Application of andrew goodwin and genre theories
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The document discusses Britney Spears' "Toxic" music video through the lens of genre theories and star image theory. It analyzes the prominent portrayal of the female body and how this exploits the female form to engage male viewers. This aligns with Andrew Goodwin's star image theory in how it presents Britney Spears as a sexual icon. The music video also employs typical pop music video conventions like vibrant colors, choreographed dancing, and synchronization of the visuals with lyrics. Additionally, it references the film "Mission Impossible" to position Britney Spears as strong and powerful like the heroic Tom Cruise.
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Application of andrew goodwin and genre theories
The document discusses Britney Spears' music video for "Toxic" and analyzes it through genre and film theories. It notes that the video prominently displays Britney's body in minimal, provocative outfits, exemplifying Andrew Goodwin's "star image" theory by portraying her as a sexual icon. It also analyzes genre conventions like vibrant colors, choreographed dancing, and lyrics that match the on-screen actions. Additionally, it discusses how the video references the film "Mission Impossible" through one scene, drawing an intertextual connection meant to portray Britney as strong and powerful like the film's hero Tom Cruise.
Plan b she said
Plan B's "She Said" music video uses cinematic techniques to tell a narrative that matches the song and draws attention to the music. The video begins with a flashback of Plan B meeting a girl, shown through slow motion. Scenes then cut between this flashback and Plan B on trial in a courtroom. Editing techniques like jump cuts on the beat are used to introduce the jury and build tension. Plan B testifies his case, and the video matches lyrics to scenes. When Plan B raps, the editing and jury's movements match the faster tempo. Through these techniques, the video engages the audience in the story and marketing of the song.
Application of andrew goodwin and genre theories 2
The document analyzes the music video for "Arabella" by Arctic Monkeys. It discusses how the video prominently features the female body and male gaze. It also notes how the video follows conventions of indie music videos by having a low-budget, black-and-white, shaky camera style that focuses on the band. While there are some connections between the lyrics and visuals, like scenes of smoking when the lyrics mention cigarettes, most of the video simply shows the band singing. The document concludes by explaining how the video references old film noir styles to add a mysterious, romantic element that fits with the song's themes.
Media presentation
Britney Spears is an American singer known for her extravagant and sometimes shocking music videos. Her early videos like "Baby One More Time" and "Oops I Did It Again" featured sexy outfits and lyrics that portrayed her as innocent yet seductive. Her later video "Ooh La La" had a more child-friendly image as she smiled more and dressed respectfully. Her recent video "Work B**ch" showed a return to her original image as a successful independent woman rather than focusing on her looks to attract men. Overall, Britney's music videos have transformed along with changes in her audience and style over the years.
Britney spears
1) The music video for Britney Spears' song "Toxic" depicts her transition from childhood to adulthood through more explicit lyrics and sexual imagery compared to her previous Disney career.
2) It uses rapid editing and Britney's skilled dancing to represent the fast pace of her life and career.
3) Britney is the central focus of the video through many close-ups that highlight her body and selling points of sexuality and desire to escape the pressures of fame.
7. theories of production
The document discusses several theories that are present in Lady Gaga's music video for "Telephone" including narcissism, intertextual referencing, homage, and bricolage. Narcissism is shown through Gaga's revealing clothing and intimate dance routine. Intertextual referencing is demonstrated through similarities to movie credits and the film Jackie Brown. Homage is paid through the use of a car from Kill Bill, though the director said the video was not meant to mirror Kill Bill. Bricolage involves borrowing from other media, like Gaga using poison to challenge gender stereotypes.
Toxic analysis
Britney Spears' music video for "Toxic" shows her transition from a Disney star into a mature woman. Through various costume changes that showcase her sexuality and imply danger, she escapes her previous innocent image. One scene depicts her climbing a building in dark clothes to poison a man, representing her struggle in the industry. The video focuses solely on Britney through close-ups and shots that emphasize her body. Editing matches the fast beat of the song to keep the style rapid and consistent with the lyrics.
Britney Spears-Toxic analysis
This document analyzes the music video for Britney Spears' song "Toxic". It discusses several elements of the video including the fast tempo matching Britney's thoughts, sexual references in the lyrics appealing to her teenage fan base, Britney using dancing and revealing costumes to showcase her sexuality and growing up, and rapid editing mirroring the beat of the song. The video portrays Britney as a spy manipulating men with her sexuality to get what she wants.
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Application of andrew goodwin and genre theories
The document discusses Britney Spears' music video for "Toxic" and analyzes it through genre and film theories. It notes that the video prominently displays Britney's body in minimal, provocative outfits, exemplifying Andrew Goodwin's "star image" theory by portraying her as a sexual icon. It also analyzes genre conventions like vibrant colors, choreographed dancing, and lyrics that match the on-screen actions. Additionally, it discusses how the video references the film "Mission Impossible" through one scene, drawing an intertextual connection meant to portray Britney as strong and powerful like the film's hero Tom Cruise.
Plan b she said
Plan B's "She Said" music video uses cinematic techniques to tell a narrative that matches the song and draws attention to the music. The video begins with a flashback of Plan B meeting a girl, shown through slow motion. Scenes then cut between this flashback and Plan B on trial in a courtroom. Editing techniques like jump cuts on the beat are used to introduce the jury and build tension. Plan B testifies his case, and the video matches lyrics to scenes. When Plan B raps, the editing and jury's movements match the faster tempo. Through these techniques, the video engages the audience in the story and marketing of the song.
Application of andrew goodwin and genre theories 2
The document analyzes the music video for "Arabella" by Arctic Monkeys. It discusses how the video prominently features the female body and male gaze. It also notes how the video follows conventions of indie music videos by having a low-budget, black-and-white, shaky camera style that focuses on the band. While there are some connections between the lyrics and visuals, like scenes of smoking when the lyrics mention cigarettes, most of the video simply shows the band singing. The document concludes by explaining how the video references old film noir styles to add a mysterious, romantic element that fits with the song's themes.
Media presentation
Britney Spears is an American singer known for her extravagant and sometimes shocking music videos. Her early videos like "Baby One More Time" and "Oops I Did It Again" featured sexy outfits and lyrics that portrayed her as innocent yet seductive. Her later video "Ooh La La" had a more child-friendly image as she smiled more and dressed respectfully. Her recent video "Work B**ch" showed a return to her original image as a successful independent woman rather than focusing on her looks to attract men. Overall, Britney's music videos have transformed along with changes in her audience and style over the years.
Britney spears
1) The music video for Britney Spears' song "Toxic" depicts her transition from childhood to adulthood through more explicit lyrics and sexual imagery compared to her previous Disney career.
2) It uses rapid editing and Britney's skilled dancing to represent the fast pace of her life and career.
3) Britney is the central focus of the video through many close-ups that highlight her body and selling points of sexuality and desire to escape the pressures of fame.
7. theories of production
The document discusses several theories that are present in Lady Gaga's music video for "Telephone" including narcissism, intertextual referencing, homage, and bricolage. Narcissism is shown through Gaga's revealing clothing and intimate dance routine. Intertextual referencing is demonstrated through similarities to movie credits and the film Jackie Brown. Homage is paid through the use of a car from Kill Bill, though the director said the video was not meant to mirror Kill Bill. Bricolage involves borrowing from other media, like Gaga using poison to challenge gender stereotypes.
Toxic analysis
Britney Spears' music video for "Toxic" shows her transition from a Disney star into a mature woman. Through various costume changes that showcase her sexuality and imply danger, she escapes her previous innocent image. One scene depicts her climbing a building in dark clothes to poison a man, representing her struggle in the industry. The video focuses solely on Britney through close-ups and shots that emphasize her body. Editing matches the fast beat of the song to keep the style rapid and consistent with the lyrics.
Britney Spears-Toxic analysis
This document analyzes the music video for Britney Spears' song "Toxic". It discusses several elements of the video including the fast tempo matching Britney's thoughts, sexual references in the lyrics appealing to her teenage fan base, Britney using dancing and revealing costumes to showcase her sexuality and growing up, and rapid editing mirroring the beat of the song. The video portrays Britney as a spy manipulating men with her sexuality to get what she wants.
Toxic analysis
The song "Toxic" portrays Britney Spears moving into more mature subject matter compared to her previous teenage-oriented music. The lyrics suggest drug use and a sexual theme. The up-tempo dance music and fast editing of the music video continue Britney's genre. Britney's dancing is more sexually suggestive as she gets close to males. Her outfits also indicate a more mature nature. The video focuses on Britney through close-ups and mid-shots to make her the main focus. It follows a narrative of Britney as a female spy using her sexuality to complete missions while trying to escape and be free.
Britney Spears Music Video Analysis
The document analyzes Britney Spears' music video for "Toxic" through various textual and film theories. It discusses how the lyrics, music, camerawork, editing, narrative elements, and costumes in the video help establish Britney's new sexualized image and brand herself as an adult pop star moving past her previous squeaky clean image from Disney. The video also demonstrates several music video theories around how the visuals relate to and illustrate the lyrics, music, and narrative of the song.
Britney spears toxic
The Britney Spears music video for "Toxic" tells a narrative story through her transformations from an innocent air hostess to an action figure character portraying the song's toxic theme. It uses both diegetic sounds like birds at the end and non-diegetic sounds like the song itself. Britney wears costumes fitting each scene - an air hostess outfit, a provocative second outfit, and an action-inspired motorbike outfit. The camera uses establishing shots, close-ups emphasizing Britney's actions, and wide shots with her as the focus. Special effects are used for an explosive scene to duplicate her action figure persona and create a futuristic feel.
Britney spears
The document analyzes Britney Spears' music video for "Toxic" through the lens of genre, mise-en-scene, camera work, editing, star image, and voyeurism. It notes that the video emphasizes Britney's dance moves and sexuality through revealing costumes like a nude outfit and short air hostess uniform. Freedom and escape are also themes, represented by props like a motorcycle and plane. The camera focuses solely on Britney through close-ups and mid-shots to maintain her as the central focus. The editing moves quickly to match the song's pace. Britney uses her body and sexuality to build her star image and appeal to both her target audience and the male gaze.
7. theories of production
The document discusses several theories that are present in Lady Gaga's music video for "Telephone" including narcissism, intertextual referencing, homage, and bricolage. Narcissism is shown through Gaga's revealing clothing and intimate dance routine. Intertextual references include credits styled like a movie and text similar to the film Jackie Brown. Homage is paid through a car from Kill Bill and a killing spree mirroring a Quentin Tarantino film. Bricolage is when Gaga adds poison to a sandwich challenging gender stereotypes and uses food items as artistic devices. The theories demonstrated provide ideas for creating meaningful music videos that promote the artist.
Film Director- MUSIC VIDEOS
David Fincher is an American film director and music video director known for films like The Curious Case of Benjamin Button and The Social Network. He has directed several acclaimed music videos for artists like Madonna ("Express Yourself", "Oh Father", "Vogue") and Justin Timberlake ("Suit & Tie"). The music video for Madonna's "Bad Girl" and Justin Timberlake's "Suit & Tie" were both directed by Fincher, known for his stylish and cinematic visuals in music videos and films.
All the Small Things Music Video Analysis
The music video for Blink 182's "All the Small Things" both tells a story and shows the band performing. It parodies and references many popular 1990s artists like the Backstreet Boys, NSYNC, Britney Spears, and Christina Aguilera through recreating scenes from their music videos. Throughout the video, Blink 182 mocks the stereotypes of other bands and genres through quick cuts and references to make the scenes comedic. The band conveys that they are not a typical boy band through their unconventional style, music, and humor in their video.
Blink 182 All The Small Things Analysis
The music video for "All The Small Things" by Blink 182 challenges conventions of the alternative pop/rock genre in several ways. It features costume and location choices that mock other mainstream bands. Throughout the video, the band mimics the style of more conventional bands like Backstreet Boys to emphasize how they disregard genre norms. The use of bright colors and large audiences in the video also subvert expectations for an alternative band.
New50 cent(lin)
Curtis "50 Cent" Jackson began his career in hip hop after being shot nine times in 2000. His early image in videos like "P.I.M.P" from 2003 portrayed stereotypical traits of someone from the hood, presenting him as a thuggish pimp. 50 Cent established his star through videos that played into characters centered around aspects of his background, portraying a street-wise persona in songs like "Glow of a Thug" that reflected how he had to act growing up.
Issues Surrounding Music Videos
The document discusses issues surrounding potentially inappropriate or controversial content in music videos, such as nudity, sexuality, religious imagery, and violence. It provides several examples of music videos from various artists over time that faced criticism or bans due to such content, including Blurred Lines by Robin Thicke, Girls on Film by Duran Duran, and Like a Prayer by Madonna. The document emphasizes that when planning a music video, one needs to consider these types of content issues to avoid potential backlash or restrictions on the video's popularity and accessibility.
Theories for production
The document discusses various theories of production seen in Lady Gaga's music video for "Telephone" including narcissism, intertextual referencing, homage, bricolage, and reflection. Narcissism is shown through Gaga's revealing clothing and intimate dance routine. Intertextual references include credits mimicking a movie format and font/text similarities to Jackie Brown. Homage is paid through elements borrowed from Kill Bill like the "pussy wagon" car. Bricolage involves using household items like poisoned sandwiches and wonder bread to challenge gender stereotypes. Upon reflection, the video both references fictional genres and pays homage through its postmodern blending of styles and texts.
Music videos analysis
This document summarizes and discusses several music videos:
1. "The Take Over, The Breaks Over" by Fall Out Boy, which uses a white background to portray the band's image and includes long shots of the full band and medium shots of lead members.
2. "The Pretender" by Foo Fighters, which shows the band simply playing in a hall and relates the lyrics to the performance. It depicts Dave Grohl taunting police to a battle-like effect.
3. "I Feel Like Dancing" by All Time Low, which parodies typical staged music videos through ironic product placement, sex, and stealing other artists' ideas. It focuses on the physical performance of lip
Billie jean analysis
Michael Jackson's 1982 music video for "Billie Jean" is considered one of the best pop music videos ever made. The video depicts Jackson being stalked by a man trying to prove that Jackson is the father of Billie Jean's child, mirroring the song's lyrics. Through his innovative dancing, Jackson entertains viewers and influenced many later artists. The video is performance-based, with the camera focused solely on Jackson's moves, and tells a narrative story about a woman lying to try to get famous off of Jackson. Overall, the video emphasizes the pop and R&B genres through its upbeat sound and dancing, and creates a strong relationship between its lyrics and visuals.
Added Value
Music videos can help boost the success of songs by increasing views, publicity, sales and downloads. Sinead O'Connor's cover of "Nothing Compares 2 U" became more successful than Prince's original version due to her iconic music video, which featured close-ups of her crying and walking in a garden in black clothing. The video won several awards despite its gloomy and repetitive nature. Similarly, A-ha's "Take On Me" gained popularity in the US and UK through its innovative music video featuring animated sequences, which was groundbreaking at the time and helped expose the song on MTV.
Media Studies A2 - Director Research and Comparrison
This document provides information about directors David Fincher and Nigel Dick and compares their styles. It notes that Fincher tends to focus on either narrative or performance styles in his music videos, while Dick uses more cinematic and dance number styles. It analyzes some of their music videos and finds that Dick varies his style more depending on the genre of music, while Fincher's older videos were more narrative-focused but his newer ones feature more performance-based styles. Both directors represent women in revealing clothing at times in their videos. Overall, the document suggests that Dick's more flexible directorial style between genres would be better to follow for a final project.
Britney spears – Toxic
The document provides an analysis of Britney Spears' 2003 music video for her song "Toxic". It summarizes that the video portrayed Spears as a sexualized object through tight outfits and camera focus on her body. It was a dance-pop video featuring quick cuts that followed Spears' high-tempo choreography between scenes set on a plane and other locations. The video was influential in portraying Spears' star image and sexuality, drawing inspiration from shows like Alias and comics at the time.
'All the small things' presentation
Blink 182's music video for "All The Small Things" parodies and mocks conventions of boy band music videos from the late 1990s, particularly The Backstreet Boys. Though the song's lyrics are about relationships, the video humorously portrays Blink 182 as a boy band through exaggerated costumes, poses, and settings that mimic other popular artists. While spoofing these genres, the video also uses techniques like close-ups and shots of adoring fans to promote Blink 182's own star image and popularity. Overall, the video lampoons boy band cliches in a way that still resonates with audiences today.
Music vid presentation
The music video for "Next to You" by Chris Brown featuring Justin Bieber was produced by the songwriting and production team The Messengers and was released on March 22, 2011. It was directed by Colin Tilley and filmed at Universal Studios in Los Angeles. The video tells the story of Brown and Bieber interacting with their girlfriends before an apocalyptic event occurs, separating the couples. Brown searches for and rescues his girlfriend amid the destruction. Interspersed are scenes of Brown and Bieber dancing as the buildings collapse around them.
David fincher
David Fincher is an American film and music video director. He began making films and videos at a young age. Notable early works include music videos for Madonna's "Vogue" and Michael Jackson's "Who Is It." "Vogue" is considered a seminal music video that helped popularize voguing dances. It featured Madonna and dancers performing in an art deco style. "Who Is It" told a story through its video of Jackson singing about relationship troubles. Both videos were commercially successful and received critical acclaim, with "Vogue" being recognized as one of the greatest music videos ever made.
Blink 182 - All The Small Things
The document summarizes common conventions in pop punk band music videos, such as genre-related styles, close-ups of the vocalist, and references to other music videos. It then discusses how All Time Low's "Dear Maria, Count Me In" video parodies many of these boy band video conventions through humor, acting out the song's lyrics, while also including some typical scenes. The video provides a relationship between the visuals and lyrics of the song.
How a star's Image develops over time through music videos
Britney Spears' star image has evolved significantly over her career from her debut as an innocent schoolgirl to a sexualized pop star to now portraying herself as a responsible mother. Her early music videos like "Baby One More Time" portrayed her as young and naive through her schoolgirl outfit and pigtails, while later videos like "Piece of Me" and "Toxic" increasingly sexualized her image. More recently, her 2013 video for "Oh La La" showed her star image changing to focus on motherhood as it featured her two sons. Overall, the document analyzes how Britney Spears' portrayals across her music videos have shaped her shifting star image over the years from innocent to sexualized to now
Toxic music video analysis
The document analyzes Britney Spears' 2003 music video for "Toxic" through the lenses of genre, cinematography, editing, lyrics, intertextuality, narrative, performance, star image, voyeurism, and the male gaze. It notes the revealing costumes portraying an air stewardess, spy, and leather-clad character. Shots include close-ups highlighting Britney's body and lipsyncing. The lyrics imply addiction and danger. The video draws from influences like "Kiss Kiss" while establishing Britney's provocative star image through sexualized camerawork aimed at appealing to the male gaze.
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Toxic analysis
The song "Toxic" portrays Britney Spears moving into more mature subject matter compared to her previous teenage-oriented music. The lyrics suggest drug use and a sexual theme. The up-tempo dance music and fast editing of the music video continue Britney's genre. Britney's dancing is more sexually suggestive as she gets close to males. Her outfits also indicate a more mature nature. The video focuses on Britney through close-ups and mid-shots to make her the main focus. It follows a narrative of Britney as a female spy using her sexuality to complete missions while trying to escape and be free.
Britney Spears Music Video Analysis
The document analyzes Britney Spears' music video for "Toxic" through various textual and film theories. It discusses how the lyrics, music, camerawork, editing, narrative elements, and costumes in the video help establish Britney's new sexualized image and brand herself as an adult pop star moving past her previous squeaky clean image from Disney. The video also demonstrates several music video theories around how the visuals relate to and illustrate the lyrics, music, and narrative of the song.
Britney spears toxic
The Britney Spears music video for "Toxic" tells a narrative story through her transformations from an innocent air hostess to an action figure character portraying the song's toxic theme. It uses both diegetic sounds like birds at the end and non-diegetic sounds like the song itself. Britney wears costumes fitting each scene - an air hostess outfit, a provocative second outfit, and an action-inspired motorbike outfit. The camera uses establishing shots, close-ups emphasizing Britney's actions, and wide shots with her as the focus. Special effects are used for an explosive scene to duplicate her action figure persona and create a futuristic feel.
Britney spears
The document analyzes Britney Spears' music video for "Toxic" through the lens of genre, mise-en-scene, camera work, editing, star image, and voyeurism. It notes that the video emphasizes Britney's dance moves and sexuality through revealing costumes like a nude outfit and short air hostess uniform. Freedom and escape are also themes, represented by props like a motorcycle and plane. The camera focuses solely on Britney through close-ups and mid-shots to maintain her as the central focus. The editing moves quickly to match the song's pace. Britney uses her body and sexuality to build her star image and appeal to both her target audience and the male gaze.
7. theories of production
The document discusses several theories that are present in Lady Gaga's music video for "Telephone" including narcissism, intertextual referencing, homage, and bricolage. Narcissism is shown through Gaga's revealing clothing and intimate dance routine. Intertextual references include credits styled like a movie and text similar to the film Jackie Brown. Homage is paid through a car from Kill Bill and a killing spree mirroring a Quentin Tarantino film. Bricolage is when Gaga adds poison to a sandwich challenging gender stereotypes and uses food items as artistic devices. The theories demonstrated provide ideas for creating meaningful music videos that promote the artist.
Film Director- MUSIC VIDEOS
David Fincher is an American film director and music video director known for films like The Curious Case of Benjamin Button and The Social Network. He has directed several acclaimed music videos for artists like Madonna ("Express Yourself", "Oh Father", "Vogue") and Justin Timberlake ("Suit & Tie"). The music video for Madonna's "Bad Girl" and Justin Timberlake's "Suit & Tie" were both directed by Fincher, known for his stylish and cinematic visuals in music videos and films.
All the Small Things Music Video Analysis
The music video for Blink 182's "All the Small Things" both tells a story and shows the band performing. It parodies and references many popular 1990s artists like the Backstreet Boys, NSYNC, Britney Spears, and Christina Aguilera through recreating scenes from their music videos. Throughout the video, Blink 182 mocks the stereotypes of other bands and genres through quick cuts and references to make the scenes comedic. The band conveys that they are not a typical boy band through their unconventional style, music, and humor in their video.
Blink 182 All The Small Things Analysis
The music video for "All The Small Things" by Blink 182 challenges conventions of the alternative pop/rock genre in several ways. It features costume and location choices that mock other mainstream bands. Throughout the video, the band mimics the style of more conventional bands like Backstreet Boys to emphasize how they disregard genre norms. The use of bright colors and large audiences in the video also subvert expectations for an alternative band.
New50 cent(lin)
Curtis "50 Cent" Jackson began his career in hip hop after being shot nine times in 2000. His early image in videos like "P.I.M.P" from 2003 portrayed stereotypical traits of someone from the hood, presenting him as a thuggish pimp. 50 Cent established his star through videos that played into characters centered around aspects of his background, portraying a street-wise persona in songs like "Glow of a Thug" that reflected how he had to act growing up.
Issues Surrounding Music Videos
The document discusses issues surrounding potentially inappropriate or controversial content in music videos, such as nudity, sexuality, religious imagery, and violence. It provides several examples of music videos from various artists over time that faced criticism or bans due to such content, including Blurred Lines by Robin Thicke, Girls on Film by Duran Duran, and Like a Prayer by Madonna. The document emphasizes that when planning a music video, one needs to consider these types of content issues to avoid potential backlash or restrictions on the video's popularity and accessibility.
Theories for production
The document discusses various theories of production seen in Lady Gaga's music video for "Telephone" including narcissism, intertextual referencing, homage, bricolage, and reflection. Narcissism is shown through Gaga's revealing clothing and intimate dance routine. Intertextual references include credits mimicking a movie format and font/text similarities to Jackie Brown. Homage is paid through elements borrowed from Kill Bill like the "pussy wagon" car. Bricolage involves using household items like poisoned sandwiches and wonder bread to challenge gender stereotypes. Upon reflection, the video both references fictional genres and pays homage through its postmodern blending of styles and texts.
Music videos analysis
This document summarizes and discusses several music videos:
1. "The Take Over, The Breaks Over" by Fall Out Boy, which uses a white background to portray the band's image and includes long shots of the full band and medium shots of lead members.
2. "The Pretender" by Foo Fighters, which shows the band simply playing in a hall and relates the lyrics to the performance. It depicts Dave Grohl taunting police to a battle-like effect.
3. "I Feel Like Dancing" by All Time Low, which parodies typical staged music videos through ironic product placement, sex, and stealing other artists' ideas. It focuses on the physical performance of lip
Billie jean analysis
Michael Jackson's 1982 music video for "Billie Jean" is considered one of the best pop music videos ever made. The video depicts Jackson being stalked by a man trying to prove that Jackson is the father of Billie Jean's child, mirroring the song's lyrics. Through his innovative dancing, Jackson entertains viewers and influenced many later artists. The video is performance-based, with the camera focused solely on Jackson's moves, and tells a narrative story about a woman lying to try to get famous off of Jackson. Overall, the video emphasizes the pop and R&B genres through its upbeat sound and dancing, and creates a strong relationship between its lyrics and visuals.
Added Value
Music videos can help boost the success of songs by increasing views, publicity, sales and downloads. Sinead O'Connor's cover of "Nothing Compares 2 U" became more successful than Prince's original version due to her iconic music video, which featured close-ups of her crying and walking in a garden in black clothing. The video won several awards despite its gloomy and repetitive nature. Similarly, A-ha's "Take On Me" gained popularity in the US and UK through its innovative music video featuring animated sequences, which was groundbreaking at the time and helped expose the song on MTV.
Media Studies A2 - Director Research and Comparrison
This document provides information about directors David Fincher and Nigel Dick and compares their styles. It notes that Fincher tends to focus on either narrative or performance styles in his music videos, while Dick uses more cinematic and dance number styles. It analyzes some of their music videos and finds that Dick varies his style more depending on the genre of music, while Fincher's older videos were more narrative-focused but his newer ones feature more performance-based styles. Both directors represent women in revealing clothing at times in their videos. Overall, the document suggests that Dick's more flexible directorial style between genres would be better to follow for a final project.
Britney spears – Toxic
The document provides an analysis of Britney Spears' 2003 music video for her song "Toxic". It summarizes that the video portrayed Spears as a sexualized object through tight outfits and camera focus on her body. It was a dance-pop video featuring quick cuts that followed Spears' high-tempo choreography between scenes set on a plane and other locations. The video was influential in portraying Spears' star image and sexuality, drawing inspiration from shows like Alias and comics at the time.
'All the small things' presentation
Blink 182's music video for "All The Small Things" parodies and mocks conventions of boy band music videos from the late 1990s, particularly The Backstreet Boys. Though the song's lyrics are about relationships, the video humorously portrays Blink 182 as a boy band through exaggerated costumes, poses, and settings that mimic other popular artists. While spoofing these genres, the video also uses techniques like close-ups and shots of adoring fans to promote Blink 182's own star image and popularity. Overall, the video lampoons boy band cliches in a way that still resonates with audiences today.
Music vid presentation
The music video for "Next to You" by Chris Brown featuring Justin Bieber was produced by the songwriting and production team The Messengers and was released on March 22, 2011. It was directed by Colin Tilley and filmed at Universal Studios in Los Angeles. The video tells the story of Brown and Bieber interacting with their girlfriends before an apocalyptic event occurs, separating the couples. Brown searches for and rescues his girlfriend amid the destruction. Interspersed are scenes of Brown and Bieber dancing as the buildings collapse around them.
David fincher
David Fincher is an American film and music video director. He began making films and videos at a young age. Notable early works include music videos for Madonna's "Vogue" and Michael Jackson's "Who Is It." "Vogue" is considered a seminal music video that helped popularize voguing dances. It featured Madonna and dancers performing in an art deco style. "Who Is It" told a story through its video of Jackson singing about relationship troubles. Both videos were commercially successful and received critical acclaim, with "Vogue" being recognized as one of the greatest music videos ever made.
Blink 182 - All The Small Things
The document summarizes common conventions in pop punk band music videos, such as genre-related styles, close-ups of the vocalist, and references to other music videos. It then discusses how All Time Low's "Dear Maria, Count Me In" video parodies many of these boy band video conventions through humor, acting out the song's lyrics, while also including some typical scenes. The video provides a relationship between the visuals and lyrics of the song.
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Media Studies A2 - Director Research and Comparrison
Media Studies A2 - Director Research and Comparrison
Similar to Application of andrew goodwin and genre theories
How a star's Image develops over time through music videos
Britney Spears' star image has evolved significantly over her career from her debut as an innocent schoolgirl to a sexualized pop star to now portraying herself as a responsible mother. Her early music videos like "Baby One More Time" portrayed her as young and naive through her schoolgirl outfit and pigtails, while later videos like "Piece of Me" and "Toxic" increasingly sexualized her image. More recently, her 2013 video for "Oh La La" showed her star image changing to focus on motherhood as it featured her two sons. Overall, the document analyzes how Britney Spears' portrayals across her music videos have shaped her shifting star image over the years from innocent to sexualized to now
Toxic music video analysis
The document analyzes Britney Spears' 2003 music video for "Toxic" through the lenses of genre, cinematography, editing, lyrics, intertextuality, narrative, performance, star image, voyeurism, and the male gaze. It notes the revealing costumes portraying an air stewardess, spy, and leather-clad character. Shots include close-ups highlighting Britney's body and lipsyncing. The lyrics imply addiction and danger. The video draws from influences like "Kiss Kiss" while establishing Britney's provocative star image through sexualized camerawork aimed at appealing to the male gaze.
Andrew Goodwin's Theory
The document summarizes Andrew Goodwin's key aspects of analyzing music videos, including genre characteristics, relationships between lyrics and visuals, music and visuals, demands of record labels, notions of looking, and intertextuality. Specific music video examples are provided to illustrate each aspect, such as One Direction demonstrating genre characteristics of a boy band, Coldplay's "The Scientist" matching its reversed video to the lyrics "go back in time", and Beyoncé's "Crazy in Love" portraying notions of looking through fragmented shots.
Evaluation 1 slide share
This document contains examples of different types of shots from real music videos along with explanations of what conventions they demonstrate. These include shots that show links between lyrics and visuals, how an artist would be represented to appeal to record companies, illustrations of music genres, intertextual references, and demonstrations of camerawork, lighting, mise-en-scene. The document also provides examples from the student's own music video that aim to emulate these conventions.
Evaluation - Question 1
This document summarizes how the media product uses, develops and challenges conventions of real media forms.
It discusses how shots from the music video illustrate concepts through mise-en-scene, lighting, camera angles and intertextual references to other artists' work. Conventionally, music videos aim to sell the artist through close-ups and positioning them as the focus. However, some shots separate or contrast the male and female artists to reflect the narrative.
Conventions of album packaging, like bold font and band imagery, are employed but developed through additional effects. Inspiration is drawn from The 1975's simplistic yet effective style. Magazine adverts employ typical promotional techniques and inclusion of social media to engage target audiences
Music video analyse feedback
The music video is primarily performance based with some narrative elements. It begins by introducing each band member through medium shots that establish their instruments. Throughout, there are shots of the full band performing that demonstrate the genre's performance characteristics. Some narrative is provided by cuts between shots of transportation that relate to the lyrics about wanting to "get away from here." Overall, the video focuses on the band's performance to showcase their music.
Applying Andrew Goodwin's theory
This document summarizes and analyzes several 1980s music videos according to Andrew Goodwin's theory. It discusses how the music videos of Peter Gabriel's "Sledgehammer", Madonna's "Material Girl", A-ha's "Take On Me", U2's "Where The Streets Have No Name", and Bonnie Tyler's "Total Eclipse of the Heart" employ conventions like amplification of lyrics through visuals, voyeurism, performance, intertextuality, matching genre, and intimacy to connect with audiences. The document examines how each video illustrates the lyrics, incorporates other media forms, and aims to involve viewers.
'Hit me baby one more time'
The document analyzes Britney Spears' music video for "Hit Me Baby One More Time". It discusses the various camera shots used, including close-ups of Spears' face and long shots of the choreography. It also notes the bright costumes that appeal to audiences but contrast with the dull school setting. The representations in the video portray teenagers in school and fit with stereotypes of teens in the early 2000s. The director, Nigel Dick, was well-known for directing other popular music videos and films. The analysis believes the video expresses stereotypes of pop artists and teens through its style and is an iconic video from the early 2000s.
Evaluation question 1 a2
This document provides examples of shots from real music videos that demonstrate different filmmaking techniques. Several shots are provided that show a link between lyrics and visuals, how an artist is represented for their record label, the use of mise-en-scene, lighting, camera work, and intertextual references. The shots are analyzed and described in terms of how they illustrate these various cinematic techniques.
Evaluation question one
The document analyzes the conventions used and challenged in a music video the author created. It discusses how the video represents conventions of pop music videos through its use of people, places, objects and identities. It also draws on theories by Andrew Goodwin, Roland Barthes, Ferdinand de Saussure, and Laura Mulvey to discuss how the video uses and develops conventions related to the representation of the artist, relationships between audio and visuals, use of signs and meanings, and the male gaze. The video also reflects conventions of Will.I.Am's music videos but challenges typical conventions around the sexualization and submissiveness of female characters.
Evaluation 1 slide share
This document provides examples of different types of shots that could be included in a music video to develop conventions of the genre and medium. It includes shots that show: a link between lyrics and visuals, how an artist may be represented for commercial purposes, illustrations of music genre through settings and costumes, intertextual references to other works, creative uses of camera angles and lighting, and ways to effectively use mise-en-scene to tell a story or set a mood. The document then provides examples from the creator's own music video, analyzing several shots based on these conventions.
Evaluation 1 slide share
This document provides examples of different types of shots that could be included in a music video to develop conventions of the genre and medium. It includes shots that: 1) link lyrics to visuals, 2) represent how a record company may want their artist portrayed, 3) illustrate the music genre, 4) include intertextual references, 5) demonstrate camera use, 6) showcase lighting techniques, and 7) employ mise-en-scene elements. The document also provides examples from real music videos to exemplify each type of shot.
Andrew goodwin’s theory
1. Andrew Goodwin's theory defines characteristics of music videos including studio/stadium performances, narratives related to lyrics, and concept-based stories.
2. Music videos directly address audiences to promote artists, using techniques like close-ups, while films typically use indirect modes of address.
3. Blink-182's "First Date" music video includes performances and a coming-of-age narrative inspired by "Dazed and Confused," with scenes related to the song's nervous dating lyrics.
Q1
Our music video uses, develops, and challenges conventions of music videos for the pop/hip-hop genre in several ways. It develops conventions by using the rap portions of the song to tell the narrative rather than showing the rapper rapping. It also challenges conventions by portraying women in a vulnerable way rather than as objects. The video develops conventions through its focus on a single artist and through techniques like close-ups that build her iconography. Overall, the video both draws from and reworks typical music video conventions for its genre.
Question 1 - Evaluation
The document discusses various forms and conventions used in real music videos and how the author's music video does or does not utilize these conventions. It discusses the following conventions:
1) Voyeurism is not used as the focus is on the narrative relationship rather than attractiveness of actors.
2) Close-ups are used to connect with characters and show their feelings/emotions as seen in videos like "Hello" by Adele.
3) Music and visuals are linked so shots match tempo/lyrics as in "All of the Lights" and "Pretender".
4) Star iconography prominently features the artist to inspire fans as seen in videos like "Shake it Off
Media Video Analysis
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.
Media Video Analysis
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.
Music Consumption and Audience Research
The document analyzes three pop music videos according to several theories about how audiences interpret media. It discusses how the music videos represent age and gender and adhere to stereotypes about the pop genre described by Andrew Goodwin. Specifically, it analyzes how the music videos feature dance routines and stage performances that engage audiences. The document also discusses how the music videos allow audiences to escape and be distracted from their own lives according to uses and gratifications theory. However, it notes two videos did not clearly link their audio and visual elements as another theory predicted. Finally, it analyzes how the videos appeal to the "male gaze" in their representation of the female artists.
Music Video Analysis
1. The music video for Chase and Status' song "Let You Go" satirizes a Jeremy Kyle-style talk show, showing the host committing the offenses discussed on the show.
2. The video uses close-ups, dark lighting, and dreary locations to match the hard-hitting drum and bass genre and tone of the song.
3. Chase and Status' videos generally feature narratives involving violence and substance use to seriously represent their music and DJ personas.
Task 8/9 - Music Video Analysis Powerpoint Finished
The music video for "Blinded By The Lights" by The Streets accurately depicts the story told in the song's lyrics through its visuals. It shows both the actions in the story and the emotions and confusion felt by the artist due to the drugs. Shaky camera work and blurred shots portray how messed up the character feels. The video represents both the good and bad effects of drug use.
Similar to Application of andrew goodwin and genre theories (20)
How a star's Image develops over time through music videos
How a star's Image develops over time through music videos
Task 8/9 - Music Video Analysis Powerpoint Finished
Task 8/9 - Music Video Analysis Powerpoint Finished
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Lady gaga editing tech
The document discusses editing techniques used in Lady Gaga's "Poker Face" music video. It analyzes various shots that keep the focus on Lady Gaga and draw attention to changes in the music. This includes close-ups during the opening, jump cuts on beats, and split screens implying her different personalities. It also discusses the use of non-continuous editing to make her seem unpredictable and intrigue viewers. Through these editing techniques, the video maintains energy and momentum to market the song and keep the audience engaged and wanting to watch.
Evaluation 3
The document discusses feedback received on various elements of a music video project aimed at females aged 18-21.
Questionnaires found that the target audience expected brighter colors mixed with natural settings. Subsequent elements like the storyboard, logo, and album advert were revised based on feedback to better address the target audience's expectations and ensure the darker theme was clear and consistent.
The final music video feedback showed the target audience responded positively to the use of color as a figment of the artist's imagination and appreciated the color explosion theme maintained throughout the project.
Katy Perry Album Advert Analysis.
The album advert uses bubble writing font for Katy Perry's name to make it feel personal and handwritten. Her name is in red and white to stand out from the rest of the advert. Pictures on the advert show Katy Perry in a backyard near a paddling pool and lollipop to give the album a more childish, summery feel while also depicting her in a more mature way. The language of the advert uses colloquial phrases like "#1" instead of "number one" to appeal to a younger target audience using text speech.
Shot list
This document contains a shot list for a music video. It describes 83 shots including camera angles, actor movements, and brief descriptions of the action in each shot. The shots involve multiple characters dressed in different colors who come together and form a line behind the lead actress. They depict scenes of the actress arguing with her boyfriend, drinking in the woods, and eventually jumping off a cliff as the other characters look on in horror.
Shot list
This document contains a shot list for a music video. It includes 94 shots with details about the camera angle, movement, actors in each shot, and a brief description. The shots include various angles of the lead actress Tia alone and with other actors, as she interacts with her boyfriend and later joins other women represented by different colors. The shots will be used to tell the story and lyrics of the song through Tia's experience and interactions.
Story board with extra shots
This document contains descriptions of 33 shots for a music video. It provides technical details for each shot such as type of shot, camera movements, angles, dialogue, sound, setting, coloring, lighting, and duration. The shots progress through scenes of an argument between a couple, the woman leaving and walking in the woods, and then joining with colorful female friends dancing to the music. The video utilizes a mix of close-up, mid, long, and over-the-shoulder shots with movements like pans, tilts, tracks and zooms to follow the story.
Pitch for media
The document summarizes a music video project for the song "Spectrum" by Florence and the Machine. The group chose this song because they felt they could be creative with the visuals and narrative. Their vision is to tell the story of a woman who discovers her boyfriend's affair and goes on a drunken journey in the woods accompanied by colors representing her mindset. The video will have dark undertones to portray drunkenness and depression masking the woman's true feelings. It will appeal to the target audience of 15-20 year old females through its relatable themes and use of an upbeat indie/pop song.
Charts 2
This document asks the reader to choose between one narrative, more than one narrative, or a discontinuous narrative that is normally associated with a particular genre. It provides three options for the reader to select in how they view the narratives commonly presented within a specific genre.
Charts
The document asks what type of indie/pop music video is someone's favorite, listing options from Haim, Ed Sheeran, Artic Monkeys, and Taylor Swift. It also asks what music genre they like, providing indie, pop, rock, jazz, and rap as options.
Spectrum genre
The document discusses the genres of indie rock and pop in relation to Florence and the Machine's song "Spectrum". While Florence and the Machine are usually considered an indie rock band, their music videos have more production value and visuals associated with pop. "Spectrum" incorporates elements of both indie and pop genres in its music video, including a narrative, dance routines, costume changes, close-ups of the female lead singer, and hints of black-and-white and a less polished look to represent the indie influences.
Evaluation 2
This document analyzes the different social groups represented in a media product. It describes the characters of Keira and Max who are friends working as a team to find an antidote. It draws inspiration from the friendship of Katniss and Gale. It also features Max and his sick sister Rosie, taking inspiration from sibling relationships in films like The Fifth Wave. The antagonist Jennifer is a manipulative government official inspired by characters from Divergent and Gone Girl, with her bodyguard taking style cues from Casino Royale. Different groups are represented through character traits, costumes, and relationships, with inspiration drawn from other thriller films.
Evaluation 2
This document summarizes how different social groups are represented in a media product. It discusses the social groups of friends, siblings, and government officials. For friends, it describes the traits of the main characters Keira and Max and how their friendship enables them to work as a team. For siblings, it depicts the loving relationship between Max and his ill sister Rosie, which motivates Max. For government officials, it portrays the evil female antagonist Jennifer and her strong bodyguard, taking inspiration from villains in Divergent and Gone Girl. Costuming and lighting techniques are also discussed.
Evaluation 6 improved
The document summarizes the technologies used to construct a film product and lessons learned from using each technology. It discusses cameras, YouTube, SD cards, tripods, Mac computers, PCs, Final Cut Pro, Word, Blogger, Emaze, Prezi, PowToon, iPhones, USB sticks, timeline makers, Excel, email, Google, lighting lamps, and voice memos. For each technology, it provides details on what it was used for, any problems encountered, solutions tried, and lessons learned to improve future use. The overall lesson learned is to properly research and test each technology before using it for a project to avoid issues and delays.
Evaluation 6
The document discusses various technologies used in constructing a film product and lessons learned from using each technology. It describes cameras, YouTube, SD cards, tripods, Macs, PCs, Final Cut Pro, Word, Blogger, Emaze, Prezi, PowToon, iPhones, USB sticks, timeline makers, Excel, email providers, search engines, lighting equipment, and voice recording apps. For each technology, it outlines how it was used, any problems encountered, solutions tried, and lessons learned to improve future use of the technology. The overall lesson is that understanding how to properly use each technology before a project is important to avoid issues and create a high quality final product.
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Application of andrew goodwin and genre theories
- 1. APPLICATION OF ANDREW GOODWIN AND GENRE THEORIES. Toxic- Britney Spears
- 3. FEMALE BODY The portrayal of the female body is extremely prominent within the ‘Toxic’ music video. A lot of close ups are used on Britney’s face, legs and bum. She is also shown to be wearing a very minimal, sheer cat suit, as well as a an air hostess outfit which shows off her cleavage and legs. This is generic of a pop music video as it exploits the female body and shows it in a provocative way to engage male viewers and make them want to watch it again and again. This is also an example of the star image theory proposed by Andrew Goodwin as it makes Britney out to be the lead of this music video and portrays her as a sexual icon, which became her unique image further into her career and how she is recognised within the industry.
- 4. GENRE CONVENTIONS The music video is typical of a pop music video as it uses conventions such as the bright colours throughout the video. Example of this is the red nail varnish Britney wears, which could also imply danger and promiscuity. Along with this is the bright blue uniform she wears and the orange tinge at the beginning o the video. This makes the video more vibrant and up beat, like pop music. Other examples of genre conventions within a pop music video is the choreographed routine within. This is typical of a pop music video as it adds a less serious element to the video, whilst still conveying a story.
- 5. LYRICS In the music video, some of the lyrics match up to what Britney is seen doing on screen. Examples of this are: “Baby can’t you see, I’m calling.”- She is seen on the phone to somebody as she says this showing the lyrics within the actions she does. “Can’t come down”- As she says this she drop down out of view of the camera again replicating the lyrics. “Don’t you know that your toxic”- An image of the word Toxic comes onto the screen and is show. When she says it again we see her take a vile of something toxic which again matches up with the lyrics.
- 6. INTERTEXTUAL The film that Britney Spears is referencing to within the music video is ‘Mission Impossible’. This is evident in the section just after she has stolen the poison. This replicates the scene where Tom Cruise is seen stepping over laze beams. This creates the impression that she is strong and powerful as it make the audience remember how heroic Tom Cruise was and makes them apply it to Britney Spears.