Andrew goodwin
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This document discusses the relationship between lyrics, music, and visuals in music videos. It analyzes a particular music video that keeps the visuals in time with the beat of the song and amplifies the song through the use of twitter links on screen, rather than directly illustrating the lyrics. The video has a performance-based genre that focuses on making the audience feel like they are at a live show. Close-ups of the singer are used to draw attention to the singing and improve the star's image. Some voyeurism is shown through a shot of a female undressing on a bed. The video also uses twitter images to advertise the band and bond with audiences.
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Justin Bieber Genre Analysis
1) The music video for Justin Bieber's "Beauty and A Beat" both supports and contradicts Andrew Goodwin's theory of connecting lyrics and visuals. While some shots illustrate the lyrics, others like found footage have no connection.
2) The video uses invisible editing and guerrilla filming styles, which does not support Carol Vernallis' theory that editing is more important than filming.
3) Some representations of women in the video can be seen as objectifying which supports Robert Shuker's theory, but it does not fully support Laura Mulvey's "Male Gaze Theory" as the camera does not expose or focus on the women.
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The Twenty One Pilots song "Heathens" has a slow start similar to "Stressed Out" with long establishing shots. The dark, low-key lighting and prison setting relate to the film Suicide Squad.
There are similarities between the Imagine Dragons song "Demons" and "Heathens" with slow editing and lighting. The video illustrates the song's lyrics by showing struggles in people's lives.
Transitions between audience members in the "Demons" video are edited well with quick zooms and cuts, keeping the background unseen to seem seamless. This engaging transition style helps explain the video's popularity with over 400 million YouTube views.
Film opening conventions
The document discusses how production logos and titles are used at the beginning of films to entice audiences and establish the genre. Key elements that help set the genre include the names of popular producers/actors, colors used in titles, music, special effects, costumes/props of main characters, and settings. These visual and audio cues provide audiences with conventions and expectations for the type of film they are watching based on genre. Creating questions or enigma is also important to keep audiences engaged from the start and wanting to learn more.
Question one
The document discusses how the author's music video fits conventions of the pop genre by comparing it to other pop music videos. It uses similar shots, editing techniques, and camera movements. The video focuses on the main artist and uses lyrics in the chorus to engage the audience, as other pop videos do. While following these conventions to achieve a professional pop look, the author avoided extremes that could offend viewers. The video is also informed by "star theory," which emphasizes featuring the artist. Overall, the author aimed to model the video after successful pop genre conventions.
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Evaluation Q1
The document discusses several theories of music video production and how the student incorporated them into their own music video. It summarizes Vernallis's theory of using obvious edits, jump cuts, and camera moves in time with the music. It discusses Goodwin's theory of focusing on the singer, using repetition, and different song-video relationships. It also outlines Mulvey's theory of the "male gaze" and objectification of women in music videos. The student explains how they took elements from each theory - using obvious edits, repetition through base tracks, focusing on the singer, and applying the male gaze - while also challenging some conventions by not including a narrative. They also discuss other music videos that influenced their aesthetic and location choices.
Snatch trailer analysis
The trailer for the 2000 crime comedy film Snatch introduces the main characters and intertwining plots involving underground boxing and an confrontation with arms dealers. Through close-up shots of diamonds, boxing action, weapons, and jewelry, the trailer establishes the criminal underworld setting and genres of crime and action. It also uses humorous dialogue to appeal to audiences. The editing employs fast-paced transitions between shots to bombard viewers with information in an exhilarating way and keep their attention, with the goal of encouraging audiences to watch the full film.
Film trailer theory
Trailers are used to gain interest in films and reach wider audiences. They are shown where the target audience will see them, such as before films of similar genres. Effective trailers include clips from the actual film, the release date, the cast, and genre to attract viewers. Over time, trailers have expanded to various platforms like TV, websites and social media. Films now often release multiple trailers to generate more buzz. Trailers were moved earlier in the viewing experience to capture audiences before they leave.
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1) The music video for Justin Bieber's "Beauty and A Beat" both supports and contradicts Andrew Goodwin's theory of connecting lyrics and visuals. While some shots illustrate the lyrics, others like found footage have no connection.
2) The video uses invisible editing and guerrilla filming styles, which does not support Carol Vernallis' theory that editing is more important than filming.
3) Some representations of women in the video can be seen as objectifying which supports Robert Shuker's theory, but it does not fully support Laura Mulvey's "Male Gaze Theory" as the camera does not expose or focus on the women.
Similar Genre Research
The Twenty One Pilots song "Heathens" has a slow start similar to "Stressed Out" with long establishing shots. The dark, low-key lighting and prison setting relate to the film Suicide Squad.
There are similarities between the Imagine Dragons song "Demons" and "Heathens" with slow editing and lighting. The video illustrates the song's lyrics by showing struggles in people's lives.
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Question one
The document discusses how the author's music video fits conventions of the pop genre by comparing it to other pop music videos. It uses similar shots, editing techniques, and camera movements. The video focuses on the main artist and uses lyrics in the chorus to engage the audience, as other pop videos do. While following these conventions to achieve a professional pop look, the author avoided extremes that could offend viewers. The video is also informed by "star theory," which emphasizes featuring the artist. Overall, the author aimed to model the video after successful pop genre conventions.
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Film trailers are advertisements that provide selected shots and scenes from an upcoming movie in an abbreviated form to attract audiences to the film without revealing major spoilers. They are released in cinemas, online, and social media usually a month before the film's release to give audiences a sense of what to expect from the movie and promote hype for its release. The goal of trailers is to both inform potential viewers about a movie's content and encourage them to watch the upcoming film.
Evaluation Q1
The document discusses several theories of music video production and how the student incorporated them into their own music video. It summarizes Vernallis's theory of using obvious edits, jump cuts, and camera moves in time with the music. It discusses Goodwin's theory of focusing on the singer, using repetition, and different song-video relationships. It also outlines Mulvey's theory of the "male gaze" and objectification of women in music videos. The student explains how they took elements from each theory - using obvious edits, repetition through base tracks, focusing on the singer, and applying the male gaze - while also challenging some conventions by not including a narrative. They also discuss other music videos that influenced their aesthetic and location choices.
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The trailer for the 2000 crime comedy film Snatch introduces the main characters and intertwining plots involving underground boxing and an confrontation with arms dealers. Through close-up shots of diamonds, boxing action, weapons, and jewelry, the trailer establishes the criminal underworld setting and genres of crime and action. It also uses humorous dialogue to appeal to audiences. The editing employs fast-paced transitions between shots to bombard viewers with information in an exhilarating way and keep their attention, with the goal of encouraging audiences to watch the full film.
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Trailers are used to gain interest in films and reach wider audiences. They are shown where the target audience will see them, such as before films of similar genres. Effective trailers include clips from the actual film, the release date, the cast, and genre to attract viewers. Over time, trailers have expanded to various platforms like TV, websites and social media. Films now often release multiple trailers to generate more buzz. Trailers were moved earlier in the viewing experience to capture audiences before they leave.
A2 question 2
The document discusses how the author linked their main film product to ancillary texts (poster and magazine cover).
Key ways included: using the same color scheme, font, and location/character image across all pieces; including the same character and their clothing; adding social media URLs (though one was forgotten); and using idents and taglines consistently (except where conventions prevented).
Overall the author feels they successfully linked the pieces through these visual and content similarities, creating a recognizable style across the film and promotional materials, though regret not including all planned social media details in one piece.
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2) Goodwin's theory of excessive female sex appeal is subverted as there are no females and the singer is naked in an artistic, soul-baring way rather than a sexual one.
3) The black and white cinematography gives a retro, gloomy feel and references other of the band's music videos shot in greyscale like "Sweater Weather", "Daddy Issues", and "Female Robbery".
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1) Film trailers follow certain conventions including showing the film production logo, title, and age certification at certain points.
2) They aim to introduce audiences to the characters, provide clues to the genre through visuals and music, and encourage audiences to follow social media accounts for the film.
3) Trailers vary in length from short "teaser" trailers under 1.5 minutes to full trailers around 2 minutes. They typically showcase parts of the plot and characters while building hype and include the release date to encourage audiences to see the film.
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The video uses lyrics on screen with blank backgrounds to emphasize words and give them deeper meaning. It uses both color and black and white footage like many indie music videos. Short takes and jump cuts keep the energetic pace and theme of an old film camera. Repeated shot types create continuity and immerse viewers, making them feel like they see behind-the-scenes footage and develop a relationship with the band. Handheld and first-person shots are stiller to match the slower, relaxed song, but cuts and faster shots match up with increases in song pace. The video also provides home video footage and dates to give insight into the band's younger lives.
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Evaluation question 2
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A2 question 2
The document discusses how the author linked their main film product to ancillary texts (poster and magazine cover).
Key ways included: using the same color scheme, font, and location/character image across all pieces; including the same character and their clothing; adding social media URLs (though one was forgotten); and using idents and taglines consistently (except where conventions prevented).
Overall the author feels they successfully linked the pieces through these visual and content similarities, creating a recognizable style across the film and promotional materials, though regret not including all planned social media details in one piece.
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The document analyzes Katy Perry's music video for "Thinking of You" using Goodwin's theory. It is a narrative music video that reflects the song's lyrics through scenes depicting Katy Perry kissing her husband and flashing back on their life together. The record label demands close-ups of the artist to promote their brand and make Katy Perry recognizable and relatable to the target audience, which is shown with her close-up at the makeup table. Veracious camera shots are used throughout intimate moments to entice the predominantly male target audience and show Katy Perry's relatable side.
Afraid – The Neighbourhood Pt 2
1) The music video supports Goodwin's theory of looking through screens and seeing the band through someone else's eyes. It shows the band from the perspective of the boy looking at what he has become.
2) Goodwin's theory of excessive female sex appeal is subverted as there are no females and the singer is naked in an artistic, soul-baring way rather than a sexual one.
3) The black and white cinematography gives a retro, gloomy feel and references other of the band's music videos shot in greyscale like "Sweater Weather", "Daddy Issues", and "Female Robbery".
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The document provides inspiration and influences for a music video. It discusses taking elements from Ellie Goulding's "On My Mind" music video by incorporating horses to portray freedom and escapism. It also draws inspiration from My Chemical Romance's "Teenagers" by featuring a live band performance. Common elements seen in EDM music videos like party and festival scenes will also be included. The main narrative will focus on a couple breaking up, inspired by many songs about breakups being sung by women. Action before narrative will show the main character's fate through flashbacks and memories to engage the viewer in the simple storyline.
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The document discusses the purposes and conventions of music videos. It explains that music videos are created to entertain audiences, promote songs and bands, explain lyrics and narratives, and continue artists' brand identities. It then analyzes several music videos, noting techniques like close-ups, dance routines, lighting, locations, and narrative elements. Overall, the document provides an overview of why music videos are made and what production elements and styles are commonly used.
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The document analyzes audience feedback from a survey on location, props, and costume choices for a music video. The feedback will help the filmmaker decide on a forest location, use of a gravestone prop, and layered male costumes with a floaty, light female costume. The filmmaker agrees with the audience feedback and will consider it when making final decisions on the music video's location, props, and costumes.
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Carol Vernallis' theory of music video analysis revolves around 4 concepts: editing, camera movements/framing, narrative, and digesis. There are 9 aspects to her theory including breaking continuity editing rules, using obvious edits and special effects, jump cuts, a base master shot for structure, camera movements in time with music, manipulated edit speeds, imbalance between narrative and performance, lack of narrative resolution, and unanswered narrative questions. The document provides examples of popular music videos that demonstrate these different aspects of Vernallis' theory.
Codes & Conventions in Trailers - General
1) Film trailers typically include certain codes and conventions such as showing the title of the film towards the end to help viewers remember it.
2) They also usually display the release date/information towards the end to generate interest and encourage viewers to watch the film.
3) Production logos are often the first thing viewers see in a trailer and can provide clues about the genre and quality of the film based on the production company's reputation.
Glass animals life itself
This music video tells a story over multiple songs. It begins with pink smoke and introduces the song and artist. The shots are set up to show the surroundings and use zoom shots to increase depth of field. The camera tracks the characters to involve the audience. Editing connects events happening simultaneously. Long takes make the video seem longer as characters appear to be tracked. A close-up of a heart-shaped necklace gives insight into a character's relationship with a young boy. Unclear backgrounds and pull focus create an uncertain tone about who to trust in the car and a woman's connection to the boy.
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The document discusses the music video for the song "Sweater Weather" by the band The Neighbourhood. It describes key elements of the video including that it has a short film style with the band traveling around California rather than strictly performing the song. The video gives each band member equal screen time and has an aesthetic, calm feel shot with a wide lens. Overall, the video presents more as an artistic short film than a typical music video performance.
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The document discusses treatment ideas for a music video for the song "If You Can't Hang" by Sleeping With Sirens. It will include both a performance element, showing the band performing live, as well as a narrative element to further explore the emotions and meaning of the song lyrics. Camera shots and lighting will be used to emphasize both the performance and narrative. The style and costumes will match the pop punk genre, and locations being considered include a live stage, beach, forest, theater, and house.
General codes and conventions of film trailers
1) Film trailers follow certain conventions including showing the film production logo, title, and age certification at certain points.
2) They aim to introduce audiences to the characters, provide clues to the genre through visuals and music, and encourage audiences to follow social media accounts for the film.
3) Trailers vary in length from short "teaser" trailers under 1.5 minutes to full trailers around 2 minutes. They typically showcase parts of the plot and characters while building hype and include the release date to encourage audiences to see the film.
Deconstruction 1: Queen - I Want To Break Free
This video summary analyzes the Queen music video for "I Want to Break Free". It notes that the video tells the story of Freddie Mercury trying to break out of domestic expectations through performance and narrative elements. Unlike typical rock videos, it does not feature on-stage performances. However, it does include close-ups of Freddie and the band as demanded by the record label to promote their image. The video also has strong visual connections to the song's lyrics about desiring freedom from social constraints.
Kanye west ni
This music video for "Ni**as in Paris" by Kanye West and Jay-Z was filmed at a live concert performance to give viewers an immersive experience. Long continuous shots from within the crowd make it feel like the audience is present at the show. While most of the video is in black and white to maintain a consistent style, color is incorporated through flashing lights. Perspectives alternate between the stage and the crowd to give different views of the performance.
Bohemian Rhapsody Music Video Analysis
The Queen music video for "Bohemian Rhapsody" was directed by Bruce Gowers and filmed in 4 hours with a £4,500 budget in 1975. It features shots of the band playing instruments and close-ups of Freddie Mercury singing, reflecting his role as the primary songwriter and vocalist. At over 6 minutes, the video's length was unusually long for the time but helped the song achieve success. It uses lighting, cross-fades, and live footage to create a sense of mystery around the band and draw the viewer in like experiencing a Queen concert.
Allah las catamaran
The music video for the Allah-Las song "Catamaran" uses a grainy filter and square dimensions to give it an older, home video feel. Longer shots that follow the pace of the song help the audience connect to the band. Smoother editing between the longer shots makes the video feel more fluid and immersive.
Moodboard
This document discusses various media that inspired the creator's music video concept. It describes aspects of music videos for Arctic Monkeys' "R U Mine?", Green Day's "Basket Case", and The Black Keys' "Tighten Up" that influenced the creator's aesthetic choices around camerawork, filters, and editing. Scenes from the films "Scott Pilgrim vs The World" and "Control" also provided inspiration for incorporating comic book elements, close instrument shots, and one continuous shot. The creator aims to borrow visual styles while adapting them to suit their story-based video concept.
Introduction to film trailers
The document provides information about film trailers, including what they are, when they are shown, and conventions used in different genres of trailers. It discusses how trailers for action, romantic comedy, and horror films typically employ conventions like fast-paced editing, music, and shots to set the mood and tone for each genre and pique audience interest. Examples are provided for Mission Impossible: Ghost Protocol representing action, It's Kind of a Funny Story for romantic comedy, and Insidious: Chapter 2 for horror.
Audience feedback
The document summarizes audience feedback from a video evaluation. Viewers provided feedback via YouTube comments, Twitter direct messages, and face-to-face interviews. Overall, the feedback was positive. Viewers liked the variety of shots and backgrounds, and how the song lyrics fit the narrative. Most understood the story and thought it flowed well due to transitions and effects. Some suggested improvements like having the female protagonist try to win back the male at the end. Ratings were mostly 8/9 out of 10, praising the clear storyline and editing.
Clay honest
The video uses lyrics on screen with blank backgrounds to emphasize words and give them deeper meaning. It uses both color and black and white footage like many indie music videos. Short takes and jump cuts keep the energetic pace and theme of an old film camera. Repeated shot types create continuity and immerse viewers, making them feel like they see behind-the-scenes footage and develop a relationship with the band. Handheld and first-person shots are stiller to match the slower, relaxed song, but cuts and faster shots match up with increases in song pace. The video also provides home video footage and dates to give insight into the band's younger lives.
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The internet is radically disrupting most of the traditional content distribution and selling models, starting with music and games, followed by TV, film, books and print publishing. Once everyone is always-on, mobile and hyper-connected, and everything is available everywhere, how will content be created, distributed, marketed, consumed, and paid for? Who will do what, for whom, and how will the traditional players such as broadcasters, record labels, publishers and distributors adapt? If new players, starting with telecoms, device makers, advertisers and brands, indeed move into the content business, what will be their challenges and opportunities?
Picture 22 Given the challenging financial climate, how do we reconcile the need to reward enterprise and secure sustainable revenue streams, with the expectations and demands of the “freeconomics” generation? What kind of legal, regulatory and cultural framework do we need to ensure that this new eco-system of creators, consumers and intermediaries generates more benefits for all involved? More http://www.mediafuturist.com/2009/04/the-future-of-content-creativity-my-presentation-at-the-rsa-in-london-april-8.html
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- 2. Relationship between lyrics and video With is this song the most you will have that the lyrics will relate to the video is when they say I found out and it comes to the part were they have the twitter link on the screen. Because of the use of twitter it can easily make the video very successful. This is there to help you as a viewer understand what the song is about and will let you imagine the images that should be on the screen.
- 3. Relationship between music and visuals The music video is very good at keeping the video to the beat of the song. This is good as it will draw the people in to the music. Also this will help them keep the audience exited. This is very amplified music video as the images don’t have much to do with the song but they amplify the song with the twitter links on the screen thought-out the video.
- 4. Relationship between music and visuals The other two that are not in this music video I believe is: Illustrated this is when the music video will use a se of images to illustrate the lyrics or genre. This is done a little with the performance part of the song but I don't fell it dose this a lot. The other is disjuncture which is where the song is completely ignored and the video is random.
- 5. Genre characteristics As you can see with this genre you can notice that is seams to be mostly performance based. This is because they are more concentrating on the fact that they want the audience to feel like they are actually there watching them perform. This is because they are very close to the camera so you can see all of them. As well as this they have little clips thought-out the video to brake up the performance as it might not be for everyone.
- 6. Star image As you can see thought-out this music video there are lots of close ups this is to try and make the singing the main attraction of the video. And this is also done thought the use of when the whole band in on show she is stood in the middle of the shot. This is good a it will allow the audience to feel closer to them and this will help improve the star image.
- 7. Voyeurism There is not much if any voyeurism thought this video but from the shot below you could tell that the female is putting her self in a sexual prospect as she is on the bed undressing. Voyeurism is when they are showing you thought something thought a different image such as thought a camera or cctv.
- 8. Inetertextual Thought-out this video there is some images that show the use of twitter this shows us that they are using twitter to maybe advertise there band. And this can also tell us that you as the audience could use the twitter to communicate with them. So you can see that the use of twitter is also a way to bond with audience as it is the 2nd most used social network site of 2012.