Record labels often demand close ups of the artist and motifs that recur. 5) There is frequently references to looking through devices and voyeuristic treatment of women. 6) Music videos often reference other media through intertextuality. Students are asked to apply these points of analysis in a slide summarizing their findings from similar music
Music Video Analysis
The music video is for the song "Blank Space" by Taylor Swift from her 2014 album "1989". The video was directed by Joseph Kahn and depicts Swift portraying different personas as she acts out romantic relationships that grow increasingly obsessive and volatile. Through costumes, settings, and Swift's performances, the video connects to the song's themes of love, obsession, and the singer's public persona through common music video conventions.
Media task 24
The document discusses various techniques used in music videos, including breaking conventions of continuity editing through jump cuts and graphic matches, having the camera move in time to the music, and manipulating the speed of editing. It notes that music videos do not always have a balanced narrative and performance or have a resolution at the end, and may pose narrative questions that are not answered.
Goodwin’s 6 parts and 5 key things in a music video
This document discusses the different types of music videos and key aspects to analyze in music videos. The main types are performance, narrative, and conceptual videos. Most videos include elements of all three. Performance videos focus on the artist performing, narrative videos tell a story, and conceptual videos center around an idea. When analyzing videos, it's important to examine the relationship between the visuals and lyrics, visuals and music, the artist's image, and references to other works. Technical elements like camerawork, editing, and lighting are also key to pulling a music video together effectively.
Goodwin
The document discusses Goodwin's theory of analyzing music videos and Mulvey's theory of the male gaze. It explains different types of music videos, such as performance, narrative, and cameo videos. It then outlines Goodwin's forms and conventions for analyzing music videos, including how the visuals relate to the lyrics and music. Finally, it discusses Mulvey's concept of the male gaze and how women are typically objectified in mainstream films from a male perspective.
A2 media studies theorists
Narrative theorists Todorov and Propp identified common structures and character roles in narratives. Todorov described a five stage structure: equilibrium, disruption, recognition, attempt to repair, reinstatement of equilibrium. Propp identified eight main character roles including hero, villain, donor, and princess. Levi-Strauss observed that narratives are arranged around binary opposites like good vs evil. Vernallis' theory of music videos centers around four concepts: narrative, editing, camera techniques, and diegesis. Goodwin described characteristics of music videos such as demonstrating musical genres, relationships between music/lyrics and visuals, and frequent references to looking and the female body.
Theorists media a2
The document summarizes key concepts from theorists Laura Mulvey and John Berger regarding how gender is represented in media. Mulvey introduced the concept of the "male gaze" in film, where scenes are framed from a masculine perspective to focus on and objectify a woman's physical appearance. Berger argued that photography detaches images from their original context and mystifies their meanings. He believed representations of gender in art depicted men as active and women as passive objects to be looked at. Nudity differs from nakedness in that the former depicts being seen as an object rather than oneself.
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Music theorists
Andrew Goodwin and Carol Vernallis propose theories about elements of music videos. Goodwin identifies five key elements: narrative and performance, star image, technical aspects, relationship between visuals and music, and visualizing the music. Vernallis' theory focuses on four construction elements: narrative, editing, camera movement/framing, and diegesis. Both note music videos may not follow traditional narrative or editing structures and emphasize the relationship between visuals and music.
Music video initial research
The document discusses different purposes, typologies, and conventions of music videos. It outlines three typologies of music videos defined by Frith: performance videos that show a band performing, narrative videos that tell a story, and conceptual videos that have an abstract idea with no relationship to the song. It provides examples for each typology. The document also discusses seven conventions of music videos put forth by Goodwin, such as a relationship between lyrics/music and visuals, and reference to voyeurism in treatment of women.
Notes on Andrew Goodwin
Andrew Goodwin identified 6 key elements that are often featured in music videos: 1) visuals that match the rhythm and cuts of the song, 2) characteristics common to different music genres, 3) visuals that portray the lyrics, 4) promotion of the artist by the record label, 5) the artist looking at themselves, and 6) references to other media like films. Goodwin also described 5 ways to analyze a music video: 1) examining the structure and voice of the song, 2) the narrative and performance, 3) how the star is represented, 4) how the visuals relate to the lyrics, and 5) technical aspects like camerawork, editing, and effects. Analyzing these elements can provide insight
Andrew goodwin's 6 features of music videos
Andrew Goodwin identified 6 key features of music videos: 1) Videos demonstrate characteristics of their musical genres. 2) Lyrics and visuals are related. 3) Music and visuals are related. 4) Record labels emphasize close-ups of the artist to promote their image. 5) Videos frequently reference the idea of looking through screens and often treat the female body in a voyeuristic way. 6) Videos sometimes make intertextual references to other media like films.
Media music video types
There are three main types of music videos: narrative based videos tell a story through actors or the artist, performance based videos focus on the artist performing, and concept based videos are based on an unusual idea unrelated to the song. Narrative videos may feature characters or film clips, performance videos show the artist from different angles, and concept videos are aimed at niche audiences.
Music video Initial Research
The document discusses different purposes and types of music videos. It describes that music videos can aim to entertain, promote, or tell a narrative. The document also summarizes Frith's three typologies of music videos: performance videos focus on performing, narrative videos tell a story, and conceptual videos have an abstract idea. Examples are given of each type, such as the Arctic Monkeys' "Teddy Picker" exemplifying a performance video through its footage of the band. The document further outlines Goodwin's seven conventions that most music videos conform to, such as relating the lyrics or music to the visuals.
Music video types
The document describes three types of music videos:
1. Performance videos focus on the artist singing and playing their song, conveying the live concert experience.
2. Narrative videos tell a story through a sequence of events, commonly a love story.
3. Conceptual videos rely on metaphor and poetic form to create a mood rather than tell a linear story, allowing for multiple interpretations.
Music video goodwin task rm
Andrew Goodwin identified 6 key features of music videos in his 1992 theory: 1) They demonstrate genre characteristics. 2) There is a relationship between lyrics and visuals. 3) A relationship between music and visuals. 4) Record labels demand close-ups of artists and recurring motifs. 5) Frequent references to looking and voyeurism of female bodies. 6) Intertextual references to other media. Goodwin's theory can be used to analyze music videos by considering if they are performance, narrative, or concept-based and how elements of each are used. Students were instructed to analyze older music videos in pairs using Goodwin's categories over 7 slides with screenshots and clips.
Indie pop Conventions
Indie music videos typically include both a narrative storyline and shots of band members performing their instruments. This combination of narrative and performance elements makes indie music videos more entertaining than only including one or the other. Additionally, indie music videos generally adhere to the concepts of amplification and disjuncture in promoting the music. Amplification involves expanding on a lyrical theme visually, while disjuncture means the video has no connection to the song's lyrics or sound.
Media Theory
Andrew Goodwin's theory is that music videos extend on the lyrics of a song by visually representing their meaning. Videos can take lyrics literally and tell a story, or metaphorically. Many videos prove this by helping audiences understand the intended meaning. However, genres like pop may prioritize emotion over literal lyrics.
Carol Vernallis' theory has four concepts: narrative, editing, camerawork, and diegesis. Narratives in videos may be disjointed, allowing audience interpretation. Editing breaks conventions by cutting to the beat. Establishing shots set the scene, and close-ups emphasize expression over completeness of action. Most videos support her theory, especially regarding editing aligned to the music.
Music Video Initial Research
The document discusses different frameworks for analyzing music videos. It summarizes Frith's three typologies of music videos as performance, narrative, or conceptual. Examples are given for each type. The document also outlines Goodwin's seven conventions for music videos, which include close-ups of artists, developing star iconography, references to voyeurism, and relationships between lyrics/music and visuals. Genres are also said to have consistent styles.
Analysing a music video
The document analyzes Katy Perry's music video for her song "California Gurls" using theories from Andrew Goodwin and Laura Mulvey. It discusses how the genre of pop music appeals to masses through catchy lyrics and scenes of partying. The relationship between the music and visuals is key, with the video matching the style and pace of the song. Goodwin's theory that record labels demand close ups of the artist is also evident. Mulvey's concept of the "male gaze", where women are viewed as objects for male pleasure, can be seen in examples of suggestive body language and point-of-view shots in the video.
Goodwins theory
There is a relationship between the lyrics and visuals in music videos, with the visuals either illustrating, amplifying, or contradicting the lyrics. Music videos use techniques like voyeurism, intertextual references, and close-ups of the artist to gratify viewers. The lyrics in one song contradict the music video by saying "nobody's watching" when the video shows the artist in a close-up, being watched.
Carol vernallis theory
Carol Vernallis developed a theory of music video based on four key concepts: narrative, diegesis, editing, and camera movement/framing. For narrative, she says the music video visuals should respond to the song's narrative. Diegesis should be revealed slowly. Editing in music videos can break conventions through techniques like jump cuts and cutting with lyrics. Camera movements and framing should flow with the lyrics and use distinctive styles.
Media task 23
Music videos often ignore common narrative structures and instead function as advertisements. Andrew Goodwin identified 6 essential points about music videos: 1) Representing the lyrics visually, 2) Matching the visuals to the music's beat, 3) Incorporating genre-related styles and icons, 4) Using close-ups of the artist to promote their image, 5) Employing voyeurism, especially regarding female artists, and 6) Making intertextual references to other media texts for humor.
Applying Goodwins Theory
The document provides guidance on analyzing music videos based on Goodwin's 6 points of analysis: 1) Music videos demonstrate genre characteristics through elements like stage performances or dance routines. 2) There is a relationship between the lyrics and visuals that can be illustrative, amplifying, or contradictory. 3) The relationship between the music and visuals can also be illustrative, amplifying, or contradictory. 4) Record labels often demand close ups of the artist and motifs that recur. 5) There is frequently references to looking through devices and voyeuristic treatment of women. 6) Music videos often reference other media through intertextuality. Students are asked to apply these points of analysis in a slide summarizing their findings from similar music
Music Video Analysis
The music video is for the song "Blank Space" by Taylor Swift from her 2014 album "1989". The video was directed by Joseph Kahn and depicts Swift portraying different personas as she acts out romantic relationships that grow increasingly obsessive and volatile. Through costumes, settings, and Swift's performances, the video connects to the song's themes of love, obsession, and the singer's public persona through common music video conventions.
Media task 24
The document discusses various techniques used in music videos, including breaking conventions of continuity editing through jump cuts and graphic matches, having the camera move in time to the music, and manipulating the speed of editing. It notes that music videos do not always have a balanced narrative and performance or have a resolution at the end, and may pose narrative questions that are not answered.
Goodwin’s 6 parts and 5 key things in a music video
This document discusses the different types of music videos and key aspects to analyze in music videos. The main types are performance, narrative, and conceptual videos. Most videos include elements of all three. Performance videos focus on the artist performing, narrative videos tell a story, and conceptual videos center around an idea. When analyzing videos, it's important to examine the relationship between the visuals and lyrics, visuals and music, the artist's image, and references to other works. Technical elements like camerawork, editing, and lighting are also key to pulling a music video together effectively.
Goodwin
The document discusses Goodwin's theory of analyzing music videos and Mulvey's theory of the male gaze. It explains different types of music videos, such as performance, narrative, and cameo videos. It then outlines Goodwin's forms and conventions for analyzing music videos, including how the visuals relate to the lyrics and music. Finally, it discusses Mulvey's concept of the male gaze and how women are typically objectified in mainstream films from a male perspective.
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Goodwin’s 6 parts and 5 key things in a music video
Goodwin’s 6 parts and 5 key things in a music video
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A2 media studies theorists
Narrative theorists Todorov and Propp identified common structures and character roles in narratives. Todorov described a five stage structure: equilibrium, disruption, recognition, attempt to repair, reinstatement of equilibrium. Propp identified eight main character roles including hero, villain, donor, and princess. Levi-Strauss observed that narratives are arranged around binary opposites like good vs evil. Vernallis' theory of music videos centers around four concepts: narrative, editing, camera techniques, and diegesis. Goodwin described characteristics of music videos such as demonstrating musical genres, relationships between music/lyrics and visuals, and frequent references to looking and the female body.
Theorists media a2
The document summarizes key concepts from theorists Laura Mulvey and John Berger regarding how gender is represented in media. Mulvey introduced the concept of the "male gaze" in film, where scenes are framed from a masculine perspective to focus on and objectify a woman's physical appearance. Berger argued that photography detaches images from their original context and mystifies their meanings. He believed representations of gender in art depicted men as active and women as passive objects to be looked at. Nudity differs from nakedness in that the former depicts being seen as an object rather than oneself.
Guy Debord
Guy Debord was a French Marxist theorist and filmmaker who founded the Situationist International in 1957. He is best known for his influential 1967 book The Society of the Spectacle, which critiqued consumer capitalism and the role of images and media in alienating individuals. Debord argued that advanced capitalism had replaced meaningful social interaction with an "immersive spectacle" that isolated people. His ideas inspired the 1968 general strike in France and continue to influence academics, activists, and filmmakers today through concepts like "culture jamming" and critiques of late-stage capitalism.
Post Modernism and Strinati
Postmodernism refers to social, political and cultural attitudes that emerged in the late 20th century in reaction to modernism. It is characterized by (1) the breakdown between culture and society due to media saturation, (2) an emphasis on style over substance in cultural products, and (3) the breakdown of distinctions between high and popular culture. Postmodern works often feature a confusion over time and space due to modern communication technologies, and reject universal "grand narratives" in favor of personal interpretations. The document provides several examples of postmodernism in art, architecture, literature and media to illustrate these concepts.
Media Theory - Audience Representation Narrative Genre
1. Reception theory examines how audiences receive and make meaning from media texts. It emphasizes that meaning comes from the interaction between the text and the reader/viewer, not from the text itself.
2. David Morley applied reception theory to television with his Nationwide Project, which found that people from different social groups interpreted the same program differently based on their positions.
3. Uses and gratifications theory posits that audiences are active in choosing media to fulfill certain needs, such as escape, social interaction, identity, and information.
Jean Baudrillard’s Theory
Jean Baudrillard's theory of hyperreality describes a state where simulations have replaced reality such that the distinction between real and simulated has collapsed. Hyperreality is exemplified by celebrity culture, where celebrities live in a cocooned world detached from normal interactions, and some fans become so engaged with the hyperreal celebrity world that they lose touch with reality. Video games also demonstrate hyperreality, as rare cases occur where players commit violent acts because they cannot distinguish between the simulated game world and reality.
Postmodernism theories and texts
This document discusses various concepts related to postmodernism, including theories proposed by theorists such as Fiske, Barthes, Derrida, Levi-Strauss, Genette, Baudrillard, Lyotard, Kramer, and Jameson. It examines ideas around intertextuality, genres, simulation, hyperreality, and rejection of grand narratives. Key concepts covered include codes, cultural knowledge, making sense of reality through other texts, circular referentiality, and pastiche vs parody.
Media representation theory
Media Representation Theory discusses how media constructs representations of reality through various processes. Some key aspects of representation theory are:
1) Representation involves the construction of people, places, events and identities in any medium like mass media.
2) Representations involve how identities are constructed in the text as well as in the processes of production and reception.
3) Representations aim to seem 'natural' by positioning subjects in particular ways that serve ideologies.
Analyzing representations involves considering whose realities are represented and whose are denied through semiotics and other formal analysis methods.
Theory and Theorist For Media Studies A2
This is the theory revision I created for my A2 Media group a couple of years ago. There is some general narrative theory, Media theory Laura Mulvey etc and Racial Representation theory, Stuart Hall, Paul Gilroy, bell hooks etc. This was based on Media and Collective Identity focusing on the representation of black culture in British Film and American Music Videos.
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Media Theory - Audience Representation Narrative Genre
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Types and Conventions of Music Videos
There are three main types of music videos: performance, narrative, and concept-based. Performance videos feature the artist performing live on stage. Narrative videos tell a story that relates to the song's lyrics or genre through illustration, amplification, or disjunction of the narrative from the lyrics. Concept-based videos are based on a single idea or concept and are often abstract, leaving interpretation up to the viewer. They may use themes or symbols. Successful music videos typically show a relationship between the visuals and lyrics, are edited to the beat of the music, incorporate genre-related styles, and promote the artist.
Goodwin's theory on music videos
Andrew Goodwin is a music video theorist who developed a theory about repetitive features in music videos that help audiences relate to and understand the media. His theory outlines 5 key aspects of music videos: 1) how the music track relates to the cinematography through illustration, disjuncture, or amplification, 2) the "star image" or protagonist that appeals to audiences, and 3) technical aspects like mise-en-scene, cinematography, sound, and editing that establish expectations for different music genres. Goodwin argues these repetitive features make the language of music videos easier for audiences to understand.
Music video's
There are several types of music videos: performance videos focus on singing and dancing with changing settings; narrative videos tell a story related to the song's lyrics with longer shots; combination videos include both performance and narrative elements; and artistic videos enhance the music in a non-traditional way. Performance videos are easier but need varied shots and costumes to hold interest. Narrative videos capture attention but may bore viewers without a performance. Combination videos promote both the song and artist but could confuse viewers.
Nhadia presentation 7i9789i78
The document discusses how the student's music video challenges conventions of real music videos through its use of disjuncture, where the video has nothing to do with the song lyrics. It also discusses how the video follows theories of the male gaze in its framing of the female artist and focus on her appearance. Finally, it discusses how the video aligns with Carol Vernallis' theory through its editing, camera movements, narrative elements, and diegetic features like movement to the beat of the music.
What is a dance music video
The document discusses what a dance music video is and the different styles and techniques involved in creating music videos. It explains that a music video is primarily a promotional tool to encourage sales of a song and artist. There are three main subgenres of music videos: narrative videos which tell a story, performative videos which mainly feature the artist performing, and conceptual videos which follow an abstract theme without a clear story. The document also outlines other styles like mixture videos and cameo videos, as well as important technical elements like camera shots, angles, movements, editing, and mise-en-scene considerations.
Andrew Goodwin's Music Video Theory
Andrew Goodwin developed a theory that most music videos today follow at least one of his six ideas: 1) Demonstrating genre characteristics, 2) Having a relationship between lyrics and visuals, 3) Having a relationship between music and visuals, 4) Including close-ups of the artist to promote them, 5) Developing visual motifs across their work, and 6) Referencing the notion of looking or including intertextual references. Goodwin's theory suggests that effective music videos link aspects of the music, lyrics, genre conventions and visual storytelling.
Music Video Case Study
The document provides guidance for completing a case study assignment on music video production. It is divided into three tasks. Task 1 addresses the purposes of music videos, such as entertainment, branding, sales, and conveying artistic messages. Task 2 covers styles, techniques and conventions used in music videos, such as camerawork, editing, technical developments, and genre conventions. Task 3 instructs students to analyze a minimum of three music videos by the same artist or genre and discuss the usage of styles, techniques, intertextuality, camerawork, editing, genre conventions, and apply critical approaches.
Carol Vernallis
Carol Vernallis developed a theory for analyzing music videos and films that focuses on four key concepts: narrative, editing, camera movement/framing, and diegesis. According to Vernallis' theory, narratives in music videos are often fragmented and unconventional compared to films, driven more by elements like the music or artist. Editing in music videos frequently breaks conventions like continuity to draw attention through techniques like jump cuts or changes in pace aligned with the music. Camerawork commonly uses extremes of close-ups or establishing shots that are repeated in distinctive ways for a given video/genre. A music video's diegesis or world is gradually revealed through elements like characters moving to the music or important frames, with gaps left
Andrew goodwin
Andrew Goodwin proposed 6 key features and 5 ways to analyze music videos in his 1992 book "Dancing in the Distraction Factory". The 6 key features of music videos are: 1) fitting genre characteristics, 2) matching lyrics to visuals, 3) matching music to visuals, 4) including close-ups of artists per record label demands, 5) using voyeuristic treatment of bodies, and 6) including intertextual references. The 5 ways to analyze videos are: 1) examining thought beats and the artist's voice, 2) analyzing narrative and performance, 3) studying the star image, 4) considering the relation of visuals to song, and 5) reviewing technical aspects like camerawork, editing,
Music video styles
This document discusses three main styles of music videos: performance, conceptual, and narrative. Performance videos focus heavily on showing the artist performing and include close-ups. Conceptual videos are based around a single idea or concept and use symbols and lighting to create meaning. Narrative videos tell a visual story that relates to the song lyrics, with some including a performance element. Examples are provided for each style.
Code And Conventions
The document discusses several conventions of music videos. It notes that music videos typically show relationships between the lyrics, visuals, and music. Specific genres may have characteristic visual styles and themes. Music videos usually focus closely on the main artist and develop their public image over multiple videos. They may also reference voyeurism and incorporate elements from other media like films or TV shows.
Music theorist andrew goodwin
Andrew Goodwin theorized that music videos can illustrate, amplify, or contradict the lyrics and music of a song, changing how audiences perceive it. He identified five key aspects for audiences to analyze in music videos: thought beats where you "see" the sound; narrative and performance elements; the star image; the relationship between visuals and song; and technical aspects. Goodwin believed matching video elements like editing, scenes, and themes to lyrics, music, and genre conventions can enhance the video and convey different meanings.
Theorists & Theories
The document discusses several key theories related to music videos:
- Andrew Goodwin analyzed 5 aspects audiences look for in music videos: narrative & performance, thought beats, relationship between visuals and song, technical aspects, and star image.
- Claude Levi-Strauss' theory of binary opposites explains how understanding words is based on their antonyms.
- Laura Mulvey's theory of the "male gaze" argues that audiences view characters and narratives from a heterosexual male perspective, objectifying women.
- Examples are given of how these theories have been applied in analyzing specific music videos.
Theorists & Theories
The document discusses several key theories related to music videos:
- Andrew Goodwin analyzed 5 aspects audiences look for in music videos: narrative & performance, thought beats, relationship between visuals and song, technical aspects, and star image.
- Claude Levi-Strauss' theory of binary opposites explains how understanding words is based on their antonyms.
- Laura Mulvey's theory of the "male gaze" argues that audiences view characters from a heterosexual male perspective, objectifying women and making them passive while men are active.
- Examples are given of how these theories have been applied or exemplified in various music videos.
Carol Vernalli’s music video theory
Carol Vernalli's theory focuses on how music videos are constructed through narrative, editing, camera techniques, and diegesis. Narratives in music videos are often fragmented and non-linear, reflecting the lyrics. Editing frequently matches the musical phrases and is foregrounded to draw attention. Camera movements and framing utilize extremes like close-ups and establish shots that move with the music. The diegetic world is revealed slowly and actions may be disrupted, creating gaps for the audience.
Andrew Goodwin’s Theory
1. Andrew Goodwin identified 5 key aspects of music videos that audiences should look for: thought beats, narrative and performance, the star image, the relation of visuals to song, and technical aspects.
2. Goodwin recognized that there is often a relationship between the music video's visuals and the song's lyrics, either illustrating, amplifying, or contradicting them. Visuals are also commonly edited to the song's beats or changes in pace.
3. Different music genres have distinguishing styles and icons used in their music videos to represent the genre, and artists often repeat trademark actions to make their songs recognizable.
Music videos basics
The document discusses different categories of music videos including performance, conceptual, and narrative styles. Performance videos focus on the artist performing, conceptual videos are based on an idea rather than performance, and narrative videos tell a story. Popular genres like pop often use narrative styles while rock may use conceptual or performance. Examples are provided for each category to illustrate their distinguishing characteristics.
Evaluation Question 1
This document discusses how a student's media project, a music video for the song "riptide" by Emma Stevens, uses and develops conventions of real music videos in the pop/country genre. Specifically, it includes:
- A narrative that matches the song's theme of love/relationships
- Casual clothing and lack of formal dress, as is typical in pop/country videos
- Frequent jumps cuts that are on beat to keep the video fast-paced and match the upbeat song
- Focus on the artist and locations through long shots, close-ups, and mid shots
Andrew goodwin
Andrew Goodwin identified 6 key features of music videos and 5 ways to analyze them. The 6 features are that videos demonstrate genre characteristics, show relationships between lyrics and visuals, between music and visuals, feature close-ups of artists per label demands, reference looking/the male gaze, and use intertextual references. The 5 analysis aspects are thought beats, narrative and performance, the star image, the relationship of visuals to the song, and technical aspects like editing and effects. Goodwin's framework provides tools to understand music videos through their genre traits, relationships between components, focus on the artist, and technical production elements.
Andrew goodwin’s theory
Andrew Goodwin identified 5 key aspects of music videos: 1) thought beats, 2) narrative and performance, 3) star image, 4) relation of visuals to song, and 5) technical aspects. He believed these features help videos be more than advertisements by allowing different viewer interpretations and achieving greater purpose. Goodwin saw thought beats as "seeing the sound" and categorized it into structure, voice, and storytelling. He also recognized the importance of narrative, performance, star image, relating visuals to lyrics, technical elements, and codes like relationships between lyrics and visuals.
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Digipak Advert Construction
The document describes the process of selecting and editing a low-angled photo to create an advertisement layout. The photographer adjusted the brightness of the photo and added other images and layers to fit around the subjects. Different layouts were tested until an effective final design was chosen. The fonts were also adjusted for consistency, with the same font and black outline used for all text to make the white letters stand out against the background without clashing. An updated digital cover was also included due to the multiple changes made.
Advert Construction
The document discusses the process of selecting and editing a low-angled photo to create an advertisement. The photographer adjusted the brightness and added other images and layers to fit around the people in the photo. Different layouts were tested until an effective final design was chosen. The fonts were also adjusted for consistency, with the same font and black stroke used for all text to make the white letters stand out against the background without clashing. An updated cover was also needed due to the changes made.
Digipak Construction
The document discusses designing an album cover. The designer wanted to make the image brighter to give it a summery feel. They chose the album name "Reminisce" because it means enjoyable recollection of the past, fitting the theme of thinking back to childhood. Different fonts and layouts were tested to find the most effective design. Feedback was received that the top font needed to be brighter, so blue and red options were tried and blue was selected as it did not clash with the background as much as red.
Digipak Cover Construction
The artist wanted to brighten an image to give it a more summery, fun feel instead of the dark look from low sun. They came up with the album name "Reminisce" to evoke enjoyable recollection of the past, fitting the theme of thinking back to youth. Once selecting a fitting font style, the artist experimented with layouts to find the most effective, conventional cover design that stood out the most.
A2 Media Task 4 – Analysis Of Music Videos
This document analyzes the editing techniques used in several music videos. It discusses how the shots in the videos are typically between 3 to 5 seconds long and cut together based on the rhythm and beat of the songs. The shots alternate between mid shots, two shots, and long shots of the artists performing, as well as some non-performance shots included to separate performances. By matching the timing and cuts of the shots to the pace of the songs, the videos create an effective experience for the viewer that is synchronized to both the visuals and audio.
A2 Media Task 10 - Past Students Work
This document analyzes and summarizes three past students' work on a media task involving music videos. It evaluates the students' research/planning, ancillary tasks, and final video constructions. For each student work, it provides what-went-well (WWW) comments highlighting effective elements, and even-better-if (EBI) comments on potential areas for improvement. This analysis of past graded work helped the author understand how examiners will evaluate their own media task submissions and what key features to focus on, such as using a variety of conventional shot types, mise-en-scene, editing, and themes drawn from examples.
A2 Media Task 2 – Conventions Of A Music Video
The document analyzes the conventions used in several music videos including Rizzle Kicks, Ed Sheeran, Olly Murs, and Wretch 32. It discusses the mise-en-scene, editing, and camera work in the videos. Natural lighting is used in many of the videos to give a casual feel. The settings, costumes, and props relate to the lyrics of the songs. The editing cuts between shots are timed to the rhythm of the music to engage the audience. A variety of shot types like mid shots and close ups are used to show expressions and focus on certain elements.
Evaluation Task 6
The document discusses the technologies and equipment used to create a film opening project. It describes how using different microphones and a wind shield improved audio quality when filming. Adobe Premiere Pro and After Effects were used for editing and creating titles, allowing the use of effects like fades and color/font changes. Sticking to the original storyboard helped ensure shot types were included as planned. Overall, the process helped improve skills with technologies like Adobe programs and using equipment like microphones.
Media Studies AS - Task 8 - Theory's
The document summarizes several theorists and their theories about narrative structure:
- Tzveten Todorov believed narratives follow five stages: equilibrium, disruption, recognition, attempt to repair, restoration of equilibrium.
- Vladimir Propp theorized narratives feature certain character roles like hero, villain, dispatcher, donor, and mentor.
- Claude Levi-Strauss looked at narratives in terms of binary opposites like good/evil, past/present that reveal deeper structural arrangements.
- Roland Barthes said narratives can be "unraveled" to find different meanings and potential interpretations. He described five codes that group signifiers: hermeneutic, symbolic, proairetic, cultural, and
Media Gangster Conventions - Task 2
The document provides information on the key conventions of gangster films. It notes that gangster films typically feature organized crime, weapons, drugs, Italian families, violence, and cars chases. They often follow a character who rises up through crime and gains power and wealth through illicit means. The costumes are usually suits or long coats, and the settings involve the criminal underworld. Four film openings are then analyzed in terms of mise-en-scene elements like costumes, props, lighting, shots, and sound design. Elements like guns, dark lighting, city settings, and titles with white or red text against a black background are discussed as common across the openings.
Media Director - Task 5
Quentin Tarantino's first gangster film, Reservoir Dogs (1992), follows six criminals hired by a crime boss for a diamond heist that goes wrong, resulting in panic and death among the group as they turn on each other thinking one is an undercover cop. His next film, Pulp Fiction (1994), intertwines four violent crime stories involving mob hitmen, a boxer, and diner bandits, and had a $8 million budget that earned over $10 million in profits in the UK. Both films involved criminal gangs and earned critical and commercial success, with Pulp Fiction considered one of the best films of the 1990s and possibly all time.
Media Analysis of Films - Task 4
This document analyzes and summarizes elements found in the opening scenes of three gangster films: American Gangster, Lock Stock and Two Smoking Barrels, and Goodfellas. Some common elements identified include: titles displayed in black and white in an old/smart font style, titles lasting 3-5 seconds, use of non-diegetic music and some diegetic music, voiceovers to provide context, low lighting and dark tones to set a dramatic atmosphere, quick cuts and pacing to engage the audience, and establishing shots along with mid and close-up shots of characters.
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A2 media task 8 theorists
- 1. A2 Media Task 8 - Theorists Parasko Kkolos
- 2. Andrew Goodwin... What does he say about music videos? “Music videos are simply an extension of the lyrics in the song” What he means is simply what we are watching on the screen is a visual interpretation of the lyric. When thinking about music videos, there are some that support what Goodwin says and then are others that do not. Taylor Swift’s song “You Belong With Me” is a video that takes a very literal interpretation on the lyrics and so supports Goodwin's views. Justin Timberlake’s song “Cry Me A River” takes a metaphorical interpretation of the lyrics so in a sense it does support Goodwin's views because what you see does link with the lyrics, but it isn't as literal as videos such as Taylor Swifts. On the other end of the scale, a lot of videos such as Fatboy Slim’s “Praise Him” and Ed Sheerans “Don’t” both have very abstract videos which have no or little connection to the lyrics of the song and so do not support Goodwin’s theory.
- 3. Carol Vernallis... What does she say about music videos? Vernallis says that there are 4 key ways to look at music videos.# Narrative - The visual is based upon the lyrics and it can be performance, narrative or a mixture of both Diegesis - “How a story is created within the video and the world within the video”. Repetition of ideas/themes/shots is key to help create meaning for the audience. There may be times when the audience does not understand the diegesis – gaps in time and space/music/performance and narrative. Camera Shots/Framing - Music videos try to avoid shots such as mid shots and instead more frequently use shots that sit on the extreme ends of the scale such as a long shot, establishing shots, close ups and extreme close ups. The adapted styles of framing and movement tend to run all the way through the video. The camera may move in time with the music and just for drawing focus onto the artist. Editing - Will be left in a state of disjuncture – rather than following the rules of continuity – the editing might even be made obvious, we frequently cut between performance/narrative – there will often be jumps in time.