Analysing 5 music videos (1)
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French Montana's music video "Only If For The Night" follows him through a night in Vegas while rapping to the camera. It uses a handheld camera to give an intimate view of his lavish night spending money on women, jewelry, and hotels. The video aims to represent French Montana as a wealthy person who can do whatever he wants in Vegas. It targets young audiences who want to fantasize about living an extravagant lifestyle.
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Analysing 5 music videos (1)
French Montana's music video "Only If For The Night" follows him through a night in Las Vegas while rapping to the camera. Shot with a handheld camera, it gives an intimate view of his lavish night spending money freely. The video aims to represent French Montana as a wealthy artist who can do whatever he wants with his money, women, and lifestyle. It targets young audiences who want to emulate his flashy displays of success and wealth in Las Vegas.
Poison
The music video for Rita Ora's song "Poison" depicts her confusion about love through intimate shots showing her frustration and connection between the lyrics and visuals. Bright colors and fast pacing reflect the pop genre and tone of the music. Most shots focus on Rita as the main artist, and there are references to other pop artists' videos through recurring motifs and settings across her work.
Wiley – where’s my brother
This video is a classic example of a British grime music video. It features Wiley rapping in run-down locations around London that represent the working-class backgrounds of grime artists. Throughout the video, Wiley raps passionately into a microphone, with the visuals cutting perfectly to the music. There are also cameo appearances from other grime artists in the background, showcasing the music label. The editing uses fast cuts and effects to tie the narrative scenes and Wiley's rapping together tightly.
Analysis of up all night
This document analyzes the music video for the song "Up All Night" by the pop punk band Blink-182. It discusses several technical conventions used in the video, including performance shots of the band playing in the street, close-ups of band members, and fast-paced editing. The video is set in an urban suburban area and uses intertextuality to reference the television show Jackass to further promote rebellion and youth culture. While mainly conceptual, the video also includes a slight narrative element by representing love and rebellion.
Analysing Of Music Videos
The music video for "Superstar" by Lupe Fiasco portrays a lavish award show setting to reinforce the idea of celebrity. Dark lighting and lower camera angles are used to make the artist stand out as important. Fast cuts and flashing lights create a sense of the fleeting nature of stardom. Dizzee Rascal's "Holiday" video was filmed in Ibiza and shows people partying to portray escaping normal life. Bright colors and an aerial shot of the beach reinforce relaxation. Tinchy Stryder's "You're Not Alone" video was shot in London to imitate the original Paris video. Shots of the artist alone on bridges and in the city portray feelings
Pompeii Bastille
Bastille is a mainstream pop indie band from England. Their music video for "Pompeii" follows pop conventions with a narrative storyline and elements of performance. The video closely matches the song's lyrics about the eruption of Pompeii, though the story was changed to a plague spreading through the characters to emphasize the fate of Pompeii's destruction. The narrative depicts the lead singer running from people whose eyes are black, representing his last remaining sanity as he fights against being overtaken.
Media A2
The video features many close-ups of the artist looking directly at the camera, allowing viewers to feel connected to the performance. The cartoon-style background enhances the realness and authenticity of the artist. Intertextually, the black and white style and minimal use of red resembles the 2005 film Sin City. Multiple screens focus attention on the artist as the central figure. Unlike many grime videos that promote promiscuity, this video solely features the artist, signifying his importance. Visuals and lyrics are connected, like hand gestures enhancing the meaning of "Check the flow though" and skyscrapers relating to feeling like "Batman on the roof."
Mood board . initial ideas
The document provides initial ideas for the mood boards and video for a new song that has a high energy, optimistic vibe about getting over a relationship. It suggests portraying this through bright colors and vibrant locations influenced by pop and 90s R&B genres, such as graffiti scenes in Shoreditch and a Southbank skatepark using colored smoke. Additional ideas include a persona sitting alone at a bar beneath neon lights looking depressed after a breakup.
Recommended
Analysing 5 music videos (1)
French Montana's music video "Only If For The Night" follows him through a night in Las Vegas while rapping to the camera. Shot with a handheld camera, it gives an intimate view of his lavish night spending money freely. The video aims to represent French Montana as a wealthy artist who can do whatever he wants with his money, women, and lifestyle. It targets young audiences who want to emulate his flashy displays of success and wealth in Las Vegas.
Poison
The music video for Rita Ora's song "Poison" depicts her confusion about love through intimate shots showing her frustration and connection between the lyrics and visuals. Bright colors and fast pacing reflect the pop genre and tone of the music. Most shots focus on Rita as the main artist, and there are references to other pop artists' videos through recurring motifs and settings across her work.
Wiley – where’s my brother
This video is a classic example of a British grime music video. It features Wiley rapping in run-down locations around London that represent the working-class backgrounds of grime artists. Throughout the video, Wiley raps passionately into a microphone, with the visuals cutting perfectly to the music. There are also cameo appearances from other grime artists in the background, showcasing the music label. The editing uses fast cuts and effects to tie the narrative scenes and Wiley's rapping together tightly.
Analysis of up all night
This document analyzes the music video for the song "Up All Night" by the pop punk band Blink-182. It discusses several technical conventions used in the video, including performance shots of the band playing in the street, close-ups of band members, and fast-paced editing. The video is set in an urban suburban area and uses intertextuality to reference the television show Jackass to further promote rebellion and youth culture. While mainly conceptual, the video also includes a slight narrative element by representing love and rebellion.
Analysing Of Music Videos
The music video for "Superstar" by Lupe Fiasco portrays a lavish award show setting to reinforce the idea of celebrity. Dark lighting and lower camera angles are used to make the artist stand out as important. Fast cuts and flashing lights create a sense of the fleeting nature of stardom. Dizzee Rascal's "Holiday" video was filmed in Ibiza and shows people partying to portray escaping normal life. Bright colors and an aerial shot of the beach reinforce relaxation. Tinchy Stryder's "You're Not Alone" video was shot in London to imitate the original Paris video. Shots of the artist alone on bridges and in the city portray feelings
Pompeii Bastille
Bastille is a mainstream pop indie band from England. Their music video for "Pompeii" follows pop conventions with a narrative storyline and elements of performance. The video closely matches the song's lyrics about the eruption of Pompeii, though the story was changed to a plague spreading through the characters to emphasize the fate of Pompeii's destruction. The narrative depicts the lead singer running from people whose eyes are black, representing his last remaining sanity as he fights against being overtaken.
Media A2
The video features many close-ups of the artist looking directly at the camera, allowing viewers to feel connected to the performance. The cartoon-style background enhances the realness and authenticity of the artist. Intertextually, the black and white style and minimal use of red resembles the 2005 film Sin City. Multiple screens focus attention on the artist as the central figure. Unlike many grime videos that promote promiscuity, this video solely features the artist, signifying his importance. Visuals and lyrics are connected, like hand gestures enhancing the meaning of "Check the flow though" and skyscrapers relating to feeling like "Batman on the roof."
Mood board . initial ideas
The document provides initial ideas for the mood boards and video for a new song that has a high energy, optimistic vibe about getting over a relationship. It suggests portraying this through bright colors and vibrant locations influenced by pop and 90s R&B genres, such as graffiti scenes in Shoreditch and a Southbank skatepark using colored smoke. Additional ideas include a persona sitting alone at a bar beneath neon lights looking depressed after a breakup.
Shotlocations jhhjf
The document outlines various locations to film footage for a documentary on graffiti in London. It discusses filming timelapses in densely populated areas of London to show the passage of time. It also describes interviewing a graffiti artist and policeman, with the artist's identity obscured for anonymity. Shoreditch is proposed as a location with high graffiti density, including works by Banksy. The final locations used were a graffiti tunnel in Waterloo, the Thames river, and streets in Shoreditch rich with graffiti to film behind a voiceover.
Shot locations
The document discusses proposed locations to film footage for a documentary on graffiti art. It suggests filming in Shoreditch, a densely graffitied area of London known for its street art culture. Specific locations mentioned include a graffiti tunnel in Leake Street near Waterloo station, where professional artists legally spray, and a vibrant graffiti wall in Shoreditch that could serve as the interview backdrop. The document also discusses filming timelapses of urban areas to show the passage of time, as well as interviewing a graffiti artist and police officer to provide different perspectives.
Kano and nas music analyses
Both the Kano and Nas music videos depict scenes of broken societies and corruption through long shots of housing estates and police. The relationships between the lyrics and visuals are illustrated through moments that directly relate to the words being rapped, such as Kano rapping about stealing cars while a youth is shown swerving in a stolen vehicle. In the "One Mic" video, Nas is first shown sitting with a mic to establish him as the artist and focus of the video as the music starts.
Music Video Analysis 1
The document provides an analysis of the music video for "Telephone" by Lady Gaga featuring Beyoncé. It discusses several common characteristics of pop music videos including synchronized dance routines, colorful costumes, narratives that advance the story, and clear relationships between the lyrics and visuals. The analysis also notes how the music video for "Telephone" incorporates close-ups of the artists, references to voyeurism through the camerawork, and inter-textual references to other works like "Kill Bill" and "Pulp Fiction".
Assignmetn 26
The music video will tell a narrative story through a single continuous shot of a man walking through run-down areas of town at night, grieving over life decisions and having lost someone dear to him. Flashbacks will show happier times they spent together. The goal is to portray emotions of sadness and regret through the character's journey to a cemetery, while highlighting the artist's journey from a tough childhood to finding solace in music rather than a life of crime.
Influential urban uk artists
The document discusses three influential UK urban artists: N-Dubz, Jodie Connor, and Jessie J. For each artist, it analyzes aspects of their image that represent genres like grime, hip hop, R&B, and their target audiences. For N-Dubz, their outfits incorporating tracksuits and bandanas signal gang culture and attract younger fans. Jodie Connor merges urban and grime styles with tight leather clothing, portraying confidence and intimacy with viewers. Jessie J's body language and low-angle shot convey rebellious attitude while her masculine jacket and revealing bottom represent both urban and R&B appeals.
Media Task No9
The document provides an analysis of three music videos: 2Pac's "Ghetto Gospel" from 2005, Dizzee Rascal's "Bonkers" from 2009, and Busta Rhymes featuring Linkin Park's "We Made It". For "Ghetto Gospel", the video represents 2Pac's death and doesn't include choreography, instead sharing the story of his last day. "Bonkers" portrays the artist's perception of the world in a surreal dream-like state. "We Made It" combines rap and punk music, featuring Busta Rhymes and Linkin Park working together in a dark, urban setting while discussing street life and teamwork.
Indie pop slideshow
Indie pop originated in the UK in the 1980s, combining elements of punk rock's DIY ethic with melodic and relatively angst-free music. Well-known indie pop artists include The Smiths, Fun, and Florence and the Machine. Common conventions of indie pop music videos include using a narrative that relates to the song's lyrics, applying filters over clips to convey a mood, employing mise en scène that links to the narrative, and focusing camera angles on the performers. For example, Scouting for Girls' "Heartbeat" video tells a story of lost and found love through a filter showing heartbeats and settings that inspire romance.
Video draft 1 eval
The document provides an evaluation of scenes for a music video draft. The introductory scene establishes a peaceful ocean shot to introduce the artist and song, relating to the R&B/Hip-Hop style through connotations of travel and wealth. Subsequent scenes continue portraying wealth and exotic travel through shots of a sports car driving through a tunnel and views of cities from above. Later scenes cut between aerial city shots and ones in a graffiti-covered tunnel, where the black artist dons a gold mask to portray elements of both street culture and wealth typically seen in these genres.
Pink visual powerpoint
The document discusses plans for a music video for Pink's song "Who Knew". The students want to create a performance/narrative video that highlights the song's lyrics about being left by someone important without being too literal. They will show background events that led to Pink alone on a sofa in a corset dress with mascara running down her face. Her vulnerable yet rebellious look selling her as an artist who explores different emotions to attract new fans. Storyboards are presented matching lyrics to visuals of Pink singing in bathrooms and crowds to portray her pain over a broken relationship.
RnB Codes and Conventions
Rhythm and blues, also known as R&B, originated in the 1940s and was marketed to urban African American record labels. By the 1970s, R&B had evolved into a blanket term encompassing soul, funk, and disco. The genre has changed significantly over time from its origins. Music videos for R&B songs conventionally feature urban landscapes, clubs/bars, exotic locations, solo artists expressing personal narratives through close-ups and reflections, and props like money, flashy cars, and revealingly dressed women. Group artist videos commonly include choreographed dances and synchronized movements. Usher's 2001 and 2010 music videos demonstrate how R&B video styles have changed with technology over the decades.
Kanye west - short video analysis
The music video for Kanye West's song "Heartless" follows conventions of objectifying women as sex symbols. It includes flashing lights and bold objects that flow with the song's beat. The video also draws from influences like the video game Grand Theft Auto through its urban setting and depictions of "hood life." It represents the artist as wealthy and modern while contrasting with shots from an old cartoon and images of family life.
Presentation2
Grime emerged in East London in the early 2000s from genres like UK garage, drum & bass, hip hop, and dancehall. It is considered a hybrid genre that takes influences from various cultural and musical styles. While grime became popular in the UK, major record labels were slow to acknowledge it as a genre that could compete globally. Artists like Dizzee Rascal and Wiley helped bring grime into the mainstream media in the early 2000s. A recent TV comedy-drama called Youngers is based on teenagers in Southeast London trying to break into the grime music scene.
Media evaluation
The video "Do it all for you" challenges hip-hop conventions by focusing on melody and story over money and stereotypes. It draws influence from film noir by using techniques like point of view shots and establishing prestige. Audience feedback shows the video is popular, especially in the US, with males aged 18-44. Research of other artists' videos helped apply theories on blending lyrics and visuals seamlessly.
Question 1
The document discusses the goals and creative choices behind a music video the author created for an underground rap artist. The author wanted to challenge conventions of the genre but still make the video recognizable. They took the artist "out of the mainstream spotlight" by making the video appear like they were following the artist on a normal day where he happened to be performing. Location shots in central London were used to give a feel of being "on the streets." Handheld camera work was chosen to hint it was coincidental recording and help audiences relate to the artist. However, the video still glorified wealth through luxury locations and clothing to recognize it as a hip hop video.
Music video analysis
This document analyzes the music video for "Memories Back Then" by T.I., B.O.B., and Kendrick Lamar. It summarizes the genre as rap based on the costumes, lyrics, and artists' performances directly rapping to the camera. The narrative follows each artist telling stories from their past relationships and experiences with women before fame. The setting changes between city streets, parks, hotels, and back alleys to represent the artists' rise from poverty to wealth. Costumes feature stereotypical rap attire like hoodies, baggy clothes, and brands like Adidas and Nike. Body language and movements help convey the mature personalities of the artists now compared to their past.
Lily allen 22 Analysis
The video depicts the artist feeling lonely and unhappy in a bar. Scenes show her stumbling through crowds, receiving mean looks from other women in the bathroom. Shots of the artist and other women looking disheveled in the mirror emphasize feeling pressure and competition. While the artist lip syncs, depicting the classic pop convention, other women join in to illustrate shared feelings of loneliness. The video has a sad tone despite the cheerful song. It breaks pop conventions by lacking a happy ending, as the male interest disappears, showing he was just a fantasy.
Analysis of ‘game’ the city
The video was released on March 22nd, 2012 and was directed by Matt Alonzo. It is a performance/narrative video that tells the story of the artist rapping about his friend who was killed. Editing techniques like cross fading and matching shots to heartbeats are used to adhere to conventions of rap music. The artist represents himself as a narrator who cares deeply about his lost friend, as shown through his clothing and emotions. He is signed to major record labels but the low-budget video focuses on shots in his neighborhood rather than expensive props. The video was distributed on YouTube and other websites for audiences who can relate to the personal story or similar experiences.
Additional research mise en scene
The document discusses how mise-en-scene elements like costumes, props, locations, and lighting can be used to attract audiences, represent artists, and communicate genre and narrative in a music video. Costumes featuring expensive streetwear brands can attract audiences interested in rap culture. Props like money can represent wealth and the hip hop lifestyle. Locations shift from urban settings implying a difficult past to luxurious settings implying current success. Mise-en-scene choices aim to position the artist and genre while also communicating a narrative around the song's themes like relationships and career progression.
Music Video Analysis 2
The document analyzes a music video for the rap/hip hop song "Buzzing" by 50 Cent and Mann. It finds that the video employs several conventions of the genre, including the rappers wearing casual, flashy clothes and jewelry while a scantily-clad female dances. Nice cars are prominently featured as symbols of wealth and success. The video utilizes common settings like a car warehouse and depicts the rappers flaunting a luxurious lifestyle through money, women, and possessions in order to appeal to the target audience.
Music Video Analysis
This document provides an analysis of a music video in the rap/hip hop genre. It summarizes the typical conventions seen in rap music videos related to costume, lighting, actors, makeup, props, and settings. It then analyzes a specific music video for the song "Buzzing" by 50 Cent and Mann. The analysis finds the video focuses on displaying luxury items like cars and money to portray the rappers' lavish lifestyle, while also sexually objectifying women. It concludes the video reinforces negative stereotypes but appeals to its target genre audience.
Music video analysis
The document provides an analysis of the music videos "Classic Man" by Jidenna and "Juicy" by The Notorious B.I.G. focusing on their conventions, camera work, editing, genre, performance, representations, institutions, values, and ideology. For "Classic Man", it summarizes that the video challenges stereotypes by showing sophisticated African Americans and promotes education and equality. For "Juicy", it summarizes that the video depicts Biggie's rise from poverty to success in the music industry and values overcoming struggle and proving doubters wrong.
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Shotlocations jhhjf
The document outlines various locations to film footage for a documentary on graffiti in London. It discusses filming timelapses in densely populated areas of London to show the passage of time. It also describes interviewing a graffiti artist and policeman, with the artist's identity obscured for anonymity. Shoreditch is proposed as a location with high graffiti density, including works by Banksy. The final locations used were a graffiti tunnel in Waterloo, the Thames river, and streets in Shoreditch rich with graffiti to film behind a voiceover.
Shot locations
The document discusses proposed locations to film footage for a documentary on graffiti art. It suggests filming in Shoreditch, a densely graffitied area of London known for its street art culture. Specific locations mentioned include a graffiti tunnel in Leake Street near Waterloo station, where professional artists legally spray, and a vibrant graffiti wall in Shoreditch that could serve as the interview backdrop. The document also discusses filming timelapses of urban areas to show the passage of time, as well as interviewing a graffiti artist and police officer to provide different perspectives.
Kano and nas music analyses
Both the Kano and Nas music videos depict scenes of broken societies and corruption through long shots of housing estates and police. The relationships between the lyrics and visuals are illustrated through moments that directly relate to the words being rapped, such as Kano rapping about stealing cars while a youth is shown swerving in a stolen vehicle. In the "One Mic" video, Nas is first shown sitting with a mic to establish him as the artist and focus of the video as the music starts.
Music Video Analysis 1
The document provides an analysis of the music video for "Telephone" by Lady Gaga featuring Beyoncé. It discusses several common characteristics of pop music videos including synchronized dance routines, colorful costumes, narratives that advance the story, and clear relationships between the lyrics and visuals. The analysis also notes how the music video for "Telephone" incorporates close-ups of the artists, references to voyeurism through the camerawork, and inter-textual references to other works like "Kill Bill" and "Pulp Fiction".
Assignmetn 26
The music video will tell a narrative story through a single continuous shot of a man walking through run-down areas of town at night, grieving over life decisions and having lost someone dear to him. Flashbacks will show happier times they spent together. The goal is to portray emotions of sadness and regret through the character's journey to a cemetery, while highlighting the artist's journey from a tough childhood to finding solace in music rather than a life of crime.
Influential urban uk artists
The document discusses three influential UK urban artists: N-Dubz, Jodie Connor, and Jessie J. For each artist, it analyzes aspects of their image that represent genres like grime, hip hop, R&B, and their target audiences. For N-Dubz, their outfits incorporating tracksuits and bandanas signal gang culture and attract younger fans. Jodie Connor merges urban and grime styles with tight leather clothing, portraying confidence and intimacy with viewers. Jessie J's body language and low-angle shot convey rebellious attitude while her masculine jacket and revealing bottom represent both urban and R&B appeals.
Media Task No9
The document provides an analysis of three music videos: 2Pac's "Ghetto Gospel" from 2005, Dizzee Rascal's "Bonkers" from 2009, and Busta Rhymes featuring Linkin Park's "We Made It". For "Ghetto Gospel", the video represents 2Pac's death and doesn't include choreography, instead sharing the story of his last day. "Bonkers" portrays the artist's perception of the world in a surreal dream-like state. "We Made It" combines rap and punk music, featuring Busta Rhymes and Linkin Park working together in a dark, urban setting while discussing street life and teamwork.
Indie pop slideshow
Indie pop originated in the UK in the 1980s, combining elements of punk rock's DIY ethic with melodic and relatively angst-free music. Well-known indie pop artists include The Smiths, Fun, and Florence and the Machine. Common conventions of indie pop music videos include using a narrative that relates to the song's lyrics, applying filters over clips to convey a mood, employing mise en scène that links to the narrative, and focusing camera angles on the performers. For example, Scouting for Girls' "Heartbeat" video tells a story of lost and found love through a filter showing heartbeats and settings that inspire romance.
Video draft 1 eval
The document provides an evaluation of scenes for a music video draft. The introductory scene establishes a peaceful ocean shot to introduce the artist and song, relating to the R&B/Hip-Hop style through connotations of travel and wealth. Subsequent scenes continue portraying wealth and exotic travel through shots of a sports car driving through a tunnel and views of cities from above. Later scenes cut between aerial city shots and ones in a graffiti-covered tunnel, where the black artist dons a gold mask to portray elements of both street culture and wealth typically seen in these genres.
Pink visual powerpoint
The document discusses plans for a music video for Pink's song "Who Knew". The students want to create a performance/narrative video that highlights the song's lyrics about being left by someone important without being too literal. They will show background events that led to Pink alone on a sofa in a corset dress with mascara running down her face. Her vulnerable yet rebellious look selling her as an artist who explores different emotions to attract new fans. Storyboards are presented matching lyrics to visuals of Pink singing in bathrooms and crowds to portray her pain over a broken relationship.
RnB Codes and Conventions
Rhythm and blues, also known as R&B, originated in the 1940s and was marketed to urban African American record labels. By the 1970s, R&B had evolved into a blanket term encompassing soul, funk, and disco. The genre has changed significantly over time from its origins. Music videos for R&B songs conventionally feature urban landscapes, clubs/bars, exotic locations, solo artists expressing personal narratives through close-ups and reflections, and props like money, flashy cars, and revealingly dressed women. Group artist videos commonly include choreographed dances and synchronized movements. Usher's 2001 and 2010 music videos demonstrate how R&B video styles have changed with technology over the decades.
Kanye west - short video analysis
The music video for Kanye West's song "Heartless" follows conventions of objectifying women as sex symbols. It includes flashing lights and bold objects that flow with the song's beat. The video also draws from influences like the video game Grand Theft Auto through its urban setting and depictions of "hood life." It represents the artist as wealthy and modern while contrasting with shots from an old cartoon and images of family life.
Presentation2
Grime emerged in East London in the early 2000s from genres like UK garage, drum & bass, hip hop, and dancehall. It is considered a hybrid genre that takes influences from various cultural and musical styles. While grime became popular in the UK, major record labels were slow to acknowledge it as a genre that could compete globally. Artists like Dizzee Rascal and Wiley helped bring grime into the mainstream media in the early 2000s. A recent TV comedy-drama called Youngers is based on teenagers in Southeast London trying to break into the grime music scene.
Media evaluation
The video "Do it all for you" challenges hip-hop conventions by focusing on melody and story over money and stereotypes. It draws influence from film noir by using techniques like point of view shots and establishing prestige. Audience feedback shows the video is popular, especially in the US, with males aged 18-44. Research of other artists' videos helped apply theories on blending lyrics and visuals seamlessly.
Question 1
The document discusses the goals and creative choices behind a music video the author created for an underground rap artist. The author wanted to challenge conventions of the genre but still make the video recognizable. They took the artist "out of the mainstream spotlight" by making the video appear like they were following the artist on a normal day where he happened to be performing. Location shots in central London were used to give a feel of being "on the streets." Handheld camera work was chosen to hint it was coincidental recording and help audiences relate to the artist. However, the video still glorified wealth through luxury locations and clothing to recognize it as a hip hop video.
Music video analysis
This document analyzes the music video for "Memories Back Then" by T.I., B.O.B., and Kendrick Lamar. It summarizes the genre as rap based on the costumes, lyrics, and artists' performances directly rapping to the camera. The narrative follows each artist telling stories from their past relationships and experiences with women before fame. The setting changes between city streets, parks, hotels, and back alleys to represent the artists' rise from poverty to wealth. Costumes feature stereotypical rap attire like hoodies, baggy clothes, and brands like Adidas and Nike. Body language and movements help convey the mature personalities of the artists now compared to their past.
Lily allen 22 Analysis
The video depicts the artist feeling lonely and unhappy in a bar. Scenes show her stumbling through crowds, receiving mean looks from other women in the bathroom. Shots of the artist and other women looking disheveled in the mirror emphasize feeling pressure and competition. While the artist lip syncs, depicting the classic pop convention, other women join in to illustrate shared feelings of loneliness. The video has a sad tone despite the cheerful song. It breaks pop conventions by lacking a happy ending, as the male interest disappears, showing he was just a fantasy.
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Similar to Analysing 5 music videos (1)
Analysis of ‘game’ the city
The video was released on March 22nd, 2012 and was directed by Matt Alonzo. It is a performance/narrative video that tells the story of the artist rapping about his friend who was killed. Editing techniques like cross fading and matching shots to heartbeats are used to adhere to conventions of rap music. The artist represents himself as a narrator who cares deeply about his lost friend, as shown through his clothing and emotions. He is signed to major record labels but the low-budget video focuses on shots in his neighborhood rather than expensive props. The video was distributed on YouTube and other websites for audiences who can relate to the personal story or similar experiences.
Additional research mise en scene
The document discusses how mise-en-scene elements like costumes, props, locations, and lighting can be used to attract audiences, represent artists, and communicate genre and narrative in a music video. Costumes featuring expensive streetwear brands can attract audiences interested in rap culture. Props like money can represent wealth and the hip hop lifestyle. Locations shift from urban settings implying a difficult past to luxurious settings implying current success. Mise-en-scene choices aim to position the artist and genre while also communicating a narrative around the song's themes like relationships and career progression.
Music Video Analysis 2
The document analyzes a music video for the rap/hip hop song "Buzzing" by 50 Cent and Mann. It finds that the video employs several conventions of the genre, including the rappers wearing casual, flashy clothes and jewelry while a scantily-clad female dances. Nice cars are prominently featured as symbols of wealth and success. The video utilizes common settings like a car warehouse and depicts the rappers flaunting a luxurious lifestyle through money, women, and possessions in order to appeal to the target audience.
Music Video Analysis
This document provides an analysis of a music video in the rap/hip hop genre. It summarizes the typical conventions seen in rap music videos related to costume, lighting, actors, makeup, props, and settings. It then analyzes a specific music video for the song "Buzzing" by 50 Cent and Mann. The analysis finds the video focuses on displaying luxury items like cars and money to portray the rappers' lavish lifestyle, while also sexually objectifying women. It concludes the video reinforces negative stereotypes but appeals to its target genre audience.
Music video analysis
The document provides an analysis of the music videos "Classic Man" by Jidenna and "Juicy" by The Notorious B.I.G. focusing on their conventions, camera work, editing, genre, performance, representations, institutions, values, and ideology. For "Classic Man", it summarizes that the video challenges stereotypes by showing sophisticated African Americans and promotes education and equality. For "Juicy", it summarizes that the video depicts Biggie's rise from poverty to success in the music industry and values overcoming struggle and proving doubters wrong.
Flo rida whistle
Flo Rida's music video for "Whistle" features scantily clad women dancing sexually and Flo Rida rapping topless and muscled on the beach. Split screens and slow motion are used to exaggerate attractive poses. Close ups highlight seductive facial expressions. The natural high key lighting and expensive props portray a wealthy lifestyle. Both the narrative and performances synchronize with the provocative lyrics to promote Flo Rida's image.
Original music video review
This document provides a detailed analysis of the music video for "Mask Off" by Future. It examines the various settings used in the video, including a corner shop, city streets, roads, and cars. It analyzes how the settings relate to the song's themes of danger and violence in the city. The document also discusses costumes, lighting, props, body language, camera angles, and how the video follows conventions of the hip-hop genre. Overall, the analysis finds that the video closely matches the lyrical content through its use of realistic urban settings and stylistic choices common to hip-hop music videos.
Analysis of game
The music video for "Game" was released on July 2nd and produced by Black Metaphor. It follows conventions of typical rap music videos, featuring the artists rapping toward the camera and establishing shots of a futuristic city. The artists are portrayed as wealthy individuals showing off flashy cars and jewelry. While the budget is unknown, production values are high, utilizing expensive vehicles, elaborate sets, and helicopter shots of a CGI city. The target audience includes fans of generic rap music who enjoy the artists' lyrics about women and possessions displayed prominently in the simple performance-style video.
Textual analysis of music videos
The music video for "Do I Wanna Know?" by Arctic Monkeys was directed by David Wilson with animation by Blinklink. It represents the indie/rock genre through abstract animation depicting the artist's feelings for a woman through sound waves. The woman is a prominent focus throughout. It was made without cameras through animated imagery against a black background to focus attention.
The music video for "Fashion Killa" by A$AP Rocky shows him and Rihanna shopping for expensive clothes in empty stores, representing their wealth and success in the hip hop genre through fashion. Various camera shots are used to portray them as dominant while shopping.
The music video for "Habits (Stay High)" by Tove
Eval qu 1 1
The document discusses how the media product uses and develops conventions of real hip hop and R&B music genres. It incorporates conventions such as illustrating the relationship between music and visuals. It challenges some conventions like not using expensive props typical of hip hop. Locations and costumes are chosen to reflect the song's message and sell the artist effectively rather than follow genres strictly. The goal is to blend genres and appeal to both hip hop and R&B audiences.
Eval qu 1 1
The document discusses how the media product uses and develops conventions of real hip hop and R&B music genres. It uses conventions like illustrating the relationship between music and visuals. It challenges some conventions like not using typical male costumes or locations of hip hop. The goal is to appeal to both hip hop and R&B audiences by blending genres conventions while keeping the artist's individual style and message of the song.
Eval qu 1 1 (1)
The document discusses how the media product uses and develops conventions of real hip hop and R&B music genres. It uses conventions like illustrating the relationship between music and visuals. It challenges some conventions like not using typical male costumes or props. Locations and shots are chosen to reflect the song's message and mood rather than just following genres. The goal is to blend genres to appeal to both audiences while keeping the artist's individual style.
Research and planning video analysis 1
This document discusses several theories and concepts related to music videos. It summarizes Andrew Goodwin's 6 features of music videos, including demonstrating genre characteristics, having a relationship between lyrics and visuals, and including intertextual references. It also outlines several other scholars' perspectives on music videos, such as their use of binaries, categories of conceptual vs performance videos, and the need to conform to and subvert genre conventions. Finally, it analyzes still shots from The Weeknd's "Reminder" video in the context of these theories, noting how it demonstrates genres of hip hop and R&B while amplifying various stereotypes.
Research and planning video analysis 1
The document discusses several theories about music videos and their analysis. It summarizes Andrew Goodwin's 6 features of music videos, including demonstrating genre characteristics, having a relationship between lyrics and visuals, and including intertextual references. It also outlines theories by Sven E Carlsson, Michael Shore, and Steve Neale about conceptual vs performance videos, the objectification of women, and the need for videos to conform to and subvert genre conventions. Specific still shots from The Weeknd's "Reminder" video are analyzed in terms of these theories.
'679' Fetty wap music video analysis.
The music video for "679" by Fetty Wap takes place at a lavish house party. Through the use of quick cuts, the video presents the fast-paced lifestyle of rap and hip hop. Fetty pursues a woman throughout the party. Stereotypical representations include the objectification of women, the emphasis on wealth, drinking, and partying. Elements like costume, lighting, camerawork, and editing work to immerse the viewer in the world of the video and genre of rap.
Codes and conventions of rap videos
Rap music videos often follow certain codes and conventions regarding their content and style. Lyrics typically tell a story about the artist's struggles or life experiences. Videos commonly feature props representing money, luxury items, and sexuality to portray wealth and attract male audiences. Settings are usually run-down neighborhoods to show the artist's origins but also wealth through expensive props. Camerawork is dynamic with quick cuts that match the fast pace of rap music. Mise-en-scene elements like clothing, jewelry, and lighting further emphasize themes of wealth, crime, and mystery through expensive but dark stylistic choices.
Presentation pop genre
This document analyzes the music video for "Buttons" by Pussycat Dolls featuring Snoop Dogg. It follows many conventions of hip hop and R&B music videos, including featuring a famous hip hop artist in Snoop Dogg, close up shots of the artists, varied camera techniques, editing techniques, sexy/minimal clothing for the female artists, and props. The video depicts the Pussycat Dolls performing a striptease for the male gaze. It was released in 2006 and appeals to audiences who enjoy the genres of pop, R&B, and hip hop represented by the artists.
Analysis of secion boyz oi
This video analyzes a grime music video from the group Section Boyz-OI. Some key aspects analyzed include:
- The video was filmed in an abandoned car park to portray the gritty streets the artists represent.
- The artists all wear the same clothing brand, Trapstar, because the video was sponsored by the brand to promote it. Product placement and sponsorship is common in grime videos due to limited funds.
- Medium close-ups and fast cuts between artists are used to keep the fast-paced song engaging for viewers and portray the artists on the same level as their audience.
Mini Viva
The video for Mini Viva's debut single "Left My Heart in Tokyo" has fast-paced, vibrant editing that keeps the audience engaged. It draws on 1980s influences to appeal to nostalgic listeners while also feeling contemporary. The video effectively conveys the duo's quirky style through its loud, in-your-face presentation and use of diverse visual elements that cut to the beat of the song.
Textual analysis the weeknd often
The video for The Weeknd's song "Often" features slow camera movements and close-ups that focus on his face and body as the central subject. Additional shots introduce a naked woman on a bed and female lingerie on the floor. Later, many women are suddenly shown throughout the room despite not being there before. Cinematography, editing, and mise-en-scene aim to present the women as sexual objects for the male gaze without identities of their own, while The Weeknd remains the main focus.
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cd covers drawing analysis
The document describes the design of a CD cover for a new artist named "Royal Tee" released on the RMP record label. The cover features a gold crown graphic on a black background to represent wealth and royalty. It announces the artist's first album rather than just singles. The album title uses purple, which along with yellow symbolize royalty. Consistent crown imagery and purple/yellow colors are used throughout the cover and disc design to create visual cohesion and reinforce the royal theme.
Analerfwerfwysing a music video
This music video was released on YouTube on June 29, 2011. It features Jay Rock rapping directly to the camera along with friends in the background. Though it is difficult to identify the director, the video was produced by J.U.S.T.I.C.E League. The genre is identified as rap/hip hop. Jay Rock presents himself as the "king of the hood" through his lyrics and portrayal in the video with his crew in the background, representing that he has not forgotten his roots despite fame and success. The video has a fast pace and low production quality, adhering to conventions of typical rap music videos.
analysis of a music video
The music video for "hood gone love it" by Jay Rock featuring Kendrick Lamar was released on YouTube on June 29, 2011. It was produced by J.U.S.T.I.C.E League and is a performance-based video that consists of Jay Rock rapping to the camera with friends behind him. As little work or money went into making the video, its techniques adhere to typical conventions of rap music videos. The video represents Jay Rock as the "king of the hood" through his lyrics and portrayal, showing he has not forgotten his roots despite fame, as it is set in his hometown hood.
Analysing 5 music videos (1)
French Montana's music video "Only If For The Night" follows him through a night in Vegas while rapping to the camera. It uses a handheld camera to give an intimate view of his lavish night spending money on women, jewelry, and hotels. The video aims to represent French Montana as a wealthy person who can do whatever he wants in Vegas. It targets young audiences who want to fantasize about living an extravagant lifestyle.
Britney spears ‘i wanna go’ feminist
The document discusses feminist and post-feminist analyses of Britney Spears' music video for "I Wanna Go." From a feminist perspective, the video depicts Britney exploiting her sexuality and conforming to gender stereotypes. It also shows her being objectified by the male gaze and paparazzi photography. However, from a post-feminist view, Britney is seen as powerful and in control of her sexuality and image. She rejects being passive and overpowers the male characters and paparazzi photographers. The video portrays both feminist and post-feminist views of female sexuality and empowerment.
Print medium analysis
This document analyzes and summarizes several album advertisements:
1. The first advert focuses on a Grammy award-winning artist, with his name prominently displayed and mentioning his Grammy to establish his credibility. The background relates to his origins and songs about rising above difficult circumstances.
2. The second is for a rock band, with their name on an old TV screen and a plain background to draw attention. The album title suggests it may be their final album. It also juxtaposes the album and single titles.
3. The third features an artist in a bright yellow field, contrasting his name which means danger. The timing of the winter release relates to the feel-good warmth of
Analysis of J cole crooked smile video
J-Cole's music video "Crooked Smile" tells the story of a father preparing for his daughter's birthday party while also being a drug dealer. The video uses slow motion to emphasize the family's emotions. It subverts expectations of typical rap videos by dedicating the video to a 7-year-old girl killed in a drug raid. At the end, J-Cole sends the message to "reconsider your war on drugs." The video aims to have a broad audience by addressing the drug issues faced all over America.
Lady gaga telephone
The document discusses numerous pop culture references and product placements featured in Lady Gaga's "Telephone" music video. It mentions vehicles, brands, and characters from films and comics that influenced the video's style and set pieces. These include the yellow truck from Kill Bill, costumes referencing Captain America and Wonder Woman, and design elements paying homage to 1960s Batman television and David LaChapelle photography.
Lady gaga telephone
The document discusses numerous pop culture references and product placements featured in Lady Gaga's "Telephone" music video. It mentions vehicles, brands, and characters from films and comics that influenced the video's style and set pieces. These include the yellow truck from Kill Bill, costumes referencing Captain America and Wonder Woman, and design elements paying homage to 1960s Batman television and David LaChapelle photography.
Analysing a music video
French Montana's music video "Only If For The Night" follows him through a night in Vegas while rapping to the camera. It uses a handheld camera to give an intimate view of his lavish night spending money on women, jewelry, and hotels. The video aims to represent French Montana as a wealthy person who can do whatever he wants in Vegas. It targets young audiences who want to fantasize about living an extravagant lifestyle.
cash in my pocket
This video analysis summarizes the music video "Cash in my Pocket" by Wiley. The single-shot video was clearly made with a low budget, possibly using a mobile phone. It consists of office workers in a stock market company dancing and lip syncing about having money. While commenting on bankers' focus on wealth, the video also subverts expectations for the rap genre by featuring middle-aged white bankers instead of typical rap music themes.
cash in my pocket video analysis
This one-shot music video was produced on a low budget, as evidenced by its use of a single moving shot that appears to have been recorded on a mobile phone. It consists of office workers dancing and singing about having money in their pockets. While they celebrate wealth throughout the video, it ends with the stock market crashing, representing that bankers' obsession with money cannot be trusted.
Britney spears ‘i wanna go’ feminist
This document analyzes Britney Spears' "I Wanna Go" music video from feminist and post-feminist perspectives. From a feminist view, the video shows that women are often treated and viewed as objects. It depicts Britney using her body to try to get out of a ticket, and people taking candid photos of her without consent. The post-feminist analysis finds that Britney exerts power and control over men in some scenes. She swears at a press conference, grabs a man's private area without consequence, and destroys a photographer's camera after posing for photos. Overall, the document examines how the video portrays both traditional objectification of women as well as a woman wielding power and
Britney spears ‘i wanna go’ feminist
The document analyzes Britney Spears' music video "I Wanna Go" from feminist and post-feminist perspectives. From a feminist view, the video shows that women are often treated and viewed as objects. It depicts Britney using her body to try to get out of a ticket, and people taking candid photos of her without consent. From a post-feminist view, the video shows Britney having power and control over men. She swears at a press conference, grabs a man without consequence, and breaks a photographer's camera after posing for photos to demonstrate her authority.
Cd covers
This album cover features a close-up image of the artist holding his hand up near his face, symbolizing gang culture with the color red. Additional elements imply the album will feature rap music, including the artist being black and having a face tattoo. The back cover continues the theme of "red" written in a way that suggests blood. This style aims to attract audiences interested in gang culture and rap music.
Evaluation 6n7
The document discusses the tools and websites the student used to create a magazine for an evaluation assignment. They learned how to use Photoshop confidently to design the magazine layout. YouTube and Google tutorials helped the student learn Photoshop skills and find example magazine images. Blogger and Slideshare were used to share the magazine online with the teacher. Through practicing with a camera, the student gained skills in professional photography like lighting and shooting different shot types.
Evaluation 2
The document discusses using an image of a black rapper as the main image for a rap magazine, as 98% of rap artists are black, following typical conventions of the genre. While the main artist depicted is black, the contents page features images of two artists from a different genre to attract a broader audience.
Evaluation
The magazine cover features a hip hop artist with his headphones as the main focal point, challenging conventions where the artist would normally face forward. Inside pages use typical magazine elements like page numbers and images to look realistic. The contents page has a transparent image of the artist's head to blend into the background studio setting, where smaller images in the studio monitors advertise other stories, and the magazine logo is incorporated into the speakers.
Making my contents page
This document describes the process of creating a contents page for a magazine. It discusses adding section titles like "contents" and "features" with page numbers. It also covers using an image from the studio as a background and placing the magazine logo in the background to resemble speakers. The progression of creating the contents page could not be shown because it was saved as a JPEG.
Making my double page spread
The document summarizes changes made to a double page spread, including adding the logo, main artist name, page numbers, two images, a floating quote, and text around the main image. Text was also removed, writing sizes were adjusted, and an outline from the main image was incorporated. The double page spread is now complete after these revisions.
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Young Tom Selleck: A Journey Through His Early Years and Rise to Stardom
Introduction
When one thinks of Hollywood legends, Tom Selleck is a name that comes to mind. Known for his charming smile, rugged good looks. and the iconic mustache that has become synonymous with his persona. Tom Selleck has had a prolific career spanning decades. But, the journey of young Tom Selleck, from his early years to becoming a household name. is a story filled with determination, talent, and a touch of luck. This article delves into young Tom Selleck's life, background, early struggles. and pivotal moments that led to his rise in Hollywood.
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Early Life and Background
Family Roots and Childhood
Thomas William Selleck was born in Detroit, Michigan, on January 29, 1945. He was the second of four children in a close-knit family. His father, Robert Dean Selleck, was a real estate investor and executive. while his mother, Martha Selleck, was a homemaker. The Selleck family relocated to Sherman Oaks, California. when Tom was a child, setting the stage for his future in the entertainment industry.
Education and Early Interests
Growing up, young Tom Selleck was an active and athletic child. He attended Grant High School in Van Nuys, California. where he excelled in sports, particularly basketball. His tall and athletic build made him a standout player, and he earned a basketball scholarship to the University of Southern California (U.S.C.). While at U.S.C., Selleck studied business administration. but his interests shifted toward acting.
Discovery of Acting Passion
Tom Selleck's journey into acting was serendipitous. During his time at U.S.C., a drama coach encouraged him to try acting. This nudge led him to join the Hills Playhouse, where he began honing his craft. Transitioning from an aspiring athlete to an actor took time. but young Tom Selleck became drawn to the performance world.
Early Career Struggles
Breaking Into the Industry
The path to stardom was a challenging one for young Tom Selleck. Like many aspiring actors, he faced many rejections and struggled to find steady work. A series of minor roles and guest appearances on television shows marked his early career. In 1965, he debuted on the syndicated show "The Dating Game." which gave him some exposure but did not lead to immediate success.
The Commercial Breakthrough
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Struggling Actor in Hollywood
Despite his success in commercials. breaking into large acting roles remained a challenge for young Tom Selleck. He auditioned and took on small parts in T.V. shows and movies. Some of his early television appearances included roles in popular series like Lancer, The F.B.I., and Bracken's World. But, it would take a
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In the realm of entertainment, few names resonate as Orpah Winfrey Dwayne Johnson. Both figures have carved unique paths in the industry. achieving unparalleled success and becoming iconic symbols of perseverance, resilience, and inspiration. This article delves into the lives, careers. and enduring legacies of Orpah Winfrey Dwayne Johnson. exploring how their journeys intersect and what we can learn from their remarkable stories.
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Early Life and Backgrounds
Orpah Winfrey: From Humble Beginnings to Media Mogul
Orpah Winfrey, often known as Oprah due to a misspelling on her birth certificate. was born on January 29, 1954, in Kosciusko, Mississippi. Raised in poverty by her grandmother, Winfrey's early life was marked by hardship and adversity. Despite these challenges. she demonstrated a keen intellect and an early talent for public speaking.
Winfrey's journey to success began with a scholarship to Tennessee State University. where she studied communication. Her first job in media was as a co-anchor for the local evening news in Nashville. This role paved the way for her eventual transition to talk show hosting. where she found her true calling.
Dwayne Johnson: From Wrestling Royalty to Hollywood Superstar
Dwayne Johnson, also known by his ring name "The Rock," was born on May 2, 1972, in Hayward, California. He comes from a family of professional wrestlers, with both his father, Rocky Johnson. and his grandfather, Peter Maivia, being notable figures in the wrestling world. Johnson's early life was spent moving between New Zealand and the United States. experiencing a variety of cultural influences.
Before entering the world of professional wrestling. Johnson had aspirations of becoming a professional football player. He played college football at the University of Miami. where he was part of a national championship team. But, injuries curtailed his football career, leading him to follow in his family's footsteps and enter the wrestling ring.
Career Milestones
Orpah Winfrey: The Queen of All Media
Winfrey's career breakthrough came in 1986 when she launched "The Oprah Winfrey Show." The show became a cultural phenomenon. drawing millions of viewers daily and earning many awards. Winfrey's empathetic and candid interviewing style resonated with audiences. helping her tackle diverse and often challenging topics.
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2:同时对留学生所学专业登记给予评定
3:国家专业人才认证中心颁发入库证书
4:这个认证书并且可以归档倒地方
5:凡事获得留信网入网的信息将会逐步更新到个人身份内，将在公安局网内查询个人身份证信息后，同步读取人才网入库信息
6:个人职称评审加20分
7:个人信誉贷款加10分
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本公司拥有海外各大学样板无数，能完美还原。
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留信网认证的作用:
1:该专业认证可证明留学生真实身份
2:同时对留学生所学专业登记给予评定
3:国家专业人才认证中心颁发入库证书
4:这个认证书并且可以归档倒地方
5:凡事获得留信网入网的信息将会逐步更新到个人身份内，将在公安局网内查询个人身份证信息后，同步读取人才网入库信息
6:个人职称评审加20分
7:个人信誉贷款加10分
8:在国家人才网主办的国家网络招聘大会中纳入资料，供国家高端企业选择人才
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https://www.theurbancrews.com/celeb/matt-rife-cancels-bloomington-show/
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- 2. ONLY IF FOR THE NIGHT – FRENCH MONTANA
- 3. FORMS AND CONVENTIONS: Published 30th November 2012 Directed by heffty. Genre: rap/hip hop music produced by harry fraud Hybrid between narrative and performance as It follows him through a night in Vegas while he is rapping to the camera Handheld camera to give an up close and personal view of the video. Cross fade was used to show that he is in Vegas and he has the money to do what he wants while there These techniques adhere to the typical conventions of the rap/hiphop genre as rappers like to show off their fame and money through their music videos
- 4. REPRESENTATION: The artist represents himself as a wealthy person that has the money and power to do as he pleases with girls and/or money as demonstrated in the video the Mise en scene shows that he is in LasVegas and has a lot of money The camera and editing techniques gives the audience a personal view into a night with French Montana through the use of the handheld camera. Editing techniques such as the cross fade makes the video look somewhat distorted which could mean that the night in Vegas was all a blur to the artist
- 5. INSTITUTIONS: labels/subsidiaries that the artist is signed to. The information on how much the music video costs to make in unavailable but through the content of the video you can tell that the video itself did not cost a lot to produce, but what he is doing in the video is where all the money has gone, as he is spending the night in last Vegas while the camera follows him. The video was first distributed on YouTube where is was copied and put up on other websites.
- 6. AUDIENCES The target audience for this music video would be young people that dream about having the type of lifestyle that French Montana has as he is showing off the things he can do with all his money e.g. jewellery, women & hotels. Audiences would watch this music video because they wish to live a similar lifestyle this would be linked to personal identity. Another audience theory that watching this video could be linked to is the ‘male gaze’, although this video only has one female in it, the artist demonstrates that he could have any woman when he feels. Audiences could also receive pleasure by looking at all of the sights in Vegas as a lot of cuts were used to show/reinforce that the artist is in Las Vegas.