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1) The video begins with an aerial shot of Los Angeles to set the urban context and mainstream pop genre of the song. 2) The names of the three female artists - Jessie J, Ariana Grande, and Nicki Minaj - are shown in bold pink font, reflecting the big city atmosphere and strong female attitudes. 3) Throughout the video, camera shots focus on the female artists' bodies rather than their faces, emphasizing their physical appearance, in line with theories about the objectification of women in music videos.
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Goodwin theory
1. Music videos demonstrate genre characteristics through elements like stage performances in metal videos, dance routines in hip hop videos, and aspirations portrayed in hip hop videos.
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Westlife's music video for "Uptown Girl" can be analyzed using Goodwin's Theory, which examines links between lyrics and visuals, music and visuals, genre characteristics, intertextual references, notions of looking, demands of the record label, and whether the concept is narrative, performance, or concept-based. The "Uptown Girl" video directly references lyrics through its visuals. It links music and visuals through shots of the band moving to the tempo and transitions between shots. The video appeals to female audiences through close-ups of attractive band members and uses conventions of upbeat teen pop. It has intertextual references to 1950s rock through settings. The video's concept is narrative-based
Andrew goodwin theory
This document summarizes Andrew Goodwin's theoretical framework for analyzing music videos. It identifies six key aspects: 1) The relationship between lyrics and visuals, 2) The relationship between music and visuals, 3) Demonstration of genre characteristics, 4) Close ups and motifs of the artist, 5) References to voyeurism, and 6) Intertextual references. It then applies this framework to analyze the music video for "Naive" by The Kooks, examining how the video illustrates the lyrics, amplifies the meaning of the song through visuals, incorporates genre-typical elements like the lead singer as protagonist, uses close ups and traveling shots as motifs, references voyeurism through shots of the
Presentation evaluation 4 littleladies1
The music video incorporates several conventions of Goodwin's music video theory. It synchronizes lyrics and visuals by showing the artist representing lyrics like "I'll be superman." It also edits to the beat of the music. The narrative depicts a troubled relationship, with the character singing about his girlfriend pushing him away by cheating on him. While not using sexualized voyeurism, it employs past memories through the artist filming his love interest. Overall, the video aims to follow R&B conventions by using a black male artist portraying a smooth but troubled character in the vein of artists like Trey Songz, Jason Derulo, and Ne-Yo.
Analysing music videos 2
This document analyzes several 1980s music videos and how they apply Andrew Goodwin's theory. It summarizes each video in 1-2 sentences:
- Peter Gabriel's "Sledgehammer" uses lyrics and visuals to illustrate the song and employs voyeurism by looking at the audience.
- Madonna's "Material Girl" also uses lyrics and visuals to match what she sings about and emphasizes her figure through voyeurism. It references Marilyn Monroe through intertextuality.
- A-Ha's "Take On Me" tells a narrative story and uses intertextuality by editing photos into a comic style. It also uses intimacy through close-ups.
Goodwin’s theory r n b
This music video for the R&B song "Into You" by Fabulous featuring Tamia demonstrates several of Goodwin's genre theory elements. It establishes the artist and singer through close-ups. The narrative video portrays the artist's lavish lifestyle and intimate relationship with a woman through scenes at a beach house and pool. Voyeurism is suggested through shots of the woman in revealing clothing and a towel. The video also contains a flashback sequence to provide context for the artist's relationship with the woman.
Goodwin’s theory r n b
This music video for the song "Into You" by Fabulous featuring Tamia demonstrates several characteristics of R&B music videos according to Goodwin's theory of genre in music videos. It shows the artist living a lavish lifestyle with nice locations, money, and cars. There are close-ups of both the artist and featured singer Tamia that establish them while also viewing Tamia in a sexually suggestive way. The video has a narrative-based storytelling structure with flashbacks showing the past relationship between the artist and a woman, suggesting this woman has improved his life situation. It amplifies the lyrics through corresponding visuals and scenes.
Andrew goodwin theory
This document summarizes Andrew Goodwin's framework for analyzing music videos. It identifies six key aspects: 1) Relationship between lyrics and visuals, 2) Relationship between music and visuals, 3) Demonstration of genre characteristics, 4) Close ups and motifs of the artist, 5) Reference to voyeurism, and 6) Intertextual references. Each aspect is then further explained with examples relating to how the visual components of music videos can illustrate, amplify, or disjuncture from the song's meaning.
Jason derulo’s want to want me 30 second A2 meia studies
1) The 30 second analysis of Jason Derulo's "Want To Want Me" music video found that it used many editing techniques like cuts, shots, and angles to establish various settings and portray different scenes.
2) Throughout the video, Jason is sexualized by being shirtless and interacting intimately with a woman, conforming to conventions of male pop artist music videos.
3) Many shots use techniques like close-ups, medium shots, and voyeurism to present Jason in a dominant "star image" and appeal to audiences through sexualization of both Jason and the female costar.
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.
New Boys
The music video for "New Boyz" song "Tie Me Down" closely links the lyrics and visuals, with cuts made to the beat of the song. The video portrays the group as players who do not want to commit to relationships and prefer dating multiple people. It incorporates dancing and their signature style of bright skinny jeans to appeal to their target audience of 16-20 year olds. However, the representation of women in the video and lyrics is degrading, portraying them as disposable objects for the male artists' pleasure.
Roll Deep Shake A Leg
The 'Shake a leg' music video by Roll deep tells a narrative story where DJ Westwood persuades the band to play a gig. The video corresponds closely to the witty lyrics, such as showing the artist handed a brandy when the lyrics mention it. It represents the band's comical style. The video also portrays the band as glamorous stars in a fancy club surrounded by fashionable dancers, enhancing their image.
Googdwins theory powerpoint
Goodwin's theory discusses seven key aspects of successful music videos: 1) links between lyrics and visuals, 2) links between music and visuals, 3) genre characteristics, 4) intertextual references, 5) notions of looking and voyeurism, 6) performance, narrative and concept-based videos, and 7) demands of the record label. Examples are given for each aspect, such as Beyonce's "Move Your Body" matching lyrics to visuals, and Eminem referencing Star Trek in "We Made You". The theory aims to understand how these elements work together to engage audiences.
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Jason derulo’s want to want me 30 second A2 meia studies
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Jamie reid and Barney Bubbles
Jamie Reid was a British graphic designer born in 1947 who is known for designing album and single artwork for the punk rock band Sex Pistols in the 1970s. He studied at Croydon Art School where he met Malcolm McLaren. McLaren saw Reid's work in the radical political magazine Suburban Press and commissioned him to design Sex Pistols singles covers and their seminal 1977 album Never Mind The Bollocks, known for its provocative blackmail punk style with intentionally clashing colors and ugly typography that matched the rebellious spirit of the band.
Digi-pack Deconstruction
Green Day's seventh studio album "American Idiot" features a punk rock album cover design that follows conventions and stereotypes of the genre. The cover uses a black, white, and red color scheme, features no picture of the band, and includes only the band and album name in text. It also includes a heart grenade graphic that suggests themes of violence, romance, and a thought-provoking tone for the album's songs. The back cover continues this color scheme and font while listing the track titles and extra information about the record label and band website to expand the album's audience and profits.
Digi-pack Deconstruction
Sam Smith's debut studio album "In the Lonely Hour" features a dark color theme and a photo of Smith looking unhappy on the front cover to reflect the sad mood of the album. The simple album artwork and consistent font portray Smith as more concerned with his music than his appearance, appealing to fans, while still making him look attractive enough to appeal to a mass audience.
digi-pack deconstruction
Taylor Swift's fourth studio album "Red" is being advertised. The poster uses red font and imagery to match the album's title and grab attention. A black and white photo of Taylor Swift fills much of the poster, relying on her recognizability to draw the audience's interest without direct eye contact. Song titles from the album are mentioned to appeal to existing fans and drive sales. Details on purchasing options and the release date are provided to encourage album sales.
Digi-pack deconstruction
This poster advertises the 2010 alternative rock album "Hold Me Down" by the band "You Me At Six". The poster features a large image of the album artwork but does not include photos of the band, adding an air of mystery. Text on the poster is written on ripped paper and sellotaped on, giving the band a raw, edgy look. Pertinent information is provided such as the release date, how and where to purchase the album, and a link to the band's website to generate more hype around their new album.
music video deconstruction
The video for Nina Nesbitt's song "The Hardest Part" is a simple, unconventional indie music video that focuses on conveying the artist's emotions. It opens with a close-up shot of Nesbitt looking away from the camera while deep in thought. She is then seen playing guitar to illustrate her passion for making her own music. The black and white footage and lack of locations contribute to the video's straightforward, low-key style.
Panic Cord
Gabrielle Aplin is a 22-year-old English singer-songwriter. The music video for her song "Panic Cord" depicts her reminiscing about a past romantic relationship through flashbacks of memories with her partner. Scenes from the video reflect the lyrics of the song, showing keepsakes and experiences from their time together. While some flashbacks show them happy, others show a disconnect between their feelings. At the end, she walks away from the relationship, suggesting she blames herself for its demise through the lyrics "Maybe I'm the one to blame."
Cassy 'O
George Ezra is a 21-year-old English singer-songwriter. The music video for his song "Cassy O'" was released in February 2015 to coincide with his performance at the Brit Awards. The video introduces Ezra playing guitar while lip syncing to the song. It shows him in close-ups making eye contact with the audience to appear friendly and approachable to fans. Shots include Ezra in the foreground singing while four young ladies are seen in the background kitchen. Throughout the video, O-shaped objects relate to the song lyrics and visuals reflect the content of the lyrics as suggested by music video theory.
Lego House
The music video for Ed Sheeran's song "Lego House" features actor Rupert Grint portraying Sheeran instead of Sheeran himself. This breaks conventions as music videos typically feature the artist lip syncing to their own song. Grint was a unconventional but interesting choice because his similar appearance to Sheeran means many viewers might not realize it is not actually Sheeran. The video reflects the song's lyrics through Grint's actions, such as fixing a Lego helicopter when the lyrics mention mending something broken. In the end, it is revealed that Grint is just an overly obsessed fan stalking the real Ed Sheeran.
Enter Sandman
Metallica's 1991 music video for "Enter Sandman" uses visual conventions common to heavy metal genres. It features quick cuts between a sleeping boy and close-up guitar shots to create an unsettling tone that matches the song's atmosphere. Scenes of the band members intensely playing their instruments prove their live performance ability, appealing to fans. Close-ups of the unstyled lead singer with long hair and facial hair convey his and the band's stereotypical heavy metal image and angry emotional delivery of the song. Through these visual elements, the video reflects the dark, intense nature of the music.
Can we dance
The video depicts the members of the boy band The Vamps throwing a house party while their parents are away. It shows them drinking, having fun with friends, and playing music. They receive a text that the parents will return home soon, so they frantically clean up the trashed house. Just as they finish, the lead singer kisses a girl, but their parents arrive and catch them by watching a video of the party online. The video portrays the band members as normal teenage boys to relate to their target audience.
Skinny Love
The video begins with low-key lighting setting a bleak tone. A close-up shot of a paperweight implies memories have been locked away. Birdy is then shown from behind, distancing herself from the audience. Her old-fashioned clothing and the dirty, misty setting suggest the video is set in the past. Later close-up shots of Birdy's face are still low-lit, unconventionally not styled. Disturbing images of dead animals add to the tension and themes of life, death, and forgotten memories. Birdy is consistently alone, interacting only with relics, implying loneliness.
All of the lights
The music video for "All of the Lights" by Kanye West features Rihanna and Kid Cudi. It begins with a lone black girl walking in black and white, setting a sad and lonely tone. Scenes of bare trees and flats in snow continue this atmosphere. When the music picks up, the video introduces bright colors and fast cuts. Kanye West is shown rapping with flashing lights, representing his struggle with fame. Rihanna sings while making eye contact with the audience, contrasting Kanye's distance. Visuals like settings and clothing match the song's tone, while some lyrics are reflected on screen, illustrating theories on linking music and music videos.
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Bang Bang
- 1. Bang Bang – Jessie J featuring Ariana Grande and Nicki Minaj Annabel Street
- 3. • The first shot of this video is an aerial shot of Los Angeles which shows the urban location of the video and suggests the mainstream audience and genre of the song. • The names of the three female artists appear in a very bold, block font which reflects the big, bold city and suggests the strong attitudes of the women. The font is pink which implies that they are stereotypical girly girls. This is followed by the title of the song in the same font.
- 5. • This video goes with Andrew Goodwin’s theory of the concept of looking (at the female body). The camera focuses on their bums instead of their faces, these two shots are examples. The first is of Nicki Minaj, who is known for having a big bum. The shot is a long shot but we only see the back of her, emphasising her bottom in the tight skirt she is wearing. • The other shot is of a backing dancer, as the lyrics say ‘she got a booty like a Cadillac’ it cuts to a shot of her wearing very revealing shorts while she wiggles her bum. Her head is out of shot which again puts the audiences full attention on her bum.
- 7. • Close ups are used throughout the video which is conventional, especially when lip syncing. Because there are three artists in this video and fans will have a favourite, they will want to see them clearly, so each of them are shown in close up shots.
- 9. • Throughout the video, we see public reactions to Jessie J. In this shot we see men and women looking at her as she gets out of a car. The different genders suggest that she is attracting women as well as men and goes against stereotypes that girls are only attracted to boys. One of the men is shirtless and we his fit body which will attract viewers. This also suggests that if you act and look like Jessie J you will get the attention of good-looking boys’ (and girls’) .
- 11. • Along with the close up shots I mentioned earlier, Jessie J makes direct contact with the audience by pointing towards the camera. This makes the audience feel special - as if she is talking to them. • The wide angle shot allows us to see the backing dancers behind her, making her look more important as she has people following her and looking out for her. Backing dancers are also stereotypical in pop music videos.
- 13. • Towards the end of the video it seems as though they are in a club which shows Goodwin’s theory that there is a relationship between the music and the visuals. It suggests that the song could be heard in a club as we see a DJ surrounded by people dancing. • This shot also shows a lady dancing in the foreground but we don't see her face. Just like the shots I mentioned earlier, we only see her body and she is wearing very revealing, small clothes. This again shows Goodwin’s theory of the concept of looking.