Tulisa Contosavlos is a singer and songwriter best known for being in the British pop/hip hop group N Dubz. She is currently pursuing a solo career and released her first single "Young" in 2012. The music video for "Young" portrays Tulisa enjoying her youth through partying, mischief, and carefree behavior in various scenic locations in Miami. The video emphasizes the themes of being young and making mistakes to have fun while one can learn from them.
The document analyzes music videos by several artists, including Katy Perry, Ed Sheeran, Sam Smith, and Taylor Swift. It discusses the target audiences, genres, and how the visuals in each video relate to and illustrate the music. For Taylor Swift's "Wildest Dreams" video specifically, it notes the young female target audience, pop genre indicated by bright colors, and controversy over accusations of promoting colonialism through its African setting and lack of Black people featured.
The music video portrays two versions of the singer - a reserved version and a punk rock alter ego. Throughout the dates with a boy, the alter ego interrupts and catches his attention with her more outgoing personality and provocative style. By the end, the singer asserts herself as the better girlfriend option through her rocker version. The video uses costume, makeup, camera angles and sets to clearly distinguish the two characters and their personalities.
The document provides biographical information about the artist Shannelle Williams, a 25-year-old R&B singer from Los Angeles who is currently signed to Jive Records. It describes her background, musical style, target audience, and plans for an upcoming music video that will depict two teenage couples experiencing love and relationships to accompany her song "When I See You" by Fantasia.
AO2 & AO4 Analysis of Chandelier music video MayaShehata
The music video for "Chandelier" by Sia features 11-year old dancer Maddie Ziegler portraying the melancholic theme of alcoholism through exaggerated dance moves in a run-down apartment. Close-up shots emphasize Maddie's emotional face and movements that mirror the inner turmoil of alcohol addiction. Though atypical for a pop music video by not including the singer, the cinematography and Maddie's performance effectively symbolize the song's message of using alcohol and partying to escape reality.
This document discusses different types of representations commonly seen in music videos, including locations, gender, age, costume, class, and ethnicity. Locations like London, Miami, and Ibiza are often depicted in stereotypical ways based on their climates and reputations. Gender, age, and ethnicity stereotypes also frequently appear in music videos. Class is commonly represented through displays of wealth or poverty. Costumes usually reflect the genre and location of each video.
This document provides an overview of 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) Reference to voyeurism, and 6) Intertextual references. Each aspect is then further explained through examples and relationships to music videos.
The document summarizes the key similarities found in four romantic drama film trailers. All feature two people falling in love but facing obstacles like tragedy, death or family disapproval. Each trailer establishes the location with shots and includes diegetic music, either orchestral or piano, representing both the romance and sadness of the relationship. Two trailers involve the female leads cheating on their fiancés with the male protagonist. Voiceovers often explain the story and action on screen.
Romantic drama - narrative textual analysis marianatugulea
The trailers show two people falling in love but facing obstacles to being together such as tragedy, death, disapproval or illness. In two trailers, the female leads cheat on their fiancés with the male protagonist, suggesting the fiancés are obstacles. Voiceovers commonly explain the unfolding story and characters.
The document analyzes music videos by several artists, including Katy Perry, Ed Sheeran, Sam Smith, and Taylor Swift. It discusses the target audiences, genres, and how the visuals in each video relate to and illustrate the music. For Taylor Swift's "Wildest Dreams" video specifically, it notes the young female target audience, pop genre indicated by bright colors, and controversy over accusations of promoting colonialism through its African setting and lack of Black people featured.
The music video portrays two versions of the singer - a reserved version and a punk rock alter ego. Throughout the dates with a boy, the alter ego interrupts and catches his attention with her more outgoing personality and provocative style. By the end, the singer asserts herself as the better girlfriend option through her rocker version. The video uses costume, makeup, camera angles and sets to clearly distinguish the two characters and their personalities.
The document provides biographical information about the artist Shannelle Williams, a 25-year-old R&B singer from Los Angeles who is currently signed to Jive Records. It describes her background, musical style, target audience, and plans for an upcoming music video that will depict two teenage couples experiencing love and relationships to accompany her song "When I See You" by Fantasia.
AO2 & AO4 Analysis of Chandelier music video MayaShehata
The music video for "Chandelier" by Sia features 11-year old dancer Maddie Ziegler portraying the melancholic theme of alcoholism through exaggerated dance moves in a run-down apartment. Close-up shots emphasize Maddie's emotional face and movements that mirror the inner turmoil of alcohol addiction. Though atypical for a pop music video by not including the singer, the cinematography and Maddie's performance effectively symbolize the song's message of using alcohol and partying to escape reality.
This document discusses different types of representations commonly seen in music videos, including locations, gender, age, costume, class, and ethnicity. Locations like London, Miami, and Ibiza are often depicted in stereotypical ways based on their climates and reputations. Gender, age, and ethnicity stereotypes also frequently appear in music videos. Class is commonly represented through displays of wealth or poverty. Costumes usually reflect the genre and location of each video.
This document provides an overview of 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) Reference to voyeurism, and 6) Intertextual references. Each aspect is then further explained through examples and relationships to music videos.
The document summarizes the key similarities found in four romantic drama film trailers. All feature two people falling in love but facing obstacles like tragedy, death or family disapproval. Each trailer establishes the location with shots and includes diegetic music, either orchestral or piano, representing both the romance and sadness of the relationship. Two trailers involve the female leads cheating on their fiancés with the male protagonist. Voiceovers often explain the story and action on screen.
Romantic drama - narrative textual analysis marianatugulea
The trailers show two people falling in love but facing obstacles to being together such as tragedy, death, disapproval or illness. In two trailers, the female leads cheat on their fiancés with the male protagonist, suggesting the fiancés are obstacles. Voiceovers commonly explain the unfolding story and characters.
Textual analysis using goodwin's theoryfayefletcher
Drake's music video for "Hold On We're Going Home" tells a narrative story of Drake's character whose fiancée is kidnapped by a rival gang. The 7-minute video, set in 1985 Miami, follows Drake and his crew as they work to rescue the fiancée. Though the lyrics and visuals do not strongly connect and the mellow song contrasts with the depicted violence, the overall storyline of rescuing a kidnapped lover relates to the song's theme. The video presented a new image for Drake by focusing on the narrative over his typical performance-based videos.
The trailers show two people falling in love but facing obstacles to being together, such as tragedy, death, or family disapproval. In two trailers, the female leads are engaged but cheat with the male protagonist. Voiceovers often explain the story. The target audience for these romantic films is mass audiences interested in romance, like teachers, students, and casual workers. Similarities include disrupted relationships, explanatory voiceovers, and broad appeal romantic stories.
My music video uses, develops, and challenges several forms and conventions of real media products. It supports Andrew Goodwin's theory by demonstrating genre characteristics like narrative storytelling, clear relationships between the lyrics, music, and visuals, and including close-up shots of the performers. However, it also challenges conventions by addressing sensitive topics through a darker tone, lighting, and mood rather than being upbeat. Additionally, my ancillary products like the magazine advert and digipak maintain synergy with the music video through shared visual elements like the neon face paint designs.
The document provides an analysis of Sia's "Chandelier" music video, directed by Daniel Askill. It summarizes that the video tells an autobiographical story about Sia's struggles with alcoholism and substance abuse through Maddie's interpretive dance. Scenes depict the emptiness of addiction and illusion of escape through partying. Various camera techniques like long shots, close-ups, and zooms are used to emphasize Maddie's fragile mental state and the bleak, repetitive nature of addiction. Mise-en-scene elements like plain clothing, dim lighting, and run-down props further reflect Sia's inner turmoil.
Daniel Askill is a music video director born in 1977 in Sydney, Australia. He studied visual communication and has a background in film, video, music composition, and performance. He has directed many music videos for artists like Sia and Phoenix. His videos are visually engaging and use experimental camerawork, lighting, costumes, and editing techniques to tell stories. For example, his video for Sia's "Breathe Me" uses 2500 polaroids to depict the daily struggles of living with mental health issues. Askill aims to convey important messages through his creative direction in a way that can both entertain and empower viewers.
Melina Matsoukas (Music Video Director)lucierebekah
This document provides background information on music video director Melina Matsoukas. It discusses some of her most notable music videos for artists like Beyoncé, Rihanna, and Lady Gaga. It then analyzes Matsoukas' directing style, noting her use of close-ups, point-of-view shots, experimental lighting and settings, and editing techniques like parallel editing to move the story along. Matsoukas aims to immerse viewers in the emotions of the music through creative camerawork and visuals.
The music video for Lorde's "Team" is directed by Lorde and depicts a society of acne-faced teenagers ruled by Lorde in an abandoned building, with camera shots that create an eerie and mysterious atmosphere to represent Lorde's hometown in a way not typically shown in mainstream media. Scenes show a new member being initiated through a series of tests and interactions with other teenagers in the dystopian setting.
The music video tells the story of a homeless girl struggling with drug addiction in London. It begins with her appearing to have died and flashes back to show her daily struggles to earn money by selling magazines or her body. Her drug use escalates and she exchanges money for drugs. In the end, she succumbs to her addiction. The black and white footage and lyrics portray her difficult life and sinking into addiction.
This document summarizes how different locations, gender, age, costume, class, and ethnicity are commonly represented in music videos. It provides examples for each, such as how Miami music videos often depict wealth and good weather, how London videos may be shot in black and white to seem more depressing, and how rap videos frequently show baggy clothes and chains for costumes. Gender, age, and class stereotypes are also outlined.
This document provides information about the musical genre and the film Hairspray. It discusses that musicals combine singing, dancing, and spoken dialogue to tell a story and entertain audiences. Hairspray is described as a musical in the romantic/comedy subgenre. The document also analyzes conventions of the genre like characters singing their thoughts and romantic couples singing to each other. It includes screenshots from the Hairspray trailer and discusses how the characters, settings, and objects are represented. Common stereotypes in musicals like the handsome male lead and jealous rival character are also mentioned.
The music video analyzes is "Arabella" by Arctic Monkeys. It begins in black and white in a 1980s living room, using bricolage to clash eras. A woman poses provocatively, possibly offending some viewers. The video then rewinds, showing reflexivity. Locations include LA with palm trees. A tattoo represents the band's Yorkshire roots. Some scenes could be seen as negatively portraying women. Throughout, it jumps between performance shots and scenes depicting a troubled lifestyle with drugs and sex. The video has a narrative about the dangers faced by the young women and hopes for change represented by the lead singer's white shirt.
This document provides a biography and career overview of American singer Mariah Carey. It details her background growing up in New York and being discovered by Columbia Records. Carey went on to become one of the best-selling music artists of all time, with 18 number-one singles on the Billboard Hot 100 chart. The document also summarizes several of Carey's influential songs and music videos from across her decades-long career, highlighting her evolution in style and sound over the years.
The document discusses conventions used in music videos for several pop songs, including long shots, close-ups, costumes, settings, and narratives. For Lana Del Rey's "Young and Beautiful," the 1920s aesthetic of The Great Gatsby film is reflected in the singer's luxurious dress and makeup, as well as the lighting and staging. Ariana Grande's "The Way" uses projections of memories and technology to portray a lighthearted, playful relationship. Katy Perry's "I Kissed a Girl" emphasizes girly themes through settings, costumes, and props.
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.
The document discusses characteristics of music video genres. It provides examples from Iggy Azalea's "Fancy" music video to illustrate how it conforms to conventions of pop and hip-hop genres. Key characteristics highlighted include it being primarily narrative-based, using bright colors, relating the visuals to the lyrics, and including many close-ups of the artist. Cutting between scenes is done in a way that corresponds to the beat of the song. Intertextual references to the film "Clueless" are also discussed.
The music video analyzes is "Arabella" by Arctic Monkeys. It begins in black and white in a 1980s living room, using bricolage to clash eras. A woman is shown posing provocatively, which could be seen as negatively representing women. The video then rewinds, showing reflexivity by breaking the fourth wall. Locations shown include LA with palm trees. A tattoo on an arm represents the band's hometown of Yorkshire. Some shots could offend feminists by negatively portraying women. The video cuts between performances and rewinds to highlight its construction. It has a narrative about the dangers faced by young women living reckless lives, with hope represented by the lead singer's white shirt
MC Sailah grew up in a rough neighborhood, facing bullying and lack of family support. He found strength through music, rapping with his best friend. The interview discusses Sailah's difficult past, his present success coping with fame, and his hopes for collaborating with more artists to expand his audience and sell more records in the future.
Music Video Research - Initial ResearchRishi Ghetia
This document discusses the purposes and conventions of music videos. It begins by outlining several purposes of music videos, such as promoting songs, appealing to audiences, and generating revenue. It then examines Goodwin's conventions, including relationships between lyrics/music and visuals, as well as Frith's typologies of performance, narrative, and conceptual videos. Specific music video examples are provided for various genres to illustrate common conventions. The document provides a comprehensive overview of the rationale and stylistic elements of music videos.
This document provides an analysis of the music video for the song "She's Casual" by the band The Hunna. It summarizes the key elements of the video, including the setting among a group of friends in their twenties partying in London, the casual costumes reflecting a calm style like Nirvana, shots including girls kissing and walking toward the camera, and camera work that explores the scene from different angles to involve the viewer. It argues that while some elements could be seen as objectifying women, most would appreciate the modern and inclusive approach shown in the video.
The music video for Taylor Swift's "Blank Space" uses satire to mock the media's portrayal of Taylor Swift as a rich, materialistic man-eater with a crazy ex-girlfriend persona. Various elements of the mise-en-scene, cinematography, editing, sound, language, and representations in the video parody how the media represents Swift and her relationships. The video aims to portray how the media presents a false narrative of Swift to sell more stories and influence audiences.
Textual analysis using goodwin's theoryfayefletcher
Drake's music video for "Hold On We're Going Home" tells a narrative story of Drake's character whose fiancée is kidnapped by a rival gang. The 7-minute video, set in 1985 Miami, follows Drake and his crew as they work to rescue the fiancée. Though the lyrics and visuals do not strongly connect and the mellow song contrasts with the depicted violence, the overall storyline of rescuing a kidnapped lover relates to the song's theme. The video presented a new image for Drake by focusing on the narrative over his typical performance-based videos.
The trailers show two people falling in love but facing obstacles to being together, such as tragedy, death, or family disapproval. In two trailers, the female leads are engaged but cheat with the male protagonist. Voiceovers often explain the story. The target audience for these romantic films is mass audiences interested in romance, like teachers, students, and casual workers. Similarities include disrupted relationships, explanatory voiceovers, and broad appeal romantic stories.
My music video uses, develops, and challenges several forms and conventions of real media products. It supports Andrew Goodwin's theory by demonstrating genre characteristics like narrative storytelling, clear relationships between the lyrics, music, and visuals, and including close-up shots of the performers. However, it also challenges conventions by addressing sensitive topics through a darker tone, lighting, and mood rather than being upbeat. Additionally, my ancillary products like the magazine advert and digipak maintain synergy with the music video through shared visual elements like the neon face paint designs.
The document provides an analysis of Sia's "Chandelier" music video, directed by Daniel Askill. It summarizes that the video tells an autobiographical story about Sia's struggles with alcoholism and substance abuse through Maddie's interpretive dance. Scenes depict the emptiness of addiction and illusion of escape through partying. Various camera techniques like long shots, close-ups, and zooms are used to emphasize Maddie's fragile mental state and the bleak, repetitive nature of addiction. Mise-en-scene elements like plain clothing, dim lighting, and run-down props further reflect Sia's inner turmoil.
Daniel Askill is a music video director born in 1977 in Sydney, Australia. He studied visual communication and has a background in film, video, music composition, and performance. He has directed many music videos for artists like Sia and Phoenix. His videos are visually engaging and use experimental camerawork, lighting, costumes, and editing techniques to tell stories. For example, his video for Sia's "Breathe Me" uses 2500 polaroids to depict the daily struggles of living with mental health issues. Askill aims to convey important messages through his creative direction in a way that can both entertain and empower viewers.
Melina Matsoukas (Music Video Director)lucierebekah
This document provides background information on music video director Melina Matsoukas. It discusses some of her most notable music videos for artists like Beyoncé, Rihanna, and Lady Gaga. It then analyzes Matsoukas' directing style, noting her use of close-ups, point-of-view shots, experimental lighting and settings, and editing techniques like parallel editing to move the story along. Matsoukas aims to immerse viewers in the emotions of the music through creative camerawork and visuals.
The music video for Lorde's "Team" is directed by Lorde and depicts a society of acne-faced teenagers ruled by Lorde in an abandoned building, with camera shots that create an eerie and mysterious atmosphere to represent Lorde's hometown in a way not typically shown in mainstream media. Scenes show a new member being initiated through a series of tests and interactions with other teenagers in the dystopian setting.
The music video tells the story of a homeless girl struggling with drug addiction in London. It begins with her appearing to have died and flashes back to show her daily struggles to earn money by selling magazines or her body. Her drug use escalates and she exchanges money for drugs. In the end, she succumbs to her addiction. The black and white footage and lyrics portray her difficult life and sinking into addiction.
This document summarizes how different locations, gender, age, costume, class, and ethnicity are commonly represented in music videos. It provides examples for each, such as how Miami music videos often depict wealth and good weather, how London videos may be shot in black and white to seem more depressing, and how rap videos frequently show baggy clothes and chains for costumes. Gender, age, and class stereotypes are also outlined.
This document provides information about the musical genre and the film Hairspray. It discusses that musicals combine singing, dancing, and spoken dialogue to tell a story and entertain audiences. Hairspray is described as a musical in the romantic/comedy subgenre. The document also analyzes conventions of the genre like characters singing their thoughts and romantic couples singing to each other. It includes screenshots from the Hairspray trailer and discusses how the characters, settings, and objects are represented. Common stereotypes in musicals like the handsome male lead and jealous rival character are also mentioned.
The music video analyzes is "Arabella" by Arctic Monkeys. It begins in black and white in a 1980s living room, using bricolage to clash eras. A woman poses provocatively, possibly offending some viewers. The video then rewinds, showing reflexivity. Locations include LA with palm trees. A tattoo represents the band's Yorkshire roots. Some scenes could be seen as negatively portraying women. Throughout, it jumps between performance shots and scenes depicting a troubled lifestyle with drugs and sex. The video has a narrative about the dangers faced by the young women and hopes for change represented by the lead singer's white shirt.
This document provides a biography and career overview of American singer Mariah Carey. It details her background growing up in New York and being discovered by Columbia Records. Carey went on to become one of the best-selling music artists of all time, with 18 number-one singles on the Billboard Hot 100 chart. The document also summarizes several of Carey's influential songs and music videos from across her decades-long career, highlighting her evolution in style and sound over the years.
The document discusses conventions used in music videos for several pop songs, including long shots, close-ups, costumes, settings, and narratives. For Lana Del Rey's "Young and Beautiful," the 1920s aesthetic of The Great Gatsby film is reflected in the singer's luxurious dress and makeup, as well as the lighting and staging. Ariana Grande's "The Way" uses projections of memories and technology to portray a lighthearted, playful relationship. Katy Perry's "I Kissed a Girl" emphasizes girly themes through settings, costumes, and props.
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.
The document discusses characteristics of music video genres. It provides examples from Iggy Azalea's "Fancy" music video to illustrate how it conforms to conventions of pop and hip-hop genres. Key characteristics highlighted include it being primarily narrative-based, using bright colors, relating the visuals to the lyrics, and including many close-ups of the artist. Cutting between scenes is done in a way that corresponds to the beat of the song. Intertextual references to the film "Clueless" are also discussed.
The music video analyzes is "Arabella" by Arctic Monkeys. It begins in black and white in a 1980s living room, using bricolage to clash eras. A woman is shown posing provocatively, which could be seen as negatively representing women. The video then rewinds, showing reflexivity by breaking the fourth wall. Locations shown include LA with palm trees. A tattoo on an arm represents the band's hometown of Yorkshire. Some shots could offend feminists by negatively portraying women. The video cuts between performances and rewinds to highlight its construction. It has a narrative about the dangers faced by young women living reckless lives, with hope represented by the lead singer's white shirt
MC Sailah grew up in a rough neighborhood, facing bullying and lack of family support. He found strength through music, rapping with his best friend. The interview discusses Sailah's difficult past, his present success coping with fame, and his hopes for collaborating with more artists to expand his audience and sell more records in the future.
Music Video Research - Initial ResearchRishi Ghetia
This document discusses the purposes and conventions of music videos. It begins by outlining several purposes of music videos, such as promoting songs, appealing to audiences, and generating revenue. It then examines Goodwin's conventions, including relationships between lyrics/music and visuals, as well as Frith's typologies of performance, narrative, and conceptual videos. Specific music video examples are provided for various genres to illustrate common conventions. The document provides a comprehensive overview of the rationale and stylistic elements of music videos.
This document provides an analysis of the music video for the song "She's Casual" by the band The Hunna. It summarizes the key elements of the video, including the setting among a group of friends in their twenties partying in London, the casual costumes reflecting a calm style like Nirvana, shots including girls kissing and walking toward the camera, and camera work that explores the scene from different angles to involve the viewer. It argues that while some elements could be seen as objectifying women, most would appreciate the modern and inclusive approach shown in the video.
The music video for Taylor Swift's "Blank Space" uses satire to mock the media's portrayal of Taylor Swift as a rich, materialistic man-eater with a crazy ex-girlfriend persona. Various elements of the mise-en-scene, cinematography, editing, sound, language, and representations in the video parody how the media represents Swift and her relationships. The video aims to portray how the media presents a false narrative of Swift to sell more stories and influence audiences.
The document analyzes the music video for "Young and Beautiful" by Lana Del Rey. It notes that the video has a 1920s vintage aesthetic created through Lana's makeup, costumes, and editing techniques. The video is performance-based, featuring many close-up shots of Lana singing. It uses dark colors and lighting to create a melancholy mood that matches the lyrics. Overall, the analysis finds the video successfully matches the song's lyrics through its visual storytelling and vintage style.
The music video for Lana Del Rey's "Ultraviolence" depicts her relationship with a lover. In the first scene, they are casually dressed and playful on the beach. In the next scene, Lana is with an older man in a suit, suggesting a more mature relationship. Throughout the video, editing techniques like cross-fading and layering of images give it a retro, vintage feel. The cinematography and lighting aim to portray both the happy and troubled sides of Lana's relationships through the use of locations and shadows.
The document provides summaries of four music videos:
1) Ludacris' "Runaway Love" depicts issues of sexual abuse and hardship faced by girls of different ages and ethnicities. The video tells a narrative through its lyrics and scenes of rural areas with graffiti.
2) Taylor Swift's "I Knew You Were Trouble" shows her falling for and getting heartbroken by a troublemaking guy, ending with her alone in the desert. The narrative relates to the song's lyrics.
3) Miley Cyrus' "Wrecking Ball" literally portrays the lyrics of being wrecked by love through scenes of her wrecking walls with demolition tools.
4) Katy Perry's
The document provides summaries of four music videos:
1) Ludacris' "Runaway Love" depicts issues of sexual abuse and hardship faced by girls of different ages and ethnicities. The video tells a narrative through its lyrics and scenes of rural areas with graffiti.
2) Taylor Swift's "I Knew You Were Trouble" shows her falling for and getting heartbroken by a troublemaking guy who kisses other girls. She realizes he was trouble all along.
3) Miley Cyrus' "Wrecking Ball" literally portrays her wrecking walls with a wrecking ball and sledgehammer to represent how her ex left her feeling wrecked.
4) Katy Perry's
The music video for "Girlfriend" by Avril Lavigne shows her playing three different girls - a girly girl, a rebel, and the singer. Through its use of mise-en-scene, camerawork, editing, and sound, it portrays a love triangle between the typical girly girl, her boyfriend, and the rebel girl who tries to come between them. Scenes show the rebel girl flirting with and pranking the boyfriend, while editing and sound match the story to the song's lyrics about wanting a new girlfriend. In the end, the rebel girl ends up with the boyfriend, leaving the girly girl dumped in a river.
The document provides an analysis of two music videos:
1) "Trouble" by Neon Jungle. The summary analyzes the music video's portrayal of the all-girl band through provocative outfits, dancing, and camera shots that emphasize their bodies. It examines how this relates to theories of voyeurism and the male gaze.
2) "Satellite" by Little Boots. The summary notes the video focuses on a young girl dancing alone on stage while the artist sings in the background. It suggests the video and song are about overcoming a past relationship. Camera shots are slow motion and the video has a dull, black-and-white effect linking to the depressed mood of the song.
The document provides analysis of two music videos:
1) "Trouble" by Neon Jungle, which depicts the wild and rebellious personalities of the girl band through provocative outfits and dancing.
2) "Satellite" by Little Boots, featuring a young ballerina dancing alone on stage to express the artist's heartbreak over a past relationship. Slow motion shots and a black and white filter create a melancholy tone.
This document provides a textual analysis of Taylor Swift's music video for "The Story of Us" using L.I.I.A.R analysis. It summarizes the mise-en-scene, cinematography, editing, sound, language, ideology, institution, audience, and representation in the video. Key elements analyzed include Taylor wearing a school uniform, flashbacks showing her happier in the relationship, and a climax where characters throw papers in the air as a symbol of being free from the failed relationship.
The music video for "Attica" by Olivver the Kid tells the story of how his life and relationship have changed since being imprisoned. Through a combination of lyrics and visuals, it shows his memories of happier times with his girlfriend contrasted with his current lonely reality in prison. Close-ups are used to convey emotion, and the visuals emphasize different parts of the lyrics. The relationship between the protagonist and his girlfriend seems to have deteriorated during his incarceration. By the end, both characters appear to have moved on after making eye contact upon his release.
Taylor Swift is a 19-year-old country and pop singer from Pennsylvania who has been active for 5 years. Her music videos often feature linear narratives about falling in and out of love. The video for "Teardrops on My Guitar" is set in an American high school and depicts Swift experiencing heartbreak when the boy she likes kisses another girl. Though filmed with basic locations and costumes to portray a typical high school experience, the video uses camera shots and lyrics to visualize Swift's emotions after her friend chooses someone else over her.
Taylor Swift is a 19-year-old country and pop singer-songwriter from Pennsylvania who has been active for 5 years. Her debut single, "Tim McGraw," reached #6 on the Billboard country chart, and her album "Fearless" debuted at #1 on the Billboard 200. The video for "Teardrops on My Guitar" tells the story of Swift's character falling for her friend Drew, but he does not return her feelings. The video is set in an American high school and portrays Swift as a normal teenager experiencing heartbreak like anyone else. It follows Swift's typical music video formula of showing a narrative between a boy and a girl but is still effective.
The music video is a narrative-driven story that follows a young woman through flashbacks of her life. She is shown experiencing bullying as a child, arguments with her mother, feelings of not fitting in, and engaging in self-harm. The flashbacks depict her struggle to feel perfect and happy with herself. Interspersed are scenes of the artist Pink singing and appearing in one flashback. The overarching message is that everyone is perfect just as they are.
This document provides analysis of several music videos through summaries of individual scenes:
- The beginning scene of one video uses a blue tint and wave sounds to set a moody, nighttime tone as the man has empty vodka bottles, relating to his low mood.
- Another video shows a woman doing laundry, which contrasts with her personality as she dances and escapes boredom. She always seems to be waiting for things to happen.
- A video about violence in America depicts a shooting in a church to show how unexpected violence can be and to bring awareness to the issue. It shows people happily dancing before the shooter takes action.
The music video is a narrative-driven story that follows a young woman through flashbacks of her life. She is shown experiencing bullying as a child, arguing with her mother, feeling pressure to be skinny, and engaging in self-harm. These flashbacks are intercut with scenes of her present day life with her partner and daughter. The overall themes are self-hatred, struggles with body image, and learning to find acceptance. Through depicting her painful past and ultimate transformation, the video conveys the message that everyone is perfect just as they are.
This document analyzes and compares three pop music videos - Taylor Swift's "22", One Direction's "Live While We're Young", and an unnamed upcoming video from the author - in terms of their genre conventions. It notes that Taylor Swift's "22" video depicts a house party scene showing her having fun with friends without worrying about boys, featuring fashionable models and a retro color palette. It also discusses beach scenes being a common backdrop in pop videos. For One Direction's "Live While We're Young", the document highlights its use of bright colors, lights, outdoor scenery and inclusion of many people to emphasize the song's party theme.
Tulisa was originally a member of the hip hop group N-Dubz, which gained recognition through Channel U and YouTube. N-Dubz went on to sign with several record labels and released three albums before splitting up in 2011. Tulisa has since pursued a solo career, releasing several singles. She has also gained fame as a judge on two seasons of the X Factor UK and been named the world's sexiest woman by FHM. Her debut solo album is scheduled for release soon.
Tove Lo is a Swedish singer and songwriter whose stage name comes from the Swedish word for lynx, an animal she loved as a child. She studied at a music-focused high school and was initially in a band before pursuing a solo career writing songs for other artists. Her 2013 single "Habits" was a breakout hit and led to a record deal, and the remix "Stay High" showed her struggling with drugs and alcohol after a breakup. The dark music video portrayed the negative effects of substance abuse rather than glamorizing it.
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3. • Tulisa Contosavlos- Young
• Tulisa is a singer/songwriter who is best known for being in the pop/ hip hop group N Dubz who
formed in 2000 consisting of tulisas cousin Dappy and their friend Frazer who originate from
Camden Town London. She is currently a judge on the TV series X Factor, When introduced to the
music industry they have had eight top 40 hits in the UK singles chart and two top 10 albums
being 'Uncle B' and 'Against All Odds'.
• In August 2011 with Tulisa taking up a role as a judge on the eighth series of the X Factor and
Dappy releasing his solo single 'No Regrets' N Dubz gig on 18th of September was described as
their final gig for the future.
• In 2011 Tulisa started working on her own solo album which was to be released on 17th
September 2012. The first single to be released from the album was 'Young' the video of Young
was filmed in Miami on the 2nd of March, on the 29th of April 'Young' was released and became
number 1 in the UK. Due to Tulisa recently becoming a solo artist she has not yet released an
album, her last album was 'Love Live Life' when she was a member of N Dubz.
• Below is their most recent album, 'Love Live Life' you can tell by looking at the photograph of
Tulisa she is very girly and glamorous with her baby pink dress and accessories her songs are
about girl related subjects as well being relationships and partying like her most recent song 'Live
it up' located in Hawaii where she is seen on an island partying with her friends, however due to
the journey N Dubz have faced in their career most of their songs are about problems and distress
each of them have experienced personally. The background of the album cover shows the streets
and tall office blocks crammed together which could reflect London where they grew up showing
them to be based on the streets where some of their problems have started up.
4. • When hearing about the song 'Young' who Tulsa's ex boyfriend and band
mate wrote she said she had to have it and that the song represents
everything she is about, the song is about being young and having fun it is
filmed in Miami, where she is seen in different locations with friends having
fun and enjoying herself. It is an electro pop song and has been compared to
Rihanna's and Calvin Harris hit 'We Found Love'. The song shows several
sides to the singer and we can see this through location, mise en scene her
overall look in different scenes. It is targetted at the younger generation
potentially females of around 16-25. Above are two extracts from Tulisas
music video 'Young' you can see on the right she is dressed for summer in
shorts and a crop top reflecting on it being summer, it also shows some sex
appeal from Tulisa she is dressed casual but revealing sometimes associated
with teenage girls reflecting on the song 'Young' which is all about enjoying life
as a young girl and partying. She is shown with some bags which could mean
she is taking a holiday and going away again reflecting on her video of her
being with friends in different locations around Miami one being a beach
associated with holidays and fun and partying. The left extract from the video
shows Tulisa in a natural but glamorous way her hair is natural, down and
loose and she is wearing a low cut top giving off a lot of sex appeal which
could mean she is trying to give off a certain image or she is ready to go out
partying again reflecting the meaning of the video.
5. • From watching the video in full i have come to an analysis of the video. She is singing about being young and enjoying
yourself, having fun and getting up to mischief saying it is almost acceptable when your young so make the most of it
because you can learn form your mistakes later in life. 30 seconds through the video she is seen in a silver dress against a
burnt out old rusty car with graffitti in the background she looks glamorous and you wouldn't associate her in that location
you would associate ganags and young yobbs to hang around places like that which gives off the idea of her not caring and
wanting to enjoy herself. 1 minute through the video she is seen of roller skates with her two friends which is sometimes
associated a childlike thing to do, they are then seen breaking through a metal fence and taking a baby lamb which they then
take to an old underground with just a sofa somewhere you would associate children and gangs to hang out which shows
her mischief side to the music video. In the same way 1 minute 30 seconds through the video there is a close up shot of
Tulisa taking a room key and then breaking into what looks like a vip suite in a hotel in which they dance around and have a
pillow fight and make a mess of the hotel room which can also be seen as a childish but fun thing to do which again reflects
on the whole image of the video of having fun and doing things you don't take seriously in life. In one shot two minutes
through the video we see Tulisa in a an orange bodycon dress looking very glamorous and attractive on a roof garden which
shows her femininity, sex appeal and classy side to her in the video. In contrast 1 minute 58 seconds through the video we
see a more edgy side to her with an over the shoulder shot of her showing off her unicorn tattoo in her corset giving off sex
appeal and with tattoos in society associated with gangs and mischief and trouble it reflects on the trouble making side to her
in the video where she is seen stealing things and tresspassing. 2 minute 40 seconds through the video there is a mid shot
of Tulisa where she is featured licking up some spilt ice cream off the side this again shows her being young and immature
you would not do that in public if you were an adult . With the single all about being young and making mistakes that you
learn from it features some poignant lyrics throughout, she sings 'ill make mistakes that i learn form, cos im young, yeah im
young' 'dont worry bout what ill become its just fun its just fun' which is her saying dont worry ill make these mistakes to
have fun and learn from them later because your only young once. Some people may say the video has been published as a
stunt to grab the publics attention as days before it was published and explicit sex tape was leaked online and caused much
havoc for Tulisa and embarrassment it is said this suggestive video is a way of saying sorry I'm young and ill make mistakes
like this, with the opening line of the video being 'forgive me for what i have done,cos im young yeah I'm young' also the fact
there is a clip of her licking up ice cream which is quite a bizarre thingqq to do it could link into her fiesty yet immature side of
her being young and not taking life too seriously. Towards the end of the video 2 minute 50 seconds through she is dressed
smartly but sexy at what looks like a work meeting to study art her mischief side then comes out and she is seen writing on a
piece of art in pink 'the female boss aka Tulisa with a kiss and heart' which is something you would associate with school
and a what a child would write on their books, she strongly states she is a female and boss giving off a message of her
wanting to be in charge but also have fun a sense that she doesn't take life too seriously and likes to enjoy herself. At the
end of the video there is a scene where she is dancing and drinking alcohol partying and having fun with friends something
also that young people tend do in society today, this is followed by a close up shot of Tulisa asleep hungover in bed with her
friends still with her dress on and the camera drops and bounces twice on a angle which almost makes you look twice as if
you as a viewer are drunk or hangover yourselves again putting across the message of being young and for it being ok to
have fun and make mistakes because they can be fixed later in life when things are taken a lot more seriously.