2. Carol Vernallis: The Kindest Cut – Functions and
Meanings of Music Video Editing; 2001
Vernallis’ theory centres around 4 key concepts that all relate
to the way the music video is constructed. They are:
Narrative
Editing
Camera Movement and framing
Diegesis
3. Narrative
The video is a visual response to the music and what is happening onscreen will reflect the
lyrics.
There is not necessarily a balance between narrative and performance
The narrative is not always complete – it may be a partial, fragmented narrative and so the
structure of the video may appear disjointed
There may not always be a clear resolution (closure) at the end
The video may pose questions that it doesn’t actually answer
There may be a narrative or theme running through the video, but in a montage style rather
than in one continuous sequence.
4. Editing
All music videos follow the same editing techniques – jump cuts, cutting with
the lyrics, graphic matches, changes in pace.
Editing may match the musical phrases or the beat
The video may break or disrupt many of the ‘rules’ of continuity editing – this
is a clear convention of music video editing.
Editing may become ‘foregrounded – the edits will be obvious, to draw
attention to themselves as opposed to invisible, continuity editing. For
example, you may see: jump cuts, breaks of the 180 degree rule, cutting
within the lyrics, stylised edits or cuts, extreme jumps in time and space,
extreme changes in pace, a style of editing that runs through the video and is
distinctive to that video.
5. Camera movement and framing
When it comes to shot types, extremes are very common such as establishing
shots and close-ups.
The style of framing and movement may run through the video and is distinctive
to that video.
The camera may move in time with the music.
The camera may move on the lyrics.
The master shot (or other establishing shots) is used frequently, as are close-ups.
What does she say about Diegesis (the world of the music video)?
6. Diegesis
The diegesis may be revealed quite slowly.
Actions are not necessarily completed – they may be disrupted or
interrupted in some way (through the structure of the narrative) so there
may be gaps in the audience’s understanding of the diegesis – in time and
space, music, performance and narrative.
There are repetitions throughout the video of particular elements.
