The document analyzes three music videos based on Andrew Goodwin's theory of music video elements. It summarizes Love Me Again by John Newman as a performance/narrative video that matches lyrics and music visually through dancing. Adventure of a Lifetime by Coldplay is categorized as conceptual, featuring computer-generated monkeys dancing to the disco-style music. Last Friday Night by Katy Perry is a narrative video depicting the events of her last Friday night through party scenes and matching lyrics. The document examines each video's genre characteristics and use of intertextuality, record label promotion, notions of looking, and voyeurism.
Goodwin's theory proposes 8 key parts that can be applied to analyzing music videos: 1) links between lyrics and visuals, 2) links between music and visuals, 3) genre characteristics, 4) intertextual references, 5) notions of looking or eye candy, 6) voyeurism of looking into an artist's life, 7) demands of the record label, and 8) performance, narrative or concept-based styles. The document provides examples of how music videos by The Script, Pixie Lott, Demi Lovato, Eminem, Foo Fighters and Green Day demonstrate these different elements of Goodwin's theory.
This document discusses conventions for different music genres including folk, jazz, and acoustic and provides examples. It summarizes conventions for each genre such as use of lighting, location, costumes, and film techniques. It then discusses how the research into conventions will help in planning a music video for a song that combines folk, jazz and acoustic elements. The research found conventions like close-ups, shadows, and black and white filters can help portray emotion and set the style and mood for each genre.
The document discusses 9 sources that examine how music is used in different media such as films, television shows, video games, and trailers. Source 1 discusses a video about composer Murray Gold and his process for creating soundtracks. Source 2 shows how different types of music can manipulate emotions in film scenes. Sources 3-4 discuss how music sets expectations and appeals to audiences in different video game genres. Source 5 analyzes how dramatic music is used to set the tone in a Doctor Who trailer. Sources 6-7 examine trends in using popular cover songs in trailers and how music progresses narratives in games. Sources 8-9 explore the historical evolution of film and video game music.
This document provides an overview of music videos, including their purposes and history. It discusses generic codes and conventions across different genres like heavy metal, indie rock, rap, and electronica. Three influential music videos are then analyzed in detail: Aphex Twin's "Come to Daddy" from 1997, Guns N' Roses' "Welcome to the Jungle" from 1987, and The White Stripes' "Fell In Love With a Girl" from 2002. Each summary highlights narrative elements, visual techniques, and how they relate to their respective genres.
This music video by My Chemical Romance uses Andrew Goodwin's theory of music video analysis. It reflects some characteristics of rock music videos through its inclusion of band performance elements that contribute to the narrative. However, the video is mostly narrative-based, set in 1940s America during the war against Japan. It contrasts scenes of the band performing at a dance with scenes from a violent battlefield. The music and editing pace reflect the mood and tone of the song. It focuses on the lead singer and bassist to tell the story of the bond between two brothers.
This document discusses a group's choice to create a music video for the rock/metal genre. The group chose this genre because they are fans and understand the target audience. Rock stereotypically has dark, gothic themes that the group wants to manipulate in their video. They discuss possible bands and songs to feature, settling on "Nightmare" by Avenged Sevenfold. The group analyzes Avenged Sevenfold music videos to get ideas, noting use of fire, close-ups, and natural settings. They want to film the band playing in woods to fit the dark, isolated rock theme.
The document analyzes several indie/rock music videos to inform the production of a music video for the song "I Wanna Know" by the band Secret American. It discusses the symbolic conventions of videos by Cheers Elephant, Sleepwalkers, Ritual Talk, and Ceramic Animal. Key conventions included introducing each band member, portraying the band's image, using retro aesthetics like old video quality or costumes, natural lighting, and multiple narrative-driven concepts with changes in scenery or costumes. Differences between the example videos and the planned one were also noted, such as indoor versus outdoor settings and revealing faces immediately versus hiding them.
The document summarizes the production of a music video for an EDM song. It discusses how the creator researched EDM music video conventions to incorporate themes and styles. While the video did not fully conform to conventions, it showed a unique perspective. Key elements discussed include starting with the lonely lead actor, incorporating locations, costumes, and scenes showing the relationship develop between the actors. Lyrics were also featured to connect to the music and story.
Goodwin's theory proposes 8 key parts that can be applied to analyzing music videos: 1) links between lyrics and visuals, 2) links between music and visuals, 3) genre characteristics, 4) intertextual references, 5) notions of looking or eye candy, 6) voyeurism of looking into an artist's life, 7) demands of the record label, and 8) performance, narrative or concept-based styles. The document provides examples of how music videos by The Script, Pixie Lott, Demi Lovato, Eminem, Foo Fighters and Green Day demonstrate these different elements of Goodwin's theory.
This document discusses conventions for different music genres including folk, jazz, and acoustic and provides examples. It summarizes conventions for each genre such as use of lighting, location, costumes, and film techniques. It then discusses how the research into conventions will help in planning a music video for a song that combines folk, jazz and acoustic elements. The research found conventions like close-ups, shadows, and black and white filters can help portray emotion and set the style and mood for each genre.
The document discusses 9 sources that examine how music is used in different media such as films, television shows, video games, and trailers. Source 1 discusses a video about composer Murray Gold and his process for creating soundtracks. Source 2 shows how different types of music can manipulate emotions in film scenes. Sources 3-4 discuss how music sets expectations and appeals to audiences in different video game genres. Source 5 analyzes how dramatic music is used to set the tone in a Doctor Who trailer. Sources 6-7 examine trends in using popular cover songs in trailers and how music progresses narratives in games. Sources 8-9 explore the historical evolution of film and video game music.
This document provides an overview of music videos, including their purposes and history. It discusses generic codes and conventions across different genres like heavy metal, indie rock, rap, and electronica. Three influential music videos are then analyzed in detail: Aphex Twin's "Come to Daddy" from 1997, Guns N' Roses' "Welcome to the Jungle" from 1987, and The White Stripes' "Fell In Love With a Girl" from 2002. Each summary highlights narrative elements, visual techniques, and how they relate to their respective genres.
This music video by My Chemical Romance uses Andrew Goodwin's theory of music video analysis. It reflects some characteristics of rock music videos through its inclusion of band performance elements that contribute to the narrative. However, the video is mostly narrative-based, set in 1940s America during the war against Japan. It contrasts scenes of the band performing at a dance with scenes from a violent battlefield. The music and editing pace reflect the mood and tone of the song. It focuses on the lead singer and bassist to tell the story of the bond between two brothers.
This document discusses a group's choice to create a music video for the rock/metal genre. The group chose this genre because they are fans and understand the target audience. Rock stereotypically has dark, gothic themes that the group wants to manipulate in their video. They discuss possible bands and songs to feature, settling on "Nightmare" by Avenged Sevenfold. The group analyzes Avenged Sevenfold music videos to get ideas, noting use of fire, close-ups, and natural settings. They want to film the band playing in woods to fit the dark, isolated rock theme.
The document analyzes several indie/rock music videos to inform the production of a music video for the song "I Wanna Know" by the band Secret American. It discusses the symbolic conventions of videos by Cheers Elephant, Sleepwalkers, Ritual Talk, and Ceramic Animal. Key conventions included introducing each band member, portraying the band's image, using retro aesthetics like old video quality or costumes, natural lighting, and multiple narrative-driven concepts with changes in scenery or costumes. Differences between the example videos and the planned one were also noted, such as indoor versus outdoor settings and revealing faces immediately versus hiding them.
The document summarizes the production of a music video for an EDM song. It discusses how the creator researched EDM music video conventions to incorporate themes and styles. While the video did not fully conform to conventions, it showed a unique perspective. Key elements discussed include starting with the lonely lead actor, incorporating locations, costumes, and scenes showing the relationship develop between the actors. Lyrics were also featured to connect to the music and story.
This document analyzes and summarizes music videos from five rock bands: Dream Theater, Nickelback, Entity Paradigm, Avenged Sevenfold, and Pantera. For each band, it describes elements like location, camera shots, lighting, hairstyles, and makeup used in their music videos. It also provides screenshots and discusses aspects of each band's website. Overall, the document examines visual and technical components of music videos across different rock genres to identify styles and techniques that could inform the production of an original music video.
The video features Beyoncé performing and dancing energetically in different settings including a studio, dance room, and classroom. There are fast-paced edits that match the beat of the song, and special effects are used like mirroring and multiplying Beyoncé. She wears several flashy costumes in black and white that contrast with the bright colors in the video. Medium close-ups, mid shots and wide shots are used to make the audience feel close to Beyoncé and engaged in the fun, upbeat performance.
The document discusses several music videos by the Red Hot Chili Peppers and analyzes how they relate to different rock genres and conventions. It examines videos for "Californication", "Cant Stop", and "Dani California", looking at elements like mise-en-scene, camerawork, editing, sound, and how they connect to genres like classic rock, alternative rock from the 2000s, and funk rock. Key conventions highlighted include the use of instruments, animated sequences, costumes impersonating other bands, and editing paces that match the song styles.
1) The document analyzes the music video for "Fancy" by Iggy Azalea featuring Charlie XCX using genre theorist Lacey's concept of "repertoire of elements".
2) The music video directly copies and parodies the 1995 film "Clueless" through its characters, events, iconography, and technical elements. It recreates memorable scenes and mimics the characters' appearances and mannerisms.
3) By drawing so much from "Clueless", the "Fancy" music video can be seen as both a parody and pastiche that pays homage to the 1990s film and era while also establishing Iggy Azalea as "The New Classic" artist of her
This document analyzes two music videos in relation to Goodwin's theory of music video conventions. It finds that the music video for "Dear to Me" by Electric Guest conforms to many elements of the theory, including demonstrating the genre's characteristics through a greyscale, simple visual style. It shows some lyric/visual and music/visual relationships but lacks voyeurism or intertextual references. The analysis finds that the Daft Punk video for "Get Lucky" strongly connects its flashy, performance-driven visuals to the lyrics about partying all night. It synchronizes the music and video and includes many close-ups of the artists, conforming to record label expectations.
The document discusses several characteristics of music videos based on Andrew Goodwin's rules for different music video genres. It provides examples from the music video for Nicki Minaj's "Super Bass" to illustrate the characteristics of an image genre video, such as a focus on the artist's appearance and inclusion of choreographed dance routines. It also analyzes relationships between the song's lyrics, music, and visual elements of the video.
This document discusses conventions used in country music videos and how the student incorporated these conventions into their own music video project. It provides examples of how close-ups, two shots, tracking shots, editing, lighting, props, outdoor settings, and album artwork are typically used in country music videos. The student explains how they applied these conventions, such as using natural lighting, outdoor locations, and retro instruments to emulate a country style for their video and project.
The music video for "Hey There Delilah" by Plain White Ts is analyzed. The editing features boxes dividing the screen, which the analyst thinks could be an effective technique to incorporate. The video has a 50/50 split between narrative and performance sections, and slow pacing that matches the acoustic music. The theme of a journey is also present in the narrative. Analysis is also provided of the album cover for Plain White Ts, discussing possible interpretations of the abandoned theme park imagery and how it relates to the band and music.
The document provides an analysis of several electro-pop music videos. It discusses Kesha's "Tik Tok" video, noting elements like colorful costumes, fast cuts between scenes, and references to the American dream. It also analyzes Gym Class Heroes' "Stereo Hearts," highlighting its use of shadows depicting different actions. Finally, it summarizes LMFAO's "Party Rock Anthem," noting its narrative structure, cameo appearances, and focus on costumes fitting the party theme.
This music video for "The Ghost of You" by My Chemical Romance uses several techniques from Andrew Goodwin's music video theory. It draws on conventions of the rock genre but subverts expectations by being narrative-driven rather than focused on performance. The video is set in 1940s-era America during war time and contrasts scenes of dancing with scenes of battle. It establishes characters and relationships through costumes, lyrics, and music tempo that link to the narrative. Close-ups of the band members also help develop their iconic styles.
Radiohead - Lotus Flower Music Video Analysis Laura Davies
1) The document analyzes the music video for the Radiohead song "Lotus Flower" in terms of genre, media language, representation, and narrative.
2) The genre is described as alternative rock, shown through the abnormal setting and Thom Yorke's unusual dancing.
3) Elements of media language used include camera movements matching the music, editing matching changes in the music, and juxtaposition of dark and light tones.
4) Representation in the video relates to the song's lyrics about escapism and disappearing, shown through Yorke's dancing entering another world.
There are several rules that music videos typically follow:
1) The music video style reflects the genre of music. For the alternative rock song "Amsterdam" by Nothing But Thieves, the video features the band performing in an abandoned factory alongside dancers.
2) The visuals in a music video relate to the song lyrics, whether illustrating, amplifying or contradicting them. In "Amsterdam", scenes of the dancers emphasize lyrics about craziness and living under the same sun.
3) The visuals also relate to the music itself, using elements like tempo. In "No More Sad Songs" by Little Mix, the climax of the music is reflected in an intensification of the visuals
The document outlines Goodwin's Rules for analyzing music videos. It states that music videos typically demonstrate genre characteristics through elements like dance routines or stage performances. It also notes there should be a relationship between the lyrics, music, and visuals whether illustrative, amplifying, or contradicting. Additionally, it says record labels want close-ups of artists and artists may develop recurring motifs. It mentions music videos often reference looking and treat the female body in a voyeuristic way and contain intertextual references to other media.
This document provides an analysis of the music video for the song "Maybe Tomorrow" by the band Stereophonics. It discusses various technical and artistic elements of the video, including its black and white retro style, camerawork, editing techniques, use of diegetic and non-diegetic sound, and how the video relates to the lyrics and mood of the song. It analyzes how the video portrays the lead singer Kelly Jones as lonely and struggling with the pressures of fame, relating this to lyrics in the song. It also notes how the video focuses heavily on close-ups of Kelly Jones to promote him as the artist, in line with record label demands.
Andrew Goodwin identifies 6 key features of music videos in his book Dancing in the Distraction Factory. These include demonstrating genre characteristics, establishing relationships between the lyrics/music and visuals, focusing on looking/gaze, including demands of record labels for close-ups of artists, and using intertextual references. The document also discusses 3 main types of music videos - performance, narrative, and conceptual - and provides examples of each. Overall, the document outlines common structural and stylistic elements often found in music videos according to Andrew Goodwin's research.
The document provides an analysis of several music videos. It summarizes each video in 1-2 paragraphs, describing elements like genre, themes, imagery, and how the video relates to the song. Key points analyzed include how the videos represent the artists' images and messages, use of costumes, lighting, locations, and references to other works. The document examines videos for songs by KSI, Fame on Fire, and Yellow Claw featuring themes of isolation, partying, and not conforming to others' expectations.
The document discusses four music videos by the Red Hot Chili Peppers spanning different eras and subgenres of rock music. It analyzes elements like mise-en-scene, camera work, editing, sound, and how they connect to the genre in each video. Californication features animation and slow pacing reflecting the mellow song. Cant Stop shows a more energetic 2000s alternative rock style. Dani California impersonates other artists in a conceptual yet performance-based funk rock video. Comparisons are made around how the genre is represented through elements in the videos.
The document discusses and analyzes 10 different music videos. It summarizes each video, highlighting elements the author found interesting or inspiring, such as editing techniques, themes, aesthetics, camerawork, and how certain elements relate to the genre of music. Elements that caught the author's attention included comedic elements in "Levels", quick cuts combined with steady editing in "Get Lucky", flashy costumes and cars reflecting rap conventions in "Thrift Shop", effective use of slow motion in "We Are Young", tracking shots and cramped frames making the viewer feel connected in "Stressed Out", silhouettes and color shifting focus from the band in "If You Wanna", jumpy editing synchronizing to the beat in "Party Rock
The music video for Blur's song "Song 2" features an unconventional performance-based concept where the band members fly around the room as they play their instruments. This breaks from normal music videos and aims to showcase the energy of a live performance. While the visuals don't literally represent the song lyrics, they separate the two elements in a bizarre yet attention-grabbing way. The band members move faster around the room as the song intensifies, linking the visuals to the changing music.
Enter Shikari's song "The Last Garrison" belongs to the alternative metal genre, which incorporates elements of heavy metal, hardcore punk, and progressive rock. The music video features close-up shots of the band members performing in a warehouse space. The lighting and editing change rapidly throughout the video to match the fast pace and intensity of the song. The purpose of the video is to promote the song and appeal to Enter Shikari's target audience of 14-19 year old rock and metal fans.
The document provides summaries of three music videos:
1) Michael Jackson's "Thriller" from 1984, known for its 14-minute horror-themed video considered one of the greatest of all time.
2) Christina Aguilera's "Dirrty" from 2002, which featured sexually suggestive content and changed her image from "girl next door."
3) Beyonce's "Listen" from 2006 for the film Dreamgirls, a emotional ballad emphasizing the relationship between the sad lyrics and Beyonce's facial expressions.
The document summarizes and analyzes three music videos:
1) Michael Jackson's "Thriller" from 1984, noting its 14-minute runtime and relationship between lyrics and visuals depicting horror themes.
2) Christina Aguilera's "Dirrty" from 2002, which featured sexually suggestive content and changed her image from "girl next door."
3) Beyonce's "Listen" from 2006 for the film Dreamgirls, showing her emotional performance and use of scenes from the film intercut with her choreography.
This document analyzes and summarizes music videos from five rock bands: Dream Theater, Nickelback, Entity Paradigm, Avenged Sevenfold, and Pantera. For each band, it describes elements like location, camera shots, lighting, hairstyles, and makeup used in their music videos. It also provides screenshots and discusses aspects of each band's website. Overall, the document examines visual and technical components of music videos across different rock genres to identify styles and techniques that could inform the production of an original music video.
The video features Beyoncé performing and dancing energetically in different settings including a studio, dance room, and classroom. There are fast-paced edits that match the beat of the song, and special effects are used like mirroring and multiplying Beyoncé. She wears several flashy costumes in black and white that contrast with the bright colors in the video. Medium close-ups, mid shots and wide shots are used to make the audience feel close to Beyoncé and engaged in the fun, upbeat performance.
The document discusses several music videos by the Red Hot Chili Peppers and analyzes how they relate to different rock genres and conventions. It examines videos for "Californication", "Cant Stop", and "Dani California", looking at elements like mise-en-scene, camerawork, editing, sound, and how they connect to genres like classic rock, alternative rock from the 2000s, and funk rock. Key conventions highlighted include the use of instruments, animated sequences, costumes impersonating other bands, and editing paces that match the song styles.
1) The document analyzes the music video for "Fancy" by Iggy Azalea featuring Charlie XCX using genre theorist Lacey's concept of "repertoire of elements".
2) The music video directly copies and parodies the 1995 film "Clueless" through its characters, events, iconography, and technical elements. It recreates memorable scenes and mimics the characters' appearances and mannerisms.
3) By drawing so much from "Clueless", the "Fancy" music video can be seen as both a parody and pastiche that pays homage to the 1990s film and era while also establishing Iggy Azalea as "The New Classic" artist of her
This document analyzes two music videos in relation to Goodwin's theory of music video conventions. It finds that the music video for "Dear to Me" by Electric Guest conforms to many elements of the theory, including demonstrating the genre's characteristics through a greyscale, simple visual style. It shows some lyric/visual and music/visual relationships but lacks voyeurism or intertextual references. The analysis finds that the Daft Punk video for "Get Lucky" strongly connects its flashy, performance-driven visuals to the lyrics about partying all night. It synchronizes the music and video and includes many close-ups of the artists, conforming to record label expectations.
The document discusses several characteristics of music videos based on Andrew Goodwin's rules for different music video genres. It provides examples from the music video for Nicki Minaj's "Super Bass" to illustrate the characteristics of an image genre video, such as a focus on the artist's appearance and inclusion of choreographed dance routines. It also analyzes relationships between the song's lyrics, music, and visual elements of the video.
This document discusses conventions used in country music videos and how the student incorporated these conventions into their own music video project. It provides examples of how close-ups, two shots, tracking shots, editing, lighting, props, outdoor settings, and album artwork are typically used in country music videos. The student explains how they applied these conventions, such as using natural lighting, outdoor locations, and retro instruments to emulate a country style for their video and project.
The music video for "Hey There Delilah" by Plain White Ts is analyzed. The editing features boxes dividing the screen, which the analyst thinks could be an effective technique to incorporate. The video has a 50/50 split between narrative and performance sections, and slow pacing that matches the acoustic music. The theme of a journey is also present in the narrative. Analysis is also provided of the album cover for Plain White Ts, discussing possible interpretations of the abandoned theme park imagery and how it relates to the band and music.
The document provides an analysis of several electro-pop music videos. It discusses Kesha's "Tik Tok" video, noting elements like colorful costumes, fast cuts between scenes, and references to the American dream. It also analyzes Gym Class Heroes' "Stereo Hearts," highlighting its use of shadows depicting different actions. Finally, it summarizes LMFAO's "Party Rock Anthem," noting its narrative structure, cameo appearances, and focus on costumes fitting the party theme.
This music video for "The Ghost of You" by My Chemical Romance uses several techniques from Andrew Goodwin's music video theory. It draws on conventions of the rock genre but subverts expectations by being narrative-driven rather than focused on performance. The video is set in 1940s-era America during war time and contrasts scenes of dancing with scenes of battle. It establishes characters and relationships through costumes, lyrics, and music tempo that link to the narrative. Close-ups of the band members also help develop their iconic styles.
Radiohead - Lotus Flower Music Video Analysis Laura Davies
1) The document analyzes the music video for the Radiohead song "Lotus Flower" in terms of genre, media language, representation, and narrative.
2) The genre is described as alternative rock, shown through the abnormal setting and Thom Yorke's unusual dancing.
3) Elements of media language used include camera movements matching the music, editing matching changes in the music, and juxtaposition of dark and light tones.
4) Representation in the video relates to the song's lyrics about escapism and disappearing, shown through Yorke's dancing entering another world.
There are several rules that music videos typically follow:
1) The music video style reflects the genre of music. For the alternative rock song "Amsterdam" by Nothing But Thieves, the video features the band performing in an abandoned factory alongside dancers.
2) The visuals in a music video relate to the song lyrics, whether illustrating, amplifying or contradicting them. In "Amsterdam", scenes of the dancers emphasize lyrics about craziness and living under the same sun.
3) The visuals also relate to the music itself, using elements like tempo. In "No More Sad Songs" by Little Mix, the climax of the music is reflected in an intensification of the visuals
The document outlines Goodwin's Rules for analyzing music videos. It states that music videos typically demonstrate genre characteristics through elements like dance routines or stage performances. It also notes there should be a relationship between the lyrics, music, and visuals whether illustrative, amplifying, or contradicting. Additionally, it says record labels want close-ups of artists and artists may develop recurring motifs. It mentions music videos often reference looking and treat the female body in a voyeuristic way and contain intertextual references to other media.
This document provides an analysis of the music video for the song "Maybe Tomorrow" by the band Stereophonics. It discusses various technical and artistic elements of the video, including its black and white retro style, camerawork, editing techniques, use of diegetic and non-diegetic sound, and how the video relates to the lyrics and mood of the song. It analyzes how the video portrays the lead singer Kelly Jones as lonely and struggling with the pressures of fame, relating this to lyrics in the song. It also notes how the video focuses heavily on close-ups of Kelly Jones to promote him as the artist, in line with record label demands.
Andrew Goodwin identifies 6 key features of music videos in his book Dancing in the Distraction Factory. These include demonstrating genre characteristics, establishing relationships between the lyrics/music and visuals, focusing on looking/gaze, including demands of record labels for close-ups of artists, and using intertextual references. The document also discusses 3 main types of music videos - performance, narrative, and conceptual - and provides examples of each. Overall, the document outlines common structural and stylistic elements often found in music videos according to Andrew Goodwin's research.
The document provides an analysis of several music videos. It summarizes each video in 1-2 paragraphs, describing elements like genre, themes, imagery, and how the video relates to the song. Key points analyzed include how the videos represent the artists' images and messages, use of costumes, lighting, locations, and references to other works. The document examines videos for songs by KSI, Fame on Fire, and Yellow Claw featuring themes of isolation, partying, and not conforming to others' expectations.
The document discusses four music videos by the Red Hot Chili Peppers spanning different eras and subgenres of rock music. It analyzes elements like mise-en-scene, camera work, editing, sound, and how they connect to the genre in each video. Californication features animation and slow pacing reflecting the mellow song. Cant Stop shows a more energetic 2000s alternative rock style. Dani California impersonates other artists in a conceptual yet performance-based funk rock video. Comparisons are made around how the genre is represented through elements in the videos.
The document discusses and analyzes 10 different music videos. It summarizes each video, highlighting elements the author found interesting or inspiring, such as editing techniques, themes, aesthetics, camerawork, and how certain elements relate to the genre of music. Elements that caught the author's attention included comedic elements in "Levels", quick cuts combined with steady editing in "Get Lucky", flashy costumes and cars reflecting rap conventions in "Thrift Shop", effective use of slow motion in "We Are Young", tracking shots and cramped frames making the viewer feel connected in "Stressed Out", silhouettes and color shifting focus from the band in "If You Wanna", jumpy editing synchronizing to the beat in "Party Rock
The music video for Blur's song "Song 2" features an unconventional performance-based concept where the band members fly around the room as they play their instruments. This breaks from normal music videos and aims to showcase the energy of a live performance. While the visuals don't literally represent the song lyrics, they separate the two elements in a bizarre yet attention-grabbing way. The band members move faster around the room as the song intensifies, linking the visuals to the changing music.
Enter Shikari's song "The Last Garrison" belongs to the alternative metal genre, which incorporates elements of heavy metal, hardcore punk, and progressive rock. The music video features close-up shots of the band members performing in a warehouse space. The lighting and editing change rapidly throughout the video to match the fast pace and intensity of the song. The purpose of the video is to promote the song and appeal to Enter Shikari's target audience of 14-19 year old rock and metal fans.
The document provides summaries of three music videos:
1) Michael Jackson's "Thriller" from 1984, known for its 14-minute horror-themed video considered one of the greatest of all time.
2) Christina Aguilera's "Dirrty" from 2002, which featured sexually suggestive content and changed her image from "girl next door."
3) Beyonce's "Listen" from 2006 for the film Dreamgirls, a emotional ballad emphasizing the relationship between the sad lyrics and Beyonce's facial expressions.
The document summarizes and analyzes three music videos:
1) Michael Jackson's "Thriller" from 1984, noting its 14-minute runtime and relationship between lyrics and visuals depicting horror themes.
2) Christina Aguilera's "Dirrty" from 2002, which featured sexually suggestive content and changed her image from "girl next door."
3) Beyonce's "Listen" from 2006 for the film Dreamgirls, showing her emotional performance and use of scenes from the film intercut with her choreography.
The video for Michael Jackson's "Thriller" established itself as one of the greatest music videos of all time through its 14-minute runtime and emphasis on visuals that matched the song's lyrics about horror. The video for Christina Aguilera's "Dirrty" generated controversy by presenting a more sexualized image of the artist and eliminating her previous wholesome persona through provocative choreography and costumes that reinforced the track's suggestive lyrics. Both videos effectively used close-up shots, choreography, and visuals to strengthen the narrative and musical elements of the songs.
1) The music video for Clean Bandit's song "Rockabye" tells the narrative of a single mother who works as a pole dancer to support her child.
2) Various camera shots and lighting techniques are used to portray the mother's struggle and confinement to her job.
3) The lyrics and visuals are closely linked, conveying the mother's care and dedication to providing for her baby.
Different music videos for different genreswhslaura
This document summarizes different music video styles based on genre. It discusses conventions for metal, rock, indie, pop, and rap music videos. For metal videos, it provides examples of Metallica and Dragonforce that use close-up shots and angles to connect with audiences. Rock videos like Guns N' Roses use black and white with close-ups. Indie videos like George Ezra and Bastille have abstract narratives. Pop videos like Justin Bieber and Shawn Mendes use choreography, lighting, and voyeurism. Rap videos by Eminem and Kanye West have sci-fi themes while Nicki Minaj and Iggy Azalea emphasize sexuality and the "male gaze."
Different music videos for different genreswhslaura
The document discusses different music video genres and provides examples for each genre. It analyzes how the examples conform to common music video conventions like matching the editing pace to the music, using close-up shots for intimacy, and including narrative/performance elements. For metal videos, it examines Metallica's "Fuel" and Dragonforce's "Through the Fire and Flames." For rock, it analyzes Guns N' Roses' "Sweet Child O' Mine" and Nickelback's "Rockstar." Indie and pop video conventions like abstraction and appealing to the "male gaze" are also discussed through various artist examples. Rap video trends are analyzed for both male and female artists.
This document provides examples and descriptions of various styles, conventions, and techniques used in music videos. It discusses genres like indie music and live footage. It also covers animation, narrative, surrealism, pastiche, parody, referencing, homage, interpretation, impressionism, influence of commercials, lyrical interpretation, extension of meaning, allusion, links to other artists, and technical techniques like cutting to the beat, effects, miming, use of multiple images, camera work, green screen, and lighting. Examples are given for each category to illustrate common music video styles and approaches.
Music videos demonstrate genre characteristics. (e.g. stage performance in metal videos, dance routine for boy/girl band, aspiration in Hip Hop).
Goodwin’s theory states that each genre has certain characteristics that define it. The ‘Otis’ music video by Jay-Z and Kanye West follows several hip hop conventions including performances by the artists, the use of attractive scantily-clad women, low camera angles to give the artists power, and imagery showing wealth like expensive cars and watches to inspire aspiration. There are also strong relationships between the lyrics and visuals, with images amplifying and illustrating the words being rapped through gestures, lip syncing, and cuts that enhance the beat
The document provides background information on the song "Closer to the Edge" by the band 30 Seconds to Mars. It discusses the song's production and release. It then outlines plans for the music video, including incorporating narrative elements, different actors and locations, and illustrating specific lyrics visually through different shots. Costuming and editing will help create an "edgy" style consistent with the band's image.
At the beginning of the music video, a long shot establishes the singer alone, while a close-up shows her facial expressions of emotion. This sets the lonely scene that corresponds to the song. The beautiful natural setting matches the song's beauty without distracting props. As the video progresses, the lighting dims to match the emotional tone of the song. Musical instruments playing enhances the heartfelt feeling, though repetitive camera angles may bore viewers toward the end. The analysis compares this video to others of different genres.
The document analyzes three music videos:
1) Foo Fighters' "Walk" uses intertextuality from the film "Falling Down" and depicts a man going on a rampage after feeling stuck in his ordinary life. It shows rock conventions like rule-breaking and messy hair.
2) Foo Fighters' "The One" directly incorporates scenes from the film "Orange County" and shows different school cultures alongside the rock band playing.
3) Black Keys' "Gold on the Ceiling" is shot like a documentary, showing the band's live performances and daily lives to give fans a personal look at the band and promote their album and tour.
This document analyzes the music video for "F*cked Up World" by the band The Pretty Reckless. It discusses how the band sticks to conventions of rock and metal genres in the video. Key elements analyzed include Taylor Momsen being the central focus, visual correlations between lyrics and images, and references to the song's lyrics through the mise-en-scene. The setting contains sexual and social commentary references.
The document discusses and analyzes music videos for six different songs across various genres:
1) "American Idiot" by Green Day is analyzed, discussing its punk rock style and message about media paranoia.
2) "Sugar" by Maroon 5 is summarized as having a narrative of crashing weddings to perform. Its pop style and music video production are discussed.
3) "Cry Me a River" by Justin Timberlake is described as having a dark, emotional narrative exploring heartbreak through an R&B lens.
4) "Watch Me (Whip/Nae Nae)" by Silento is said to have an instructional dance theme with submitted videos,
Coldplay's 2005 song "Fix You" was directed by Sophie Muller. The music video features footage of Coldplay performing live on stage and close-ups of lead singer Chris Martin singing. While the song's lyrics discuss emotional support, the video lacks a narrative and instead focuses on visually representing the song and band's performance. Camera techniques like slow motion and tracking shots are used to immerse viewers in the live concert experience and illustrate the song's changing tempo and emotions.
Post 4 - External Group Music Video Analysisvcolquhoun12
The document provides an analysis of the music video "We The Wild - You Lost My Mind" in 3 paragraphs. It summarizes that the video begins with a record being played, featuring small animated lines that represent the music. Throughout the video, these illustrations link to the lyrics being sung. The video primarily features the two male band members and creates a female gaze on them, with few other elements to make it interesting. It lacks live footage of the band that could make it more engaging.
The document summarizes and analyzes four music videos for different indie/punk rock bands. It examines how each video demonstrates characteristics of the genres through elements like clothing, instruments, and being performance-based. It also looks at how the videos create relationships between the lyrics, music, and visuals to further illustrate and amplify the song. Each video is seen to have its own unique visual style while still fitting with conventions of music videos and their respective genres.
The document discusses different genres and techniques used in music videos. It provides examples of different types of music videos including animated, narrative, live performance, homage, parody, and surreal. It also outlines several music video conventions like lyrical interpretation and techniques such as cutting to the beat, special effects, lip syncing, and camera shots/angles. Overall, the document serves as a guide to understanding various approaches to creating music videos.
The document provides an analysis of Andrew Goodwin's 7 features of music videos and then analyzes the music videos for three songs:
1) Kasabian - "eez-eh" is primarily a performance-based video that illustrates the music and amplifies its bold tone through bright colors. It includes few lyrics-image connections and close-ups.
2) Coldplay - "Adventure of a Lifetime" follows conventions of a boy-band video with a dance routine and performance. It amplifies lyrics through chimp lip-syncing and includes motifs to identify band members.
3) Jamie T - "Zombie" includes a stage performance but does not fully follow indie conventions. It creates a lyrics
ISO/IEC 27001, ISO/IEC 42001, and GDPR: Best Practices for Implementation and...PECB
Denis is a dynamic and results-driven Chief Information Officer (CIO) with a distinguished career spanning information systems analysis and technical project management. With a proven track record of spearheading the design and delivery of cutting-edge Information Management solutions, he has consistently elevated business operations, streamlined reporting functions, and maximized process efficiency.
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Date: May 29, 2024
Tags: Information Security, ISO/IEC 27001, ISO/IEC 42001, Artificial Intelligence, GDPR
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This presentation was provided by Steph Pollock of The American Psychological Association’s Journals Program, and Damita Snow, of The American Society of Civil Engineers (ASCE), for the initial session of NISO's 2024 Training Series "DEIA in the Scholarly Landscape." Session One: 'Setting Expectations: a DEIA Primer,' was held June 6, 2024.
This slide is special for master students (MIBS & MIFB) in UUM. Also useful for readers who are interested in the topic of contemporary Islamic banking.
Executive Directors Chat Leveraging AI for Diversity, Equity, and InclusionTechSoup
Let’s explore the intersection of technology and equity in the final session of our DEI series. Discover how AI tools, like ChatGPT, can be used to support and enhance your nonprofit's DEI initiatives. Participants will gain insights into practical AI applications and get tips for leveraging technology to advance their DEI goals.
How to Manage Your Lost Opportunities in Odoo 17 CRMCeline George
Odoo 17 CRM allows us to track why we lose sales opportunities with "Lost Reasons." This helps analyze our sales process and identify areas for improvement. Here's how to configure lost reasons in Odoo 17 CRM
LAND USE LAND COVER AND NDVI OF MIRZAPUR DISTRICT, UPRAHUL
This Dissertation explores the particular circumstances of Mirzapur, a region located in the
core of India. Mirzapur, with its varied terrains and abundant biodiversity, offers an optimal
environment for investigating the changes in vegetation cover dynamics. Our study utilizes
advanced technologies such as GIS (Geographic Information Systems) and Remote sensing to
analyze the transformations that have taken place over the course of a decade.
The complex relationship between human activities and the environment has been the focus
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significant role in maintaining the ecological equilibrium of our planet.Land serves as the foundation for all human activities and provides the necessary materials for
these activities. As the most crucial natural resource, its utilization by humans results in different
'Land uses,' which are determined by both human activities and the physical characteristics of the
land.
The utilization of land is impacted by human needs and environmental factors. In countries
like India, rapid population growth and the emphasis on extensive resource exploitation can lead
to significant land degradation, adversely affecting the region's land cover.
Therefore, human intervention has significantly influenced land use patterns over many
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cover is essential for various planning and management tasks related to the Earth's surface,
providing crucial environmental data for scientific, resource management, policy purposes, and
diverse human activities.
Accurate understanding of land use and cover is imperative for the development planning
of any area. Consequently, a wide range of professionals, including earth system scientists, land
and water managers, and urban planners, are interested in obtaining data on land use and cover
changes, conversion trends, and other related patterns. The spatial dimensions of land use and
cover support policymakers and scientists in making well-informed decisions, as alterations in
these patterns indicate shifts in economic and social conditions. Monitoring such changes with the
help of Advanced technologies like Remote Sensing and Geographic Information Systems is
crucial for coordinated efforts across different administrative levels. Advanced technologies like
Remote Sensing and Geographic Information Systems
9
Changes in vegetation cover refer to variations in the distribution, composition, and overall
structure of plant communities across different temporal and spatial scales. These changes can
occur natural.
Walmart Business+ and Spark Good for Nonprofits.pdfTechSoup
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Answers about how you can do more with Walmart!"
বাংলাদেশের অর্থনৈতিক সমীক্ষা ২০২৪ [Bangladesh Economic Review 2024 Bangla.pdf] কম্পিউটার , ট্যাব ও স্মার্ট ফোন ভার্সন সহ সম্পূর্ণ বাংলা ই-বুক বা pdf বই " সুচিপত্র ...বুকমার্ক মেনু 🔖 ও হাইপার লিংক মেনু 📝👆 যুক্ত ..
আমাদের সবার জন্য খুব খুব গুরুত্বপূর্ণ একটি বই ..বিসিএস, ব্যাংক, ইউনিভার্সিটি ভর্তি ও যে কোন প্রতিযোগিতা মূলক পরীক্ষার জন্য এর খুব ইম্পরট্যান্ট একটি বিষয় ...তাছাড়া বাংলাদেশের সাম্প্রতিক যে কোন ডাটা বা তথ্য এই বইতে পাবেন ...
তাই একজন নাগরিক হিসাবে এই তথ্য গুলো আপনার জানা প্রয়োজন ...।
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Exploiting Artificial Intelligence for Empowering Researchers and Faculty, In...Dr. Vinod Kumar Kanvaria
Exploiting Artificial Intelligence for Empowering Researchers and Faculty,
International FDP on Fundamentals of Research in Social Sciences
at Integral University, Lucknow, 06.06.2024
By Dr. Vinod Kumar Kanvaria
2. Andrew Goodwin
Andrew Goodwin’s theory of music video, states that all music videos contain
either some or all of the following elements:
1) Have a link between visuals & lyrics
2) Have a link between visuals & Music
3) Have certain genre characteristics
4) Have intertexual references – Two bits of media merged
5) Contains notions of looking (Characters looking at the artist, as they're
looking at them, we’re invited to look)
6) Show voyeurism (Sexual pleasure from watching others interacting e.g.
kissing)
7) Include demands of the record label
8) Whether the video is performance, conceptual or narative
3. Analysis
I will be analysing three different music videos:
• Performance – Love me again by John Newman (also narrative)
• Conceptual – Adventure of a Lifetime by Coldplay
• Narrative – Childs Play by Drake
5. Lyrics & Visuals
‘Love Me Again’ is based on the classic love story of Romeo and Juliet. The two main characters
love each other much and this can be seen through the passion that they show towards each
other three quarters of the way through the video.
The lyrics in this video are repetitive, in fact the question ‘Can you Love Me Again?’ is asked
around 15 times. The answer “Yes” is shown through the on screen visuals which match the lyrics.
6. Music & Visuals
The music and visuals are in sync throughout the music video. ‘Love Me Again’ has a fast tempo
and a strong beat which is danced along to by the artist John Newman and the other dancers.
Instruments such as the drums and electric guitar play a key role in speeding up the tempo of the
song. These are actually seen on screen syncing the music and visuals even more.
7. Genre: Dance-pop
‘Love Me Again’ is a song which falls into the genre of Dance-pop. Dance-pop songs tend to have
similar characteristics. They are up in tempo and beat and are intended for clubs. They have
a danceable nature. Other features of Dance-pop songs is that they:
• Are catchy
• Have strong beats
• Have prominent hooks
• Have simple lyrics
‘Love Me Again’ has a fast tempo, a strong beat and is a perfect song to get people up dancing.
This is evident through the continuos dancing which takes place on screen throughout the
music video.
8. Intertextuality
‘Love Me Again’ contains little intertextuality. The only noticeable part of the video which includes
this is at the end when the couple run across the street as a van is crossing their path. The backing
track crashes with the screen changing to pitch black. This leaves the video on a cliff hanger, kind
of like a TV program.
There is also promotion of the artist John Newman at the very end of the video where links to his
Facebook and Twitter pages are presented.
9. Record Company
There are various close-ups on John Newman throughout the video. ‘Love Me Again’ was one of
Newman’s first Number 1 hits, so getting his face on screen for a large proportion of the video
was vital, in promoting the artist.
‘Love Me Again’ is a mix of both Performance and Narrative music video.
10. Notions of Looking
Towards the end of the video the two main characters kiss in what they think is privacy, but is in
fact not and being watched on by two others. This invites us (the audience) to watch the male and
female interact, as if it is ‘normal’ and not nosey to be watching.
11. Voyeurism
The kissing scene towards the end starts in privacy. This scene could give one sexual pleasure from
watching the two interacting. However, as they are alone, it could make one feel as if they
shouldn't be watching.
13. Lyrics & Visuals
‘Adventure of a Lifetime’ is a conceptual music video which came about on a plane where
Coldplay frontman Chris Martin and British motion capture expert/actor Andy Serkis met and
discussed ideas.
A phrase which is used throughout the song is “You make me feel, like I'm alive again”. Through
this phrase, Chris Martin is expressing the real pleasure that an individual is giving him and making
him feel. The phrase is often followed by the upbeat backing track, which is matched in the video
by the Monkeys, who although are not singing along to the song, look like they are having a real
good time and are also feeling this pleasure.
14. Music & Visuals
Despite the complex nature of the music video, the music and visuals still manage to be in sync
throughout the video. ‘Adventure of a Lifetime’ has a very high tempo to it and this would be clear
to someone if they were to watch the music video without any audio, as the computer generated
monkeys are jumping up and down throughout and dance impressively.
The drums and electric guitar are vital in speeding up the tempo of disco music. These are actually
on display in the video and are being played by the monkeys.
15. Genre: Disco
‘Adventure of a Lifetime’ falls into the Disco genre. Most disco songs share similar characteristics.
Disco music has a fast tempo as well as a verse and chorus structure and escapist lyrics about love
and dancing. Other characteristics include:
• a time signature of 4/4.
• four-on-the-floor rhythms.
• guitar driven energy often with syncopated bass lines.
• luscious orchestral arrangements.
• vocals with reverb.
‘Adventure of a Lifetime’ has a very fast, up beat tempo to it which makes it a perfect
disco and dance track. The verse and chorus structure is clear, making the beat
even simpler to move along to.
16. Intertextuality
‘Adventure of a Lifetime’ contains quite a bit of intertextuality. This is the case from the beginning
where the music video starts, almost in the same fashion as a film. The production company, band
name and song name are all presented on screen, giving this ‘Adventure’ a fitting beginning.
Another hint of intertextuality is brought about when the music begins. The backing track initially
comes from a Dr Dre Beats Pill which is picked up by the monkeys and clearly displayed on screen.
The final bit of intertextuality is at the end of the video. The music video ends with closing credits,
again making the video almost like a film.
17. Record Company
As spoken about before, ‘Adventure of a Lifetime’ is introduced like a movie with the company
and band name presented on screen. This makes the audience aware of who the song is by and
which record company they belong to.
In terms of the artists, Coldplay don't feature in the video. However Coldplay fans would recognise
through some of the monkeys features that they are in fact there. This is especially the case with
Jonny Buckland who's monkey still wears a hat and plays the guitar.
As touched on before, this song comes under the disco category.
18. Notions of Looking
‘Adventure of a Lifetime’ contains little notions of looking, and only one example sticks out. This
can be seen where the four Coldplay monkeys stand back to back with the others surrounding and
looking at them. The Coldplay monkeys look like they have this almost authority over the other
monkeys which causes them to be looked up to. This makes us look at at the monkeys and realise
that those aren't any regular monkeys, those four monkeys are actually Coldplay.
20. Lyrics & Visuals
‘Last Friday Night’ is a narrative music video, and is therefore based around a series of events, in
this case, the previous Friday night. The lyrics in this song match up with the visuals allowing the
viewer to not only hear what Katy Perry’s last Friday night was like, but what it actually looked
like.
A phrase commonly used is “Do it all again”. This phrase would suggest that last Friday night was
unbelievable and that its worth doing more than once. This fun factor of last Friday night is
supported throughout the music video. This can be seen through the party atmosphere, the bright
colours and Katy Perry’s excited facial expressions throughout the video.
21. Music & Visuals
The music and visuals are in sync throughout the whole of the video. ‘Last Friday Night’ is upbeat
with a very danceable backing track. The music video is set at a bright house party which looks
very lively and as if it would be exciting to attend. Everyone is dancing and having a good time.
This makes the music and use of visuals fitting.
To up the tempo of the video even more, the male who plays the saxophone to head the song into
its final chorus is shown on camera.
22. Genre: Dance-pop
‘Last Friday Night’ is another song which falls into the genre of Dance-pop. Dance-pop songs tend
to have similar characteristics. They are up in tempo and beat and are intended for clubs.
They have a danceable nature and other features such as:
• Being catchy
• Having strong beats
• Having prominent hooks
• Having simple lyrics
‘Last Friday Night’ has a fast tempo to it, allowing it to be a great song to dance to. Friday night is
party night and there is a hint of partying through the fast beat of the music. This party vibe
is captured on screen throughout the video.
23. Intertextuality
‘Last Friday Night’ contains bits of intertextuality, the first of which can be found at the beginning
and end of the music video where Katy Perry is looking on her computer at the photos from the
night before. The music video is a narrative and the computer gives the audience a sense of
context in terms of the position that Katy Perry is in from last night.
Another piece of intertextuality is with the ‘Just Dance’ WII game which Katy Perry plays on mid
way through the video. The fact that Perry had such a ball last Friday Night could mean that she
enjoyed everything she did, one of those activities being playing ‘Just Dance’. This is good
marketing for the video game as people may feel they can have a great Friday night by purchasing
the game.
24. Record Company
The music video for ‘Last Friday Night’ features Katy Perry performing the role of her alter-ego
'Kathy Beth Terry’. However despite this, her appearance in the video is obvious from the first
minute. The video focuses on her and she is the subject of attention. Despite the fact that she
goes to a next door neighbours house party, Katy Perry is the raves spark of life. This can be seen
through both the way characters watch her and the way that the camera is 95% of the time on
her.
As touched on earlier, ‘Last Friday Night’ falls in the category of Narrative music video.
25. Notions of Looking
Katy Perry’s presence is noticed at this party from the moment her alter-ego 'Kathy Beth Terry’
enters. Characters including the male in the wheel chair and the ‘popular’ looking one in the
baseball jacket seem to gaze at Perry. This is the male gaze. Perry’s image is focused on by the
males at the party which could make it feel acceptable for the audience to watch her and get
pleasure from her appearance as at the same time, the characters on screen are allowed to.