Andrew goodwin’s theory
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Andrew Goodwin identified several key features that distinguish music videos as a form, including a relationship between song lyrics and visuals, the use of voyeurism to attract mostly male audiences, inclusion of intertextual references, record company demands for close-ups of artists, and genre-specific music video styles and icons.
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Andrew goodwin’s theory applied to music videos
Andrew Goodwin published a book called Dancing in the Distraction Factory that analyzed music videos and developed a music theory. His theory proposed that there are relationships between the lyrics and visuals, between the music and visuals, and that record labels demand frequent close-ups of artists, especially female artists shown in a provocative manner. Goodwin also noted that genres have recognizable iconography for artists, references to looking at the audience, and intertextual references within music videos.
Andrew Goodwin Music Video Theory
Andrew Goodwin's book "Dancing in the Distraction Factory" identifies six elements that are commonly featured in music videos. These elements include demonstrating genre characteristics, showing relationships between lyrics and visuals as well as music and visuals, including close ups and motifs of artists per record label demands, treating the female body in a voyeuristic way, and making intertextual references to other media. The book aims to bring these common elements to audiences' attention and assist music video directors in their work.
Andrew goodwin
Music videos can illustrate, amplify, or contradict the lyrics and music of a song. Different genres tend to have their own visual styles that are explicit in their music videos. Successful music videos often include intertextual references, voyeurism, and individual artistic images that develop the artist's persona.
Goodwin Theory
- Andrew Goodwin published the book "Dancing in the Distraction Factory" in 1992 where he made notable observations about music videos.
- Goodwin said that music videos represent the structure, tempo, and genre characteristics of songs visually through techniques like editing, camerawork, and iconography.
- He also noted that music videos serve two main purposes - to tell a story and advertise the song/artist. They aim to be repeatably entertaining without losing audience interest.
Andrew Goodwin
This document summarizes key features of music videos according to Andrew Goodwin's book "Dancing in the Distraction Factory" from 1992. It outlines 6 features of music videos including demonstrating genre characteristics, relating lyrics and visuals, and relating music and visuals. It also notes demands of record labels and references to looking and the female body. The document then lists 5 ways to analyze a music video such as through the structure and voice of the artist in the song, the narrative and performance, the star image, the relationship between visuals and lyrics, and technical aspects.
Andrew goodwin's theory
Andrew Goodwin identifies 6 key aspects of analyzing music videos: 1) The relationship between the music and lyrics, 2) How the visuals represent the lyrics, 3) The relationship between the tone of the music and visuals, 4) Focus on the artist, 5) Intertextual references in other media, and 6) Addressing genre characteristics. He argues that an effective music video clearly connects the music and visuals through themes, atmosphere, and focus on the artist to engage the audience.
Goodwin’s theory applied to Kid Cudi
This document discusses Goodwin's theory on the relationship between lyrics and visuals in music videos. It suggests that lyrics will constantly reference visuals on screen and visuals will reinforce the lyrics. It uses the music video for Kid Cudi's "Pursuit of Happiness" as an example. Genre characteristics like jewelry and narrative concepts are also typically depicted. Notions of gaze and how artists are portrayed are addressed. Record label demands may influence inclusion of promotions. Narrative and conceptual elements are important components of Goodwin's theory.
Question 1
The document discusses the conventions of music videos according to Andrew Goodwin. It summarizes that music videos typically demonstrate genre characteristics, have a relationship between music and visuals in terms of tone and atmosphere, include close-ups of the artist, reference notions of looking, and can include intertextual references. The response then analyzes how the student's own music video conforms to several of these conventions, including having visuals that reflect the tone of the music, including close-ups of the actor's face, and illustrating the overall story or narrative of the song.
Recommended
Andrew goodwin’s theory applied to music videos
Andrew Goodwin published a book called Dancing in the Distraction Factory that analyzed music videos and developed a music theory. His theory proposed that there are relationships between the lyrics and visuals, between the music and visuals, and that record labels demand frequent close-ups of artists, especially female artists shown in a provocative manner. Goodwin also noted that genres have recognizable iconography for artists, references to looking at the audience, and intertextual references within music videos.
Andrew Goodwin Music Video Theory
Andrew Goodwin's book "Dancing in the Distraction Factory" identifies six elements that are commonly featured in music videos. These elements include demonstrating genre characteristics, showing relationships between lyrics and visuals as well as music and visuals, including close ups and motifs of artists per record label demands, treating the female body in a voyeuristic way, and making intertextual references to other media. The book aims to bring these common elements to audiences' attention and assist music video directors in their work.
Andrew goodwin
Music videos can illustrate, amplify, or contradict the lyrics and music of a song. Different genres tend to have their own visual styles that are explicit in their music videos. Successful music videos often include intertextual references, voyeurism, and individual artistic images that develop the artist's persona.
Goodwin Theory
- Andrew Goodwin published the book "Dancing in the Distraction Factory" in 1992 where he made notable observations about music videos.
- Goodwin said that music videos represent the structure, tempo, and genre characteristics of songs visually through techniques like editing, camerawork, and iconography.
- He also noted that music videos serve two main purposes - to tell a story and advertise the song/artist. They aim to be repeatably entertaining without losing audience interest.
Andrew Goodwin
This document summarizes key features of music videos according to Andrew Goodwin's book "Dancing in the Distraction Factory" from 1992. It outlines 6 features of music videos including demonstrating genre characteristics, relating lyrics and visuals, and relating music and visuals. It also notes demands of record labels and references to looking and the female body. The document then lists 5 ways to analyze a music video such as through the structure and voice of the artist in the song, the narrative and performance, the star image, the relationship between visuals and lyrics, and technical aspects.
Andrew goodwin's theory
Andrew Goodwin identifies 6 key aspects of analyzing music videos: 1) The relationship between the music and lyrics, 2) How the visuals represent the lyrics, 3) The relationship between the tone of the music and visuals, 4) Focus on the artist, 5) Intertextual references in other media, and 6) Addressing genre characteristics. He argues that an effective music video clearly connects the music and visuals through themes, atmosphere, and focus on the artist to engage the audience.
Goodwin’s theory applied to Kid Cudi
This document discusses Goodwin's theory on the relationship between lyrics and visuals in music videos. It suggests that lyrics will constantly reference visuals on screen and visuals will reinforce the lyrics. It uses the music video for Kid Cudi's "Pursuit of Happiness" as an example. Genre characteristics like jewelry and narrative concepts are also typically depicted. Notions of gaze and how artists are portrayed are addressed. Record label demands may influence inclusion of promotions. Narrative and conceptual elements are important components of Goodwin's theory.
Question 1
The document discusses the conventions of music videos according to Andrew Goodwin. It summarizes that music videos typically demonstrate genre characteristics, have a relationship between music and visuals in terms of tone and atmosphere, include close-ups of the artist, reference notions of looking, and can include intertextual references. The response then analyzes how the student's own music video conforms to several of these conventions, including having visuals that reflect the tone of the music, including close-ups of the actor's face, and illustrating the overall story or narrative of the song.
Andrew goodwin
Andrew Goodwin published the first book in 1992 analyzing the codes and conventions of music videos after years of research. He identified common elements that many music videos share, such as demonstrating genre characteristics through dance routines, lyrics being illustrated by or contradicting the visuals, and the visuals illustrating or contradicting the music. His research also noted the influence of record labels wanting close-ups of artists and artists developing recurring visual motifs, as well as frequent references to looking and voyeurism of the female body and intertextual references to film and popular culture.
We found love andrew goodwin
Andrew Goodwin is the author of the book "Dancing in the Distraction Factory" where he discusses music television and cultural theory. In the book, he analyzes media aesthetics, critical theory, and pop music. Specifically, he argues that each music video contains six elements: genre characteristics, relationships between lyrics/visuals and music/visuals, record label demands, visual motifs, references to looking, and intertextual references.
Andrew goodwin
Andrew Goodwin identified 6 key features of music videos in his 1992 book "Dancing in the Distraction Factory". He suggests that music videos demonstrate genre characteristics, establish relationships between lyrics and visuals as well as music and visuals, and frequently reference other forms of media. Goodwin also outlined 5 ways to analyze music videos, focusing on thought beats, narrative and performance, the star image, the relationship between visuals and songs, and technical aspects like camera work, editing, and lighting.
Andrew goodwin's theory
Andrew Goodwin identifies 6 key aspects of music videos:
1) Music videos demonstrate genre through iconography.
2) Lyrics are represented through visual images.
3) The tone and atmosphere of the visuals reflect the music.
4) Music videos often feature close-ups of the artist to promote them.
5) There is a voyeuristic treatment of the female body at times.
6) Music videos sometimes reference other media like films or TV.
Goodwin's Theories
Andrew Goodwin was the Director of Music at Bangor Cathedral for 37 years. He created a theory based on the relationship between music and music videos. The theory proposes 7 links that can be shown between the lyrics, music, visuals, and genre characteristics of the video. The record label also influences the video by making demands about how the artist is represented through close-ups and images that identify who the artist is.
Goodwin’s Theory
- Andrew Goodwin identified key features of music videos including relationships between lyrics/music and visuals where visuals illustrate, amplify or contradict the content.
- Relationships are built between visuals, song, and artist to represent and publicize the artist. Voyeurism and intertextuality are also used.
- Music videos often feature the artist looking directly at the camera, creating a personal connection with viewers.
- Visuals can link to lyrics, like pointing to a hand when singing "if you like it you should have put a ring on it." Words also appear on screen to emphasize lyrics.
- Female dancers and locations with many people are common characteristics in this music video genre.
Andrew goodwin
Andrew Goodwin identified 5 key aspects of analyzing music videos:
1) Genre characteristics and how they are portrayed visually
2) The deep relationship between music and accompanying visuals
3) How close-ups of artists are used to promote them
4) How media portrays a certain "star image" of an artist
5) How women are often objectified through the "male gaze"
Andrew goodwin.docx
According to Andrew Goodwin's book, there are several key features that distinguish a successful music video, including a strong relationship between the lyrics and visuals, distinctive styles and imagery for different genres, and frequent close-ups of the main artist. The document discusses how these points are important to consider when creating a music video, as the author and their group plan to incorporate these elements based on their genre of music.
Analysing and features of a music video
Andrew Goodwin identified 6 key features of music videos in his book "Dancing in the Distraction Factory". These include: 1) The relationship between lyrics and visuals, 2) Demonstrating genre characteristics, 3) The relationship between music and visuals, 4) Frequent references to notions of looking, 5) Intertextual references, and 6) The male gaze. Goodwin also outlined 5 ways to analyze music videos, including examining the thought beats/structure of the song, the narrative and performance, the star image, the relationship of visuals to the song, and technical aspects like camerawork, editing, and lighting.
Goodwins theory
The document outlines Goodwin's theory for analyzing music videos, which identifies 6 key elements: genre characteristics, visuals and lyrics, visuals and music, demands of the record label, notions of looking, and intertextuality. It then applies the theory to analyze 3 music videos: Girls Aloud's "Sound of the Underground," focusing on genre characteristics, lyrics/visuals, and music/visuals; Bon Jovi's "Livin' on a Prayer," focusing on lyrics/visuals and music/visuals; and Dr. Dre's "Still D.R.E.," focusing on notions of looking and music/visuals. The conclusion is that while the videos differ in artist/genre,
Andrew goodwin theory
Music videos are essentially advertisements that aim to anchor meaning for songs in viewers' minds. According to Andrew Goodwin, music videos demonstrate genre characteristics through elements like dance routines, ignore common narrative structures, and draw on intertextual references. Goodwin identifies six key features of music videos: they represent lyrics and tone of music visually, cater to record label demands like close-ups of artists, reference looking through devices, and feature recurring visual motifs for artists.
Question 1
- The document discusses Andrew Goodwin's 7 conventions for designing successful music videos: intertextuality, lyrics and visuals, genre, star iconography, close ups, music and visuals, and conventions.
- It provides examples for most conventions to illustrate how real music videos apply each one. For instance, it notes how the music video for "Do I Wanna Know" uses sound waves that match the song's instrumentation.
- The purpose is to analyze how a media product may use, develop, or challenge established conventions in the genre. The document aims to educate on Goodwin's theory for crafting music videos that fit expectations.
Martha presentation1
Andrew Goodwin outlines 6 common codes and conventions in music videos. These include: 1) A relationship between lyrics and visuals, 2) A relationship between music and visuals, 3) Diverse genres and styles, 4) Close-ups of the main artist for promotion, 5) Voyeurism especially in treatment of females, and 6) Intertextual references to other videos or films. The Beyonce "Halo" video follows several of these conventions through its focus on the artist, smooth visuals that flow with the soft music, close-ups of Beyonce, voyeuristic shots of intimacy, and references to Beyonce's other videos.
Goodwins Analyis
Andrew Goodwin analyzed characteristics of music videos in his 1992 writing. He observed that music videos typically demonstrate the genre's characteristics through elements like stage performances or dance routines. Additionally, he noted there is usually a relationship between the visuals and either the song's lyrics or music, whether illustrative, amplifying, or contradictory. Record labels often demand close ups of artists and artists may develop recurring visual motifs in their work.
Music Video Theory
There are five key concepts to understanding music videos: through beats, narrative and performance, star image, relation of visuals to song, and technical aspects. Through beats involves interpreting the music by examining chorus, verses, and the artist's unique voice. Narrative and performance keep audiences interested by having the artist authentically mime or participate. Star image develops over time and influences video production. Relationships between lyrics, music, and visuals; close-ups; voyeurism; and references to other media are also important features. Music videos can interpret songs differently than just listening to lyrics.
Andrew Goodwins theory
1. Music videos often demonstrate genre characteristics through elements like dance routines, lighting, and scene design. For example, pop videos typically feature flashy lighting and materialism while indie videos have a more natural, relatable style.
2. There is usually a relationship between the music, lyrics, and visuals in a video. This can be illustrative, amplifying meanings, or contradictory.
3. Major label artists often include close-ups focusing on the artist as their image is important to their career. Artists may also develop motifs that become recognizable symbols.
Andrew goodwin theory
1) Andrew Goodwin's theory of music videos identifies six key elements: a relationship between lyrics and visuals that illustrate, amplify, or contradict the lyrics; "thought beats" that edit visuals to the music; genre-related styles and icons that establish an artist's brand; multiple close-ups of the main artist to promote their image; voyeurism of female artists; and intertextual references to other media. The document discusses how the student's music video conforms to some elements but not others, focusing on portraying the protagonist's emotions, editing shots to the music, using Polaroid effects as a unique visual style, and including close-ups to promote the new artist.
Goodwins theory
The document summarizes Andrew Goodwin's theory on how lyrics and visuals are linked in music videos. It analyzes a music video and finds that the visuals directly connect to and illustrate the lyrics being sung at various points. Close-ups of the artist are also used throughout to maintain attention on the artist and sell them to the audience. However, the analyzed music video does not contain any intertextual references to other films or videos according to Goodwin's theory.
Andrew goodwin’s theory of music video’s
Andrew Goodwin identified several key aspects of music videos. There is an emphasis on promoting the artist through close-ups and screen time to develop their star image. Narratives in music videos typically ignore common storytelling and focus more on performance to advertise the song. Visuals can either relate directly to the song lyrics, amplify their meaning, or be completely disjointed. Technical elements like lighting, editing, and camera work are also important to engage the audience and make the video look professional. Additionally, the structure of the song and artist's style must be considered to blend visuals and audio seamlessly.
Andrew goodwin - theory
Andrew Goodwin identified 6 key features and 5 ways to analyze music videos. The 6 features are: 1) Demonstrating genre characteristics 2) Having a relationship between lyrics and visuals 3) A relationship between music and visuals 4) Meeting record label demands 5) Frequently using the "male gaze" and voyeurism of the female body 6) Making intertextual references to other media. The 5 ways to analyze are: 1) Examining thought beats and the structure, voice, and mode of address of the song 2) Considering narrative, performance, and believability 3) Analyzing the development of a star's meta narrative 4) Looking at the relationship between music and visuals 5) As
Hitenn q1
The document discusses how the music video challenges conventions of typical rap videos. It incorporates some conventions like camera shots and the artist wearing a baseball cap but does not include stereotypical elements like objectifying women, money, drugs, and gang culture. Instead it focuses on a love story theme and portrays the relationship in a caring, passionate way without degrading or sexualizing the female artist. It aims to attract a mainstream audience by developing the genres of rap and R&B in its storyline and representation of the relationship.
Eval 2
The document discusses how the ancillary texts and music video for a song portray the artist in different ways. The ancillary texts like album covers show the artist as a "street rapper" through images like low camera angles and street clothing. In contrast, the music video shows the artist in a more caring light through images of him in lighter colors and with his girlfriend. Both representations are meant to show different sides of the artist and allow audiences to relate to him in different ways. Elements like the baseball cap are included in both to maintain aspects of his rapper identity.
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Andrew goodwin
Andrew Goodwin published the first book in 1992 analyzing the codes and conventions of music videos after years of research. He identified common elements that many music videos share, such as demonstrating genre characteristics through dance routines, lyrics being illustrated by or contradicting the visuals, and the visuals illustrating or contradicting the music. His research also noted the influence of record labels wanting close-ups of artists and artists developing recurring visual motifs, as well as frequent references to looking and voyeurism of the female body and intertextual references to film and popular culture.
We found love andrew goodwin
Andrew Goodwin is the author of the book "Dancing in the Distraction Factory" where he discusses music television and cultural theory. In the book, he analyzes media aesthetics, critical theory, and pop music. Specifically, he argues that each music video contains six elements: genre characteristics, relationships between lyrics/visuals and music/visuals, record label demands, visual motifs, references to looking, and intertextual references.
Andrew goodwin
Andrew Goodwin identified 6 key features of music videos in his 1992 book "Dancing in the Distraction Factory". He suggests that music videos demonstrate genre characteristics, establish relationships between lyrics and visuals as well as music and visuals, and frequently reference other forms of media. Goodwin also outlined 5 ways to analyze music videos, focusing on thought beats, narrative and performance, the star image, the relationship between visuals and songs, and technical aspects like camera work, editing, and lighting.
Andrew goodwin's theory
Andrew Goodwin identifies 6 key aspects of music videos:
1) Music videos demonstrate genre through iconography.
2) Lyrics are represented through visual images.
3) The tone and atmosphere of the visuals reflect the music.
4) Music videos often feature close-ups of the artist to promote them.
5) There is a voyeuristic treatment of the female body at times.
6) Music videos sometimes reference other media like films or TV.
Goodwin's Theories
Andrew Goodwin was the Director of Music at Bangor Cathedral for 37 years. He created a theory based on the relationship between music and music videos. The theory proposes 7 links that can be shown between the lyrics, music, visuals, and genre characteristics of the video. The record label also influences the video by making demands about how the artist is represented through close-ups and images that identify who the artist is.
Goodwin’s Theory
- Andrew Goodwin identified key features of music videos including relationships between lyrics/music and visuals where visuals illustrate, amplify or contradict the content.
- Relationships are built between visuals, song, and artist to represent and publicize the artist. Voyeurism and intertextuality are also used.
- Music videos often feature the artist looking directly at the camera, creating a personal connection with viewers.
- Visuals can link to lyrics, like pointing to a hand when singing "if you like it you should have put a ring on it." Words also appear on screen to emphasize lyrics.
- Female dancers and locations with many people are common characteristics in this music video genre.
Andrew goodwin
Andrew Goodwin identified 5 key aspects of analyzing music videos:
1) Genre characteristics and how they are portrayed visually
2) The deep relationship between music and accompanying visuals
3) How close-ups of artists are used to promote them
4) How media portrays a certain "star image" of an artist
5) How women are often objectified through the "male gaze"
Andrew goodwin.docx
According to Andrew Goodwin's book, there are several key features that distinguish a successful music video, including a strong relationship between the lyrics and visuals, distinctive styles and imagery for different genres, and frequent close-ups of the main artist. The document discusses how these points are important to consider when creating a music video, as the author and their group plan to incorporate these elements based on their genre of music.
Analysing and features of a music video
Andrew Goodwin identified 6 key features of music videos in his book "Dancing in the Distraction Factory". These include: 1) The relationship between lyrics and visuals, 2) Demonstrating genre characteristics, 3) The relationship between music and visuals, 4) Frequent references to notions of looking, 5) Intertextual references, and 6) The male gaze. Goodwin also outlined 5 ways to analyze music videos, including examining the thought beats/structure of the song, the narrative and performance, the star image, the relationship of visuals to the song, and technical aspects like camerawork, editing, and lighting.
Goodwins theory
The document outlines Goodwin's theory for analyzing music videos, which identifies 6 key elements: genre characteristics, visuals and lyrics, visuals and music, demands of the record label, notions of looking, and intertextuality. It then applies the theory to analyze 3 music videos: Girls Aloud's "Sound of the Underground," focusing on genre characteristics, lyrics/visuals, and music/visuals; Bon Jovi's "Livin' on a Prayer," focusing on lyrics/visuals and music/visuals; and Dr. Dre's "Still D.R.E.," focusing on notions of looking and music/visuals. The conclusion is that while the videos differ in artist/genre,
Andrew goodwin theory
Music videos are essentially advertisements that aim to anchor meaning for songs in viewers' minds. According to Andrew Goodwin, music videos demonstrate genre characteristics through elements like dance routines, ignore common narrative structures, and draw on intertextual references. Goodwin identifies six key features of music videos: they represent lyrics and tone of music visually, cater to record label demands like close-ups of artists, reference looking through devices, and feature recurring visual motifs for artists.
Question 1
- The document discusses Andrew Goodwin's 7 conventions for designing successful music videos: intertextuality, lyrics and visuals, genre, star iconography, close ups, music and visuals, and conventions.
- It provides examples for most conventions to illustrate how real music videos apply each one. For instance, it notes how the music video for "Do I Wanna Know" uses sound waves that match the song's instrumentation.
- The purpose is to analyze how a media product may use, develop, or challenge established conventions in the genre. The document aims to educate on Goodwin's theory for crafting music videos that fit expectations.
Martha presentation1
Andrew Goodwin outlines 6 common codes and conventions in music videos. These include: 1) A relationship between lyrics and visuals, 2) A relationship between music and visuals, 3) Diverse genres and styles, 4) Close-ups of the main artist for promotion, 5) Voyeurism especially in treatment of females, and 6) Intertextual references to other videos or films. The Beyonce "Halo" video follows several of these conventions through its focus on the artist, smooth visuals that flow with the soft music, close-ups of Beyonce, voyeuristic shots of intimacy, and references to Beyonce's other videos.
Goodwins Analyis
Andrew Goodwin analyzed characteristics of music videos in his 1992 writing. He observed that music videos typically demonstrate the genre's characteristics through elements like stage performances or dance routines. Additionally, he noted there is usually a relationship between the visuals and either the song's lyrics or music, whether illustrative, amplifying, or contradictory. Record labels often demand close ups of artists and artists may develop recurring visual motifs in their work.
Music Video Theory
There are five key concepts to understanding music videos: through beats, narrative and performance, star image, relation of visuals to song, and technical aspects. Through beats involves interpreting the music by examining chorus, verses, and the artist's unique voice. Narrative and performance keep audiences interested by having the artist authentically mime or participate. Star image develops over time and influences video production. Relationships between lyrics, music, and visuals; close-ups; voyeurism; and references to other media are also important features. Music videos can interpret songs differently than just listening to lyrics.
Andrew Goodwins theory
1. Music videos often demonstrate genre characteristics through elements like dance routines, lighting, and scene design. For example, pop videos typically feature flashy lighting and materialism while indie videos have a more natural, relatable style.
2. There is usually a relationship between the music, lyrics, and visuals in a video. This can be illustrative, amplifying meanings, or contradictory.
3. Major label artists often include close-ups focusing on the artist as their image is important to their career. Artists may also develop motifs that become recognizable symbols.
Andrew goodwin theory
1) Andrew Goodwin's theory of music videos identifies six key elements: a relationship between lyrics and visuals that illustrate, amplify, or contradict the lyrics; "thought beats" that edit visuals to the music; genre-related styles and icons that establish an artist's brand; multiple close-ups of the main artist to promote their image; voyeurism of female artists; and intertextual references to other media. The document discusses how the student's music video conforms to some elements but not others, focusing on portraying the protagonist's emotions, editing shots to the music, using Polaroid effects as a unique visual style, and including close-ups to promote the new artist.
Goodwins theory
The document summarizes Andrew Goodwin's theory on how lyrics and visuals are linked in music videos. It analyzes a music video and finds that the visuals directly connect to and illustrate the lyrics being sung at various points. Close-ups of the artist are also used throughout to maintain attention on the artist and sell them to the audience. However, the analyzed music video does not contain any intertextual references to other films or videos according to Goodwin's theory.
Andrew goodwin’s theory of music video’s
Andrew Goodwin identified several key aspects of music videos. There is an emphasis on promoting the artist through close-ups and screen time to develop their star image. Narratives in music videos typically ignore common storytelling and focus more on performance to advertise the song. Visuals can either relate directly to the song lyrics, amplify their meaning, or be completely disjointed. Technical elements like lighting, editing, and camera work are also important to engage the audience and make the video look professional. Additionally, the structure of the song and artist's style must be considered to blend visuals and audio seamlessly.
Andrew goodwin - theory
Andrew Goodwin identified 6 key features and 5 ways to analyze music videos. The 6 features are: 1) Demonstrating genre characteristics 2) Having a relationship between lyrics and visuals 3) A relationship between music and visuals 4) Meeting record label demands 5) Frequently using the "male gaze" and voyeurism of the female body 6) Making intertextual references to other media. The 5 ways to analyze are: 1) Examining thought beats and the structure, voice, and mode of address of the song 2) Considering narrative, performance, and believability 3) Analyzing the development of a star's meta narrative 4) Looking at the relationship between music and visuals 5) As
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Hitenn q1
The document discusses how the music video challenges conventions of typical rap videos. It incorporates some conventions like camera shots and the artist wearing a baseball cap but does not include stereotypical elements like objectifying women, money, drugs, and gang culture. Instead it focuses on a love story theme and portrays the relationship in a caring, passionate way without degrading or sexualizing the female artist. It aims to attract a mainstream audience by developing the genres of rap and R&B in its storyline and representation of the relationship.
Eval 2
The document discusses how the ancillary texts and music video for a song portray the artist in different ways. The ancillary texts like album covers show the artist as a "street rapper" through images like low camera angles and street clothing. In contrast, the music video shows the artist in a more caring light through images of him in lighter colors and with his girlfriend. Both representations are meant to show different sides of the artist and allow audiences to relate to him in different ways. Elements like the baseball cap are included in both to maintain aspects of his rapper identity.
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The document contains responses from several individuals regarding ancillary texts created for a rap artist. Responders generally felt the texts looked professional for the genre and could be commercially successful. Specifically, they thought the poster personalized the artist while appealing to rap fans, and the images across the texts properly represented the artist as a rapper and maintained a consistent style. A few minor issues were noted, like one image being too large or one design having too much complexity. Overall, the ancillary texts were seen as cohesive and effectively promoting the artist and music.
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To create their music video and ancillary texts, the student used new media technologies like video cameras, Adobe Premiere Pro, Bandicam, Microsoft Office, YouTube, blogs, and slideshare. Initial research involved using YouTube to find conventions in other music videos. A video camera was used to film footage and vox pops which were edited in Premiere Pro and uploaded to YouTube and blogs. Adobe Premiere Pro was the primary software used to edit the music video. Bandicam recorded screen activity while editing. Blogs organized and shared all files and uploads. Slideshare and Microsoft Office were used to create and share presentations.
Evaluation 4
To create their music video and ancillary texts, the student used new media technologies like video cameras, Adobe Premiere Pro, Bandicam, Microsoft Office, YouTube, blogs, and slideshare. Initial research involved using YouTube to study other music videos. A video camera was used to film footage and vox pops which were edited in Adobe Premiere Pro and uploaded to YouTube and blogs. Blogger was important for organizing files and tracking progress. Adobe Premiere Pro, Bandicam and Microsoft Office were used to edit videos, screen record editing processes, and type documents.
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The document discusses various equipment used in producing a music video, including editing software like First Cut (which allows special effects but only works on iMacs), Adobe Premier (which made editing easier), a Tri-caster studio (which adds effects and supports green screen use), a green screen (to add effects and manipulate footage), a tripod and video camera (to record footage professionally), and an iMac computer (to use First Cut software).
Props for video
The document proposes props and locations for a music video for the artist ST and his track "Somehow, someway." It suggests including a male, possibly up to two females, and filming in central London, Wembley, and a bedroom. For clothing, it considers jeans, t-shirts, jackets, and casual wear to portray a natural relationship between ST and his girlfriend and subvert stereotypes of rappers. Key locations mentioned are a bedroom, possibly of a group member or hotel, and central London to show ST reminiscing about memories with his girlfriend.
Questionnaire analysis
The document summarizes the results of a questionnaire about music video preferences. It found that the target audience is 16-18 year olds, who prefer hip hop genres. Most respondents preferred a performance-based music video over narrative. The majority said they would be more likely to buy a song if they liked the music video. Most expected to see a positive representation of women in music videos that both challenges and reinforces stereotypes.
Chosen images
This document summarizes the rationale for images chosen for different parts of a magazine. An image was selected for the front cover that features striking clothing relating to the theme and would attract audiences. For the content page, an image depicts the culture and tradition of Bollywood music through instruments and characters. A double page spread was picked that is unique, shows traditional clothing and instruments, and reflects the magazine's theme of Bollywood.
Q2(1)
The document discusses how a media product represents 17-24 year olds. It uses colloquial language to appeal to this age range but limits it to also include 22-24 year olds. Images in the product like people playing a dhool instrument and being outside reinforce this group's energy and rebellious side. Fonts and colors used also relate to this group's familiarity with Asian music and fashion.
Q7
The document reflects on the learning process from the preliminary task of creating a magazine cover to the final product. For the preliminary cover, the main image was well-focused but there were too many colors making it confusing. However, it helped understand Photoshop tools and research magazine conventions. The final cover addressed these issues by having only 3 colors, positioning the image and details properly. Creating the preliminary contents page similarly helped understand magazine layouts better, but the final version included additional standard elements like an editorial, front cover copy, and website that were missing originally.
Q1
My media product uses several forms and conventions of typical music magazines, such as including a masthead, cover story, issue number, and price on the front cover. The contents page also includes standard features like month/year, images, page numbers, and website address. However, my double page spread only uses one central image rather than multiple images seen in real magazines, in order to focus the reader's attention and still provide a visual aid. While most conventions are followed, this challenges a common real magazine format.
Q5(1)
The document discusses how the magazine cover attracts and addresses its target audience. Specifically, it uses:
1) Direct address through photos and language to make the audience feel involved.
2) Persuasive techniques like rhetorical questions and alliteration to entice readers.
3) Repetition of words like "backstage" to convince readers this is their preferred choice over competitors.
4) Relatable images of artists to help audiences identify with them but also want to emulate their success.
Q7
Looking back at my preliminary task compared to the full music magazine, I have learned many new skills in Photoshop and in magazine design and layout. For the preliminary task, the design lacked creativity and color, with poorly positioned text and unused space. However, in creating the full magazine I learned about composition, layout, and utilized space better with professional finishes like varied colors, sell lines, and well-cut images. My skills in areas like cutting, use of space, and overall design improved greatly between the two works.
Q6
The document discusses various technology programs used for a magazine production project, including Photoshop for image editing and layout, Divshare for uploading audio files online, Slideshare for storing PowerPoint presentations, and Blogger for creating a blog to post content, pictures and videos. Microsoft Word and PowerPoint were also regularly used for typing up and presenting work. Adobe Audition was additionally utilized to easily edit audio recordings from focus groups by removing laughter and background noises.
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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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The Origins of the Dwayne Johnson Kidnapping Saga
Dwayne Johnson: A Brief Background
Before discussing the specifics of the kidnapping. it is crucial to understand who Dwayne Johnson is and why his kidnapping would be so significant. Born May 2, 1972, Dwayne Douglas Johnson is an American actor, producer, businessman. and former professional wrestler. Known by his ring name, "The Rock," he gained fame in the World Wrestling Federation (WWF, now WWE) before transitioning to a successful career in Hollywood.
Johnson's filmography includes blockbuster hits such as "The Fast and the Furious" series, "Jumanji," "Moana," and "San Andreas." His charismatic personality, impressive physique. and action-star status have made him a beloved figure worldwide. Thus, the news of his kidnapping would send shockwaves across the globe.
Setting the Scene: The Day of the Kidnapping
The incident of Dwayne Johnson's kidnapping began on an ordinary day. Johnson was filming his latest high-octane action film set to break box office records. The location was a remote yet scenic area. chosen for its rugged terrain and breathtaking vistas. perfect for the film's climactic scenes.
But, beneath the veneer of normalcy, a sinister plot was unfolding. Unbeknownst to Johnson and his team, a group of criminals had planned his abduction. hoping to leverage his celebrity status for a hefty ransom. The stage was set for an event that would soon dominate worldwide headlines and social media feeds.
The Abduction: Unfolding the Dwayne Johnson Kidnapping
The Moment of Capture
On the day of the kidnapping, everything seemed to be proceeding as usual on set. Johnson and his co-stars and crew were engrossed in shooting a particularly demanding scene. As the day wore on, the production team took a short break. providing the kidnappers with the perfect opportunity to strike.
The abduction was executed with military precision. A group of masked men, armed and organized, infiltrated the set. They created chaos, taking advantage of the confusion to isolate Johnson. Johnson was outnumbered and caught off guard despite his formidable strength and fighting skills. The kidnappers overpowered him, bundled him into a waiting vehicle. and sped away, leaving everyone on set in a state of shock and disbelief.
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Andrew goodwin’s theory
- 1. Andrew Goodwin’s Theory Dancing in the Distraction Factory, Andrew Goodwin identified a number of key features which distinguish music video as a form.
- 2. Goodwin identified that there is a relationship between the lyrics of the song and the visuals being the music video Voyeurism is more likely to be used in music video’s to raise the attractiveness to the audience which is normally targeted to the male audienceThere is more of a likelihood that intertextual reference's will be made with the music videoThere is a demand from the record company to use lots of close ups of the main artistDifferent types of genres have their own music video style and iconography, i.e for rap ; women, club scenes ect.