Ain't my fault by zara larsson
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The music video for "Ain't My Fault" by Zara Larsson uses various camera shots and techniques common to pop music videos like dancing, lip syncing, and bright lighting. It features the artist changing outfits while performing choreography with back up dancers in both group and solo shots against plain backgrounds and in a mansion setting. The video portrays the artist as confident and in control through shots that emphasize her body and a scene where a man looks scared while upside down. It tells no story and has no deeper concept, serving primarily as a live performance of the song.
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This document provides a summary of key elements in the Dua Lipa music video for "New Rules". It notes that diegetic sound is used at the beginning to engage illegal downloaders. The upbeat pop song matches scenes that emphasize the song's meaning. Typical elements like dance routines, close-ups of the artist, costume changes, and makeup are featured to promote Dua Lipa. Some unusual elements like rewinding and sped-up cuts near the end add visual interest.
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Media pitch document
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Media pitch document
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The A Day to Remember "All I Want" video uses fast-paced editing to show the band and various other punk artists. Drawings and news clippings transition between the scenes. In contrast to structured music videos, it lacks a narrative and instead focuses on capturing the fun, rebellious spirit of punk rock.
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music video 1
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The kooks
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The document discusses the history and evolution of music videos from their earliest forms in the 1920s to their emergence as a popular art form and promotional tool in the 1980s and beyond. It notes that some of the first "music videos" were films created by animators in the 1920s to accompany music. In the 1950s, promotional videos began being produced specifically to promote songs, and the "illustrated song" became a form of popular entertainment. The document then examines similarities and differences between various music videos from different eras in terms of style, filming techniques, themes, and cultural contexts.
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Media pitch document
This media pitch proposes a music video for the reggae song "The Pianist" by General Degree. The narrative will follow a girl visiting a shop to see a boy and his band. As he introduces each band member by position, like "Here is my bassist", that person will appear. At the end, the girl leaves with the pianist, leaving the main character alone. The video will be in widescreen format with varied shots to demonstrate creativity. The target audience is males and females aged 16-25 who like relaxing music.
Media pitch document
This media pitch proposes a music video for the reggae song "The Pianist" by General Degree. The narrative will follow a girl visiting a shop to see a boy and his band. As he introduces each band member by position, like "Here is my bassist", that person will appear. At the end, the girl leaves with the pianist, leaving the main character alone. The video will be in widescreen format with varied shots to demonstrate creativity. The target audience is males and females aged 16-25 who like relaxing music.
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By Saeed Moulai, for Year 13 A2 Media
Wild – troye sivan
The music video for "Wild" by Troye Sivan uses a blue color palette and film-like visual style to tell a narrative story. It opens like a film with credits and follows the developing relationship between Sivan's character and another boy against the backdrop of a troubled home life. Close-ups of Sivan lip syncing are intercut with scenes advancing the plot. The video draws inspiration from coming-of-age films like Paper Towns while representing Sivan's experience as part of the LGBTQ community. It is one video in a trilogy that collectively tells the full story.
16 pt 3
The music video begins with establishing shots to introduce the location. Various camera angles are used including close ups, tracking shots and framing shots. Quick cuts are used to keep the audience engaged as the song's tempo increases. The video cross cuts between different locations. The narrative focuses on the lyrics, showing that love is found within the community and between people in different relationships, not just romantically. The colorful location and festival-style clothing match the upbeat energy of the song.
Question one
The document discusses conventions used in pop music videos and how the author's music video incorporates these conventions. It provides examples of how the author's video uses bright lighting, simple costumes, dancing, and close-up shots which are common conventions. The author also explains how their video can be linked to other artists' music videos through similar themes, shots, or featured artists.
Video research
This document analyzes three pop music videos - "Baby One More Time" by Britney Spears, "If I Go" by Ella Eyre, and "What the Hell" by Avril Lavigne - using Goodwin's music video analysis theory. Goodwin theorized that music videos show genre characteristics through fashion, relationships between lyrics and visuals, relationships between music and visuals, demands of record labels, notions of looking/voyeurism, and intertextuality. The document then analyzes each music video based on these elements to understand how they represent the pop genre.
Genre Music Video Analysis
Bruno Mars' music video for "Grenade" tells the narrative of a heartbroken man through its settings, costumes, props, and body language. The video has two settings - his dark, rainy house showing his loneliness, and him dragging a piano through the streets to sing to his love. His suit becomes disheveled to show his failed attempt to win her back. The piano is important as it shows how far he's willing to go for his love. His slumped body language and facial expressions in his house reflect the emotions in the song's lyrics.
music video analysis
This document discusses Goodwin's theory of music video analysis and summarizes two documents about a music video. The first document outlines six key features of Goodwin's theory present in the music video, including genre characteristics, relationship between lyrics and visuals, and relationship between music and visuals. The second document discusses five aspects of Goodwin's theory seen in the music video, such as thought beats, narrative and performance, star image, relationship of visuals to the song, and technical aspects.
Textual Analysis 3
The document provides an analysis of genre characteristics, lyrics and visuals, and music and visuals in the music videos for "The Man Who Can't Be Moved" by The Script and "Juliet" by Lawson. Some key points made:
- Both videos include conventions of live performance but incorporate elements of both pop and rock genres.
- Visuals in both videos closely connect to and illustrate the lyrics being sung.
- Lighting, costumes, and close-ups of instruments follow conventions more of the rock genre.
Laurent - Conventions of music videos
Music videos commonly use mid-shots and close-ups of the artist to emphasize them as the focus and present their image. Artists also often sing directly to the camera to make the audience feel they are interacting with them. For dance songs, long shots are frequently used to show full dance choreography. Most music videos also cut between shots of the artist performing and a narrative storyline. The editing style is usually a montage of overlapping clips edited together to the beat of the music. Creative imagery is also included to entertain viewers and make an engaging video.
Francis Lawrence
Francis Lawrence is a music video director who was born in Austria but moved to Los Angeles as a child. He has directed videos for many major artists like Lady Gaga, Pink, and Britney Spears. Lawrence's style involves keeping the artist as the central focus. He uses settings to set moods and tells both narrative and performance stories in his videos. Digital editing is also a common technique he employs to enhance meanings. The analysis looked at two of his videos for Lady Gaga's "Bad Romance" and Pink's "Just Like a Pill" to illustrate Lawrence's consistent directorial style.
Tove Lo analysis
The document provides an analysis of Tove Lo's music video for "Not On Drugs". It notes that the video uses various editing techniques and costume changes to match the fast pace of the song. While the lyrics say she's "not on drugs", parts of the video are edited to look psychedelic. By appearing alone throughout the video, Tove Lo aims to connect directly with viewers as she sings about love. The analysis discusses various elements of the video like cinematography, editing, sound, and how it represents and appeals to its target young female audience.
Video research
This document analyzes three pop music videos - "Baby One More Time" by Britney Spears, "If I Go" by Ella Eyre, and "What the Hell" by Avril Lavigne - using Goodwin's music video analysis theory. Goodwin theorized that music videos show genre characteristics through fashion, relationships between lyrics and visuals, and relationships between music and visuals. Each music video is analyzed in terms of how it exhibits current fashion trends, uses illustrative, amplifying, or contradictory relationships between lyrics and visuals, and uses visuals that relate to the beat and dynamics of the song.
Music video analysis
The document analyzes and summarizes three music videos based on common characteristics of music videos. It discusses the relationship between lyrics and visuals, music and visuals, the focus on the artist, references to female bodies, recurring motifs, and intertextual references in the videos for songs by Justin Bieber featuring Diplo and Skrillex, Red Hot Chili Peppers, and The Weeknd. Key details analyzed include the amplification of lyrics and mood through the visuals, illustrations of the lyrics, close-ups of the artists, and references to other media in the videos.
Music Video Research
The document provides summaries of 10 music videos analyzing elements such as the relationship between lyrics and visuals, close-ups of artists, and whether the video is performance, narrative or concept-based. It finds that most videos are performance-based, with some being narrative, and none reference sexuality. Common motifs across artists' videos are also identified.
Music Video Research
The document provides summaries of several existing music videos, analyzing elements like the relationship between lyrics and visuals, close-ups of artists, and whether the videos are performance, narrative or concept-based. For the video "Tightrope" by Janelle Monae, it notes the concept is about balance in life and her journey to success. For "A Punk" by Vampire Weekend, it compares the stop-motion style to children's show The Wiggles.
Textual analysis
The document analyzes genre characteristics, lyrics and visuals, music and visuals, close ups, and digipak/album designs of the music videos "The Man Who Can't Be Moved" by The Script and "Juliet" by Lawson. Some key points:
1) The videos incorporate conventions of both rock (dark colors, live performances) and pop (lead singer at front, inclusion of natural light).
2) Visuals strongly connect to lyrics through illustrative matching of scenes to words.
3) Close ups are used frequently on faces to convey emotion and build connection with viewers.
4) Digipaks and album covers/posters feature band images and information clearly while
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- 1. Ain't My Fault By Zara Larsson By Lydia
- 2. Film Language • The music video uses panning shots, close ups and long shots. There are a mixture of shots in this video there are a lot of long shots showing the artist and her back in dancers dancing, also lets you see where they are. The panning shots are the shots that go all around her and they show her dancing in an empty room. The close ups show her singing because this is a performance video so it is important.
- 3. Genre characteristics • ‘Ain't My Fault’ is a pop music video by Zara Larsson. This is a pop music video there are many things that make this a pop video. • A key convention in pop videos is dancing and lip syncing. For example in this video it start with her standing alone then she starts lip syncing. This is like most pop music videos. • Dancing and lip syncing can be seen in other pop music videos like in Little Mix by Shout Out to my Ex. • Another common convention in dance music is having bright lights and straight cuts between shots in the video to make it fast pace.
- 4. Mise-en-scene • The lighting in the video is dark and fluorescent. Fluorescent lighting is used a lot in pop videos when they are in night clubs or they are in a plain room it make the room like more exciting. The lighting is to show it is night time. At the end the artist is shown to be standing in front of a plain bright blue background. • The costumes in the video are important in pop music videos in this music video she changes outfit 3 times. Her main one is a long top and shorts and tights with thigh high boots. This is it typical pop music outfit because it allows them to show of the woman's legs. • The setting is a mansion showing that they have money.
- 5. Lyrics • ‘I don't mean to be rude, but I look so damn good on ya’ these lyrics are sung to this person it is to show that she is saying she looks good with anyone she is dating. ‘Baby, one, two, three’ As she counts in the song she also counts on her hand. There is not much of the lyrics been shown in the song.
- 6. Representation of artist • The artist shows of her body and there are lots of shots of her from behind, these shots are about showing her body off. There are also long shots that show her dancing. • There are close up of but they are only so you see her lip syncing.
- 7. References to voyeurism • There is one man in the video and he shown upside and this is to show that she, the artist has power over him. So the man looks scared.
- 8. Performance, narrative or concept based? • ‘Ain’t My Fault’ is a performance based music video. It has no narrative and is not concept based, because most of the video shows them dancing. The meaning of the video could be that she isn’t to blame for things that go wrong in her relationships. The performance: