Music videos can be categorized into 5 main types: performance, narrative, cameo, animation, and mixture. Each category uses certain film techniques and conventions. Performance videos mainly feature the artist singing and sometimes include dance routines. Narrative videos tell a story through scenes and lyrics. Cameo videos include the artist in another storyline. Animation can be digital or stop-motion. Mixture combines performance and narrative elements. Techniques like camera shots, editing, sound, and mise-en-scene vary based on the category to effectively promote the song.
The document discusses the forms and conventions of music videos and how the author's media product both uses and challenges some of these conventions. It explains that the product sticks to conventions like setting the video at a house party, using props associated with partying, and synchronous editing. However, it also challenges conventions by letting the band portray themselves authentically rather than how a record label would want, including mistakes in lyrics, and shooting at night rather than day.
This document discusses different types of music videos and their key characteristics. It begins by describing narrative music videos, which tell a story through a sequence of events that parallel the song. Performance music videos capture a live performance to give audiences an authentic view of the artist. Conceptual music videos are more abstract and focus on visuals over narrative or lyrics. The document then provides examples and analyses of different music videos to illustrate these styles. It also covers technical aspects like camera angles, shots, editing, and the production process.
The document discusses various conventions used in music videos, including performance-based videos that solely feature the artist performing, narrative-based videos that tell a story through the song's lyrics, and mixture videos that combine both. It also covers elements like camera angles, movements, editing, mise-en-scene, and sound design that are important for crafting an effective music video. Examples are provided for different types and how certain conventions are applied.
The document summarizes and analyzes a music video called "Demanding Eyes- Lips Like Braille" according to conventions of successful music videos put forth by Andrew Goodwin. The summary analyzes how the music video represents the artist/record label, links the visuals to lyrics, reflects the genre through style and iconography, relates the music and visuals, includes intertextual references and voyeurism. Audience feedback from surveys and YouTube comments found the video was unique, matched the song well, and made people interested in the band and downloading the track.
The document discusses various codes and conventions used in music videos, including:
1) Genre categories such as illustration, amplification, and disjuncture videos that relate to the song in different ways.
2) Narratives in music videos which are rarely complex and usually feature the artist performing while suggesting a loose narrative.
3) Elements of mise-en-scene like lighting, costumes, and location that help set the scene and genre of the video.
The music video for Vance Joy's "Riptide" tells a narrative story through illustrative techniques that relate the shots to the lyrics. It features a main male and female character whose relationship develops over the course of the video. While mostly using natural lighting and basic editing, it incorporates characteristics typical of the indie genre through its narrative style, use of colored lighting, camera techniques like panning and zooming, and styling of the performers. It emphasizes the idea of looking by having the characters directly address the audience and using screens to make the audience feel like they are observing the story.
The document analyzes several music videos and their relationships to the songs:
1. A Fall Out Boy video satirizes traditional music videos by replacing elements with dog-related items to depict the song from a dog's dream perspective.
2. A Paramore video uses cinematography and lighting symbolism to portray feelings of being ignored addressed in the aggressive song.
3. A You Me At Six video symbolically shows characters regrowing lost partners from buried sentimental objects to represent reviving lost relationships mentioned in the emotional song.
This document outlines Andrew Goodwin's music video theory, which identifies six common techniques used in music videos. These include demonstrating genre characteristics, having a relationship between lyrics/music and visuals, addressing record label demands, references to voyeurism, intertextual references, and developing a star persona. Examples are provided for each technique. Students are assigned to identify a music video for each technique and explain how it benefits the song. They are also given homework to analyze a music video of their choice using described elements of mise-en-scene, cinematography, sound, editing, representation theories, and audience segmentation.
The document discusses the forms and conventions of music videos and how the author's media product both uses and challenges some of these conventions. It explains that the product sticks to conventions like setting the video at a house party, using props associated with partying, and synchronous editing. However, it also challenges conventions by letting the band portray themselves authentically rather than how a record label would want, including mistakes in lyrics, and shooting at night rather than day.
This document discusses different types of music videos and their key characteristics. It begins by describing narrative music videos, which tell a story through a sequence of events that parallel the song. Performance music videos capture a live performance to give audiences an authentic view of the artist. Conceptual music videos are more abstract and focus on visuals over narrative or lyrics. The document then provides examples and analyses of different music videos to illustrate these styles. It also covers technical aspects like camera angles, shots, editing, and the production process.
The document discusses various conventions used in music videos, including performance-based videos that solely feature the artist performing, narrative-based videos that tell a story through the song's lyrics, and mixture videos that combine both. It also covers elements like camera angles, movements, editing, mise-en-scene, and sound design that are important for crafting an effective music video. Examples are provided for different types and how certain conventions are applied.
The document summarizes and analyzes a music video called "Demanding Eyes- Lips Like Braille" according to conventions of successful music videos put forth by Andrew Goodwin. The summary analyzes how the music video represents the artist/record label, links the visuals to lyrics, reflects the genre through style and iconography, relates the music and visuals, includes intertextual references and voyeurism. Audience feedback from surveys and YouTube comments found the video was unique, matched the song well, and made people interested in the band and downloading the track.
The document discusses various codes and conventions used in music videos, including:
1) Genre categories such as illustration, amplification, and disjuncture videos that relate to the song in different ways.
2) Narratives in music videos which are rarely complex and usually feature the artist performing while suggesting a loose narrative.
3) Elements of mise-en-scene like lighting, costumes, and location that help set the scene and genre of the video.
The music video for Vance Joy's "Riptide" tells a narrative story through illustrative techniques that relate the shots to the lyrics. It features a main male and female character whose relationship develops over the course of the video. While mostly using natural lighting and basic editing, it incorporates characteristics typical of the indie genre through its narrative style, use of colored lighting, camera techniques like panning and zooming, and styling of the performers. It emphasizes the idea of looking by having the characters directly address the audience and using screens to make the audience feel like they are observing the story.
The document analyzes several music videos and their relationships to the songs:
1. A Fall Out Boy video satirizes traditional music videos by replacing elements with dog-related items to depict the song from a dog's dream perspective.
2. A Paramore video uses cinematography and lighting symbolism to portray feelings of being ignored addressed in the aggressive song.
3. A You Me At Six video symbolically shows characters regrowing lost partners from buried sentimental objects to represent reviving lost relationships mentioned in the emotional song.
This document outlines Andrew Goodwin's music video theory, which identifies six common techniques used in music videos. These include demonstrating genre characteristics, having a relationship between lyrics/music and visuals, addressing record label demands, references to voyeurism, intertextual references, and developing a star persona. Examples are provided for each technique. Students are assigned to identify a music video for each technique and explain how it benefits the song. They are also given homework to analyze a music video of their choice using described elements of mise-en-scene, cinematography, sound, editing, representation theories, and audience segmentation.
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.
The document discusses different types of music videos and their components. It describes how music videos can contain a performance, narrative, or mixture of both. Performance-based videos allow the artist's image and skills to be portrayed, while narrative-based videos tell a story that engages audiences. Videos with both use cuts between scenes. Mise-en-scene, editing, camera angles, camera movement, and diegetic sounds are discussed as important elements that set tone and engage audiences. Realistic elements can make the story feel relatable. Overall the document analyzes conventions used in music videos to portray the artist and engage viewers.
The document discusses various codes and conventions used in music videos, including technical techniques, symbolic techniques, colors, notions of looking, and star image. It then summarizes how the author's music video incorporated some of these conventions, such as a focus on color, star image, and facial expressions to convey meaning. The author challenged conventions by creating a purely performance-based video with still footage and no camera movements, similar to Bloc Party's "Banquet." The author then developed this idea further by combining elements from "Banquet" and A-Ha's "Take On Me" music videos.
The document discusses genre theory and how it relates to music videos. It defines genre as the type or kind of music video, with each genre having recognizable characteristics. Genre theory explains the role genres play in different media texts. The document also discusses how audiences enjoy genres because it allows them to develop expectations and share pleasures in discussing the same genres. The specific genre of the author's music video is described as romance, with conventions used to convey the romantic narrative including a complex story, black and white effects, a dance scene, and close-up shots.
Wolf Alice is a four-piece alternative rock band from London. Their music video for "You're a Germ" tells a horror narrative story through exaggerated facial expressions and amplified scenes that represent the lyrics. There are clear relationships between the lyrics, music, and visuals as events in the video heighten with the music and specific shots represent lyrics. Close-ups are used to focus on lead singer Ellie Rowsell and allow the audience to follow the story from different perspectives without directly addressing the camera like a conventional performance video.
The document provides a textual analysis of 5 music videos summarizing their forms, conventions, representations, and target audiences. It analyzes videos by Shakira, Jay-Z featuring Alicia Keys, Beyoncé, Kanye West featuring Rihanna and Kid Cudi, and Wiley. For each video, it describes elements like date, director, genre, modes, mise-en-scene, editing, cinematography, representations constructed, label, distribution channels, and intended audience. It finds that the videos generally adhere to conventions of their genres through elements like fast-paced editing, close-ups of the artists, and fashionable costumes. Audience theories like the male gaze and feminism are discussed in
Different music videos for different genreswhslaura
This document summarizes different music video styles based on genre. It discusses conventions for metal, rock, indie, pop, and rap music videos. For metal videos, it provides examples of Metallica and Dragonforce that use close-up shots and angles to connect with audiences. Rock videos like Guns N' Roses use black and white with close-ups. Indie videos like George Ezra and Bastille have abstract narratives. Pop videos like Justin Bieber and Shawn Mendes use choreography, lighting, and voyeurism. Rap videos by Eminem and Kanye West have sci-fi themes while Nicki Minaj and Iggy Azalea emphasize sexuality and the "male gaze."
The music video for "Peanut Butter Jelly" by Galantis shows characters in a supermarket dancing and having fun, matching the upbeat tone of the song. Though the lyrics don't match the visuals directly, the video depicts a party atmosphere through characters dancing in costumes that transform from mundane to bright party attire in time with the music. By the end, all the ordinary characters are dancing and enjoying themselves, linking to the party mood intended for the song.
This document discusses the codes and conventions used in music videos and how the author's media product both used and developed these conventions. Specifically:
- The author's music video used conventions like a focus on color, star image, and facial expressions to convey meaning. It was performed in black and white to draw focus to lighting and editing.
- To develop conventions, the author challenged conventions by having to film alone without support, resulting in still footage without movement. This unintentionally mimicked the style of Bloc Party's "Banquet".
- The author then developed this style by taking elements of "Banquet" and A-Ha's "Take On Me" - combining a pure performance style with effects
The document discusses screenshots from a music video and how it uses and develops conventions from other music videos.
It includes 9 screenshots from the video with explanations of how each shot draws from other music videos. Shots are compared to videos by Kanye West, Ariana Grande, Beyonce, Taylor Swift, Calvin Harris, and Selena Gomez.
The video challenges conventions by focusing on visual elements like glitter rather than the artist. It also experiments with focus and uses symbols like glitter throughout in an unconventional way. In summary, the document analyzes the video's intertextual references and how it develops conventions from other popular music videos.
The music video uses, develops, and challenges some conventions of real hip hop/soul music videos. It develops conventions through the artist's streetwear costumes, locations like public streets, themes of love, close-up shots, and editing that matches the song's pace. It challenges conventions slightly through an unpredictable artist and themes of imagination. Cinematography, lighting, sound, and other elements reinforce the love theme and apply genre theories to represent the artist and their feelings. Overall, the video mainly develops rather than challenges typical conventions of the hip hop/soul music video genre.
The document discusses various codes and conventions used in music videos, including technical codes like editing style and use of sound, and symbolic codes like facial expressions and mise-en-scene. It then discusses how the student used some of these conventions, like color, performance, and focus on the lead singer's image, in their own music video. It challenges conventions by having limited camera movement and combining influences from the music videos for "Banquet" by Bloc Party and "Take On Me" by A-Ha to create a unique style.
The document discusses conventions in music videos and how the author's media product used and developed these conventions. Specifically, the author focused on color and star image by using close-ups and facial expressions to convey lyrics. They used a performance-based black-and-white style to focus on lighting and editing like videos in their punk/pop-punk genre. While their original cut was too similar to Bloc Party's "Banquet," feedback helped them improve with editing effects, combining influences from "Banquet" and A-Ha's "Take On Me" into their final cut.
This document discusses the codes and conventions used in music videos and how the author developed and challenged them in their own music video project. It provides an overview of several key conventions like technical techniques, symbolic techniques, colors, and star image. It then describes how the author's video focused on color and star image through close-ups and facial expressions to represent the song. While the original cut was similar to Bloc Party's "Banquet," feedback requested more editing effects, so the author combined elements of "Banquet" with A-Ha's "Take On Me" by adding overlays and modifying colors and contrast.
The document analyzes the camerawork, shots, angles, mise-en-scene, clothing, makeup, editing, and conventions used in the music video for "Prayer in C" by Lilly Wood and the Prick. It notes that a variety of shots including mid shots, establishing shots, and close ups are used. The locations are the singer's bedroom and street, with natural lighting. Clothing and makeup are brightly colored and similar across characters. Edits match the fast pace of the music. Relationships between music, visuals, and lyrics are also explored.
The document analyzes the camerawork, shots, angles, mise-en-scene, clothing, makeup, editing, and conventions used in the music video for "Prayer in C" by Lilly Wood and the Prick. It notes that a variety of shots including mid shots, establishing shots, and close ups are used. The locations are the singer's bedroom and street, and lighting appears natural. Clothing and makeup are brightly colored and similar across characters. Edits match the fast pace of the music. Relationships between music, visuals, and lyrics are also explored.
The document discusses what a dance music video is and the different styles and techniques involved in creating music videos. It explains that a music video is primarily a promotional tool to encourage sales of a song and artist. There are three main subgenres of music videos: narrative videos which tell a story, performative videos which mainly feature the artist performing, and conceptual videos which follow an abstract theme without a clear story. The document also outlines other styles like mixture videos and cameo videos, as well as important technical elements like camera shots, angles, movements, editing, and mise-en-scene considerations.
Music videos accompany songs and represent an important part of the music industry. They allow artists to impress audiences with their looks, moves, and performances in addition to their musical talent. This helps attract wider audiences and boost artists' careers. Music videos use various techniques like editing, camerawork, and visuals to represent the artist and genre of music. Over time, music videos have grown in importance and influence the success of songs and artists. They are now considered a new art form by some.
This music video for Emeli Sande's song "Heaven" uses contrasts in media language to represent the conflict between temptation and redemption expressed in the lyrics. Scenes of social realism depicting the negative consequences of temptation are juxtaposed with ethereal scenes signifying transcendence and the possibility of redemption. The video represents a diverse range of people and celebrates street life while also conveying the message that giving in to temptation can have sad consequences. It uses techniques like performance, narrative, gritty imagery, and uplifting music and lighting to communicate these themes.
Este documento resume los resultados de una encuesta realizada en 24 países, incluyendo México, sobre los hábitos de consumo de video móvil. Algunos hallazgos clave son: 1) México y América Latina tienen altos niveles de consumo diario de videos cortos y largos en dispositivos móviles; 2) Los factores como la calidad de imagen, velocidad de carga y conectividad Wi-Fi influyen significativamente en la experiencia del usuario mexicano; y 3) México comparte las preferencias globales por contenido de marcas
Los movimientos del arte visual contemporaneo (1)Del Pilar Cruz
El documento resume las principales corrientes artísticas del siglo XX, comenzando con el Impresionismo y continuando con el Postimpresionismo, el Fauvismo, el Expresionismo y otros ismos. Explica las características y artistas clave de cada movimiento, así como sus influencias y diferencias con corrientes anteriores. El documento ofrece una visión general pero concisa de la evolución del arte moderno durante este periodo.
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.
The document discusses different types of music videos and their components. It describes how music videos can contain a performance, narrative, or mixture of both. Performance-based videos allow the artist's image and skills to be portrayed, while narrative-based videos tell a story that engages audiences. Videos with both use cuts between scenes. Mise-en-scene, editing, camera angles, camera movement, and diegetic sounds are discussed as important elements that set tone and engage audiences. Realistic elements can make the story feel relatable. Overall the document analyzes conventions used in music videos to portray the artist and engage viewers.
The document discusses various codes and conventions used in music videos, including technical techniques, symbolic techniques, colors, notions of looking, and star image. It then summarizes how the author's music video incorporated some of these conventions, such as a focus on color, star image, and facial expressions to convey meaning. The author challenged conventions by creating a purely performance-based video with still footage and no camera movements, similar to Bloc Party's "Banquet." The author then developed this idea further by combining elements from "Banquet" and A-Ha's "Take On Me" music videos.
The document discusses genre theory and how it relates to music videos. It defines genre as the type or kind of music video, with each genre having recognizable characteristics. Genre theory explains the role genres play in different media texts. The document also discusses how audiences enjoy genres because it allows them to develop expectations and share pleasures in discussing the same genres. The specific genre of the author's music video is described as romance, with conventions used to convey the romantic narrative including a complex story, black and white effects, a dance scene, and close-up shots.
Wolf Alice is a four-piece alternative rock band from London. Their music video for "You're a Germ" tells a horror narrative story through exaggerated facial expressions and amplified scenes that represent the lyrics. There are clear relationships between the lyrics, music, and visuals as events in the video heighten with the music and specific shots represent lyrics. Close-ups are used to focus on lead singer Ellie Rowsell and allow the audience to follow the story from different perspectives without directly addressing the camera like a conventional performance video.
The document provides a textual analysis of 5 music videos summarizing their forms, conventions, representations, and target audiences. It analyzes videos by Shakira, Jay-Z featuring Alicia Keys, Beyoncé, Kanye West featuring Rihanna and Kid Cudi, and Wiley. For each video, it describes elements like date, director, genre, modes, mise-en-scene, editing, cinematography, representations constructed, label, distribution channels, and intended audience. It finds that the videos generally adhere to conventions of their genres through elements like fast-paced editing, close-ups of the artists, and fashionable costumes. Audience theories like the male gaze and feminism are discussed in
Different music videos for different genreswhslaura
This document summarizes different music video styles based on genre. It discusses conventions for metal, rock, indie, pop, and rap music videos. For metal videos, it provides examples of Metallica and Dragonforce that use close-up shots and angles to connect with audiences. Rock videos like Guns N' Roses use black and white with close-ups. Indie videos like George Ezra and Bastille have abstract narratives. Pop videos like Justin Bieber and Shawn Mendes use choreography, lighting, and voyeurism. Rap videos by Eminem and Kanye West have sci-fi themes while Nicki Minaj and Iggy Azalea emphasize sexuality and the "male gaze."
The music video for "Peanut Butter Jelly" by Galantis shows characters in a supermarket dancing and having fun, matching the upbeat tone of the song. Though the lyrics don't match the visuals directly, the video depicts a party atmosphere through characters dancing in costumes that transform from mundane to bright party attire in time with the music. By the end, all the ordinary characters are dancing and enjoying themselves, linking to the party mood intended for the song.
This document discusses the codes and conventions used in music videos and how the author's media product both used and developed these conventions. Specifically:
- The author's music video used conventions like a focus on color, star image, and facial expressions to convey meaning. It was performed in black and white to draw focus to lighting and editing.
- To develop conventions, the author challenged conventions by having to film alone without support, resulting in still footage without movement. This unintentionally mimicked the style of Bloc Party's "Banquet".
- The author then developed this style by taking elements of "Banquet" and A-Ha's "Take On Me" - combining a pure performance style with effects
The document discusses screenshots from a music video and how it uses and develops conventions from other music videos.
It includes 9 screenshots from the video with explanations of how each shot draws from other music videos. Shots are compared to videos by Kanye West, Ariana Grande, Beyonce, Taylor Swift, Calvin Harris, and Selena Gomez.
The video challenges conventions by focusing on visual elements like glitter rather than the artist. It also experiments with focus and uses symbols like glitter throughout in an unconventional way. In summary, the document analyzes the video's intertextual references and how it develops conventions from other popular music videos.
The music video uses, develops, and challenges some conventions of real hip hop/soul music videos. It develops conventions through the artist's streetwear costumes, locations like public streets, themes of love, close-up shots, and editing that matches the song's pace. It challenges conventions slightly through an unpredictable artist and themes of imagination. Cinematography, lighting, sound, and other elements reinforce the love theme and apply genre theories to represent the artist and their feelings. Overall, the video mainly develops rather than challenges typical conventions of the hip hop/soul music video genre.
The document discusses various codes and conventions used in music videos, including technical codes like editing style and use of sound, and symbolic codes like facial expressions and mise-en-scene. It then discusses how the student used some of these conventions, like color, performance, and focus on the lead singer's image, in their own music video. It challenges conventions by having limited camera movement and combining influences from the music videos for "Banquet" by Bloc Party and "Take On Me" by A-Ha to create a unique style.
The document discusses conventions in music videos and how the author's media product used and developed these conventions. Specifically, the author focused on color and star image by using close-ups and facial expressions to convey lyrics. They used a performance-based black-and-white style to focus on lighting and editing like videos in their punk/pop-punk genre. While their original cut was too similar to Bloc Party's "Banquet," feedback helped them improve with editing effects, combining influences from "Banquet" and A-Ha's "Take On Me" into their final cut.
This document discusses the codes and conventions used in music videos and how the author developed and challenged them in their own music video project. It provides an overview of several key conventions like technical techniques, symbolic techniques, colors, and star image. It then describes how the author's video focused on color and star image through close-ups and facial expressions to represent the song. While the original cut was similar to Bloc Party's "Banquet," feedback requested more editing effects, so the author combined elements of "Banquet" with A-Ha's "Take On Me" by adding overlays and modifying colors and contrast.
The document analyzes the camerawork, shots, angles, mise-en-scene, clothing, makeup, editing, and conventions used in the music video for "Prayer in C" by Lilly Wood and the Prick. It notes that a variety of shots including mid shots, establishing shots, and close ups are used. The locations are the singer's bedroom and street, with natural lighting. Clothing and makeup are brightly colored and similar across characters. Edits match the fast pace of the music. Relationships between music, visuals, and lyrics are also explored.
The document analyzes the camerawork, shots, angles, mise-en-scene, clothing, makeup, editing, and conventions used in the music video for "Prayer in C" by Lilly Wood and the Prick. It notes that a variety of shots including mid shots, establishing shots, and close ups are used. The locations are the singer's bedroom and street, and lighting appears natural. Clothing and makeup are brightly colored and similar across characters. Edits match the fast pace of the music. Relationships between music, visuals, and lyrics are also explored.
The document discusses what a dance music video is and the different styles and techniques involved in creating music videos. It explains that a music video is primarily a promotional tool to encourage sales of a song and artist. There are three main subgenres of music videos: narrative videos which tell a story, performative videos which mainly feature the artist performing, and conceptual videos which follow an abstract theme without a clear story. The document also outlines other styles like mixture videos and cameo videos, as well as important technical elements like camera shots, angles, movements, editing, and mise-en-scene considerations.
Music videos accompany songs and represent an important part of the music industry. They allow artists to impress audiences with their looks, moves, and performances in addition to their musical talent. This helps attract wider audiences and boost artists' careers. Music videos use various techniques like editing, camerawork, and visuals to represent the artist and genre of music. Over time, music videos have grown in importance and influence the success of songs and artists. They are now considered a new art form by some.
This music video for Emeli Sande's song "Heaven" uses contrasts in media language to represent the conflict between temptation and redemption expressed in the lyrics. Scenes of social realism depicting the negative consequences of temptation are juxtaposed with ethereal scenes signifying transcendence and the possibility of redemption. The video represents a diverse range of people and celebrates street life while also conveying the message that giving in to temptation can have sad consequences. It uses techniques like performance, narrative, gritty imagery, and uplifting music and lighting to communicate these themes.
Este documento resume los resultados de una encuesta realizada en 24 países, incluyendo México, sobre los hábitos de consumo de video móvil. Algunos hallazgos clave son: 1) México y América Latina tienen altos niveles de consumo diario de videos cortos y largos en dispositivos móviles; 2) Los factores como la calidad de imagen, velocidad de carga y conectividad Wi-Fi influyen significativamente en la experiencia del usuario mexicano; y 3) México comparte las preferencias globales por contenido de marcas
Los movimientos del arte visual contemporaneo (1)Del Pilar Cruz
El documento resume las principales corrientes artísticas del siglo XX, comenzando con el Impresionismo y continuando con el Postimpresionismo, el Fauvismo, el Expresionismo y otros ismos. Explica las características y artistas clave de cada movimiento, así como sus influencias y diferencias con corrientes anteriores. El documento ofrece una visión general pero concisa de la evolución del arte moderno durante este periodo.
In Depth Workshop: Academy Development - Day 1 of 2 Day Workshop - HandoutsNAFCareerAcads
This document outlines a plan to create a high performance culture at an academy. It suggests having students develop a flag, pledge, and class mission statement for their freshman class. It also proposes expanding the idea of developing a "country" to creating a "citizenship oath" with concrete structures like passports and reflection items to assess feelings of inclusion. The plan details an entry event where students are given random instructions to spark curiosity about developing the culture of their academy "country." It concludes with breaking students into groups to design symbols and a motto for their new "country" and developing individual mission statements.
1) La respuesta sexual humana incluye varias fases: la excitación, la meseta y la orgásmica.
2) Durante la excitación ocurre la lubricación vaginal y cambios vasculares y musculares en los genitales.
3) En la meseta, la excitación alcanza su punto máximo con mayor ruborización y congestión.
4) La fase orgásmica se caracteriza por contracciones rítmicas y aumento de la frecuencia cardíaca y respiratoria.
Este documento presenta información sobre seguridad informática. Define la seguridad informática y discute medidas de seguridad como respaldos de información, protección contra virus, seguridad física. También cubre tipos de amenazas como criminalidad, virus, y sucesos de origen físico. Concluye que es importante conocer las medidas de seguridad para evitar pérdidas de información u otros riesgos.
Este documento trata sobre la importancia de la salud sexual y el comportamiento sexual responsable. Explica que la salud sexual implica el bienestar físico, mental y social en la esfera sexual y reproductiva, permitiendo disfrutar de una vida sexual satisfactoria. También describe formas de mantener una buena salud sexual como evitar sustancias, prevenir enfermedades a través de la comunicación con la pareja, y estar alerta a los síntomas del cuerpo. Además, advierte sobre los riesgos de contraer infecciones de transmisión sexual
Las relaciones sexuales tienen muchos beneficios para la salud física y mental. Físicamente, el sexo puede mejorar el sueño, reducir el estrés y el dolor, y mejorar el estado físico general. Mentalmente, aumenta la autoestima, reduce el estrés y mejora los vínculos sociales. Sin embargo, tanto la falta de sexo como el exceso pueden ser perjudiciales.
El documento resume los conceptos básicos de la sexualidad humana. Explica las zonas erógenas del cuerpo, los afrodisíacos, las hormonas sexuales como la testosterona y su papel en la excitación y respuesta sexual. También describe las fases de la respuesta sexual, incluyendo la excitación, meseta y orgasmo, así como los efectos fisiológicos de cada fase.
Este documento describe los efectos nocivos del consumo de alcohol en la salud pública y las principales consecuencias del abuso del alcohol como traumatismos, violencia y suicidios. Explica los patrones de consumo de riesgo, perjudicial y dependencia del alcohol, así como la evaluación e intoxicación etílica, síndrome de abstinencia y su tratamiento en urgencias.
The document discusses the various codes and conventions used in music videos to convey meaning and messages. It covers technical elements like camera angles, shots, editing pace and style which influence the perceived genre. Symbolic elements like mise en scene, expressions and poses also shape genre associations. Common conventions include camera work, editing techniques, style, sound design and mise en scene. Performance videos mainly feature the artist, while narrative videos tell a story. Different shots and camera angles are used to portray different perspectives and messages. Sound can be diegetic or non-diegetic, and is carefully edited to enhance the music and video. Location and scene choices also influence the communication of genre and themes.
The document discusses the codes and conventions used in music videos to convey meaning. It covers technical elements like camera angles, shots, editing pace and style which influence the perceived genre. Symbolic elements like mise en scene, expressions and poses also convey meaning. Common conventions include camera work, editing techniques, style, sound, mise en scene and stereotypical notions. Performance videos mainly feature the artist, while narrative videos tell a story through multiple scenes. Different shots and camera angles are used to portray different messages and follow or illustrate the action.
The document discusses conventions of music videos and how they were applied in the student's music video project. It begins by outlining several common conventions like the link between music and visuals, camera angles/movement, and performance characteristics. It then examines how the student incorporated these conventions in their video for the song "Sail" by Awolnation. Specific examples are provided of how close-ups, cuts on the beat, genre-appropriate camera work, and a lone dancer were used. The student also discusses challenging conventions by not including a band performance. Overall, the document analyzes the application of music video conventions in the student's project and how it both followed and subverted expectations.
The document discusses various conventions and techniques used in music videos. It identifies the main conventions as style, camerawork, editing, sound (diegetic and non-diegetic), mise-en-scene, and notions of looking. It then describes different types of music videos including performance videos, narrative videos (linear and fragmented), mixture videos, and cameo videos. It also discusses the use of camera shots/angles, editing techniques like jump cuts and CGI, diegetic and non-diegetic sound, and elements of mise-en-scene like lighting, props, costumes, and location.
Initial research completed before any planning of music video began. Including my knowledge with a brief overview of music video's, textual analysis', the link between visuals and rhythm, Promo Vs Art, Institutions, Controversy and Narrative.
Codes and conventions of a music video 2emmacalder123
This document discusses various codes and conventions used in music videos. It covers different styles of music videos including narrative, performance, and mixtures of the two. It also discusses important technical elements like camera work, editing, sound, and mise-en-scene. Examples are provided to illustrate different techniques like the use of camera angles to portray emotions or lighting and setting to match the mood of a song's lyrics. Elements like costumes and props are also explained as ways to convey a music video's genre through visual cues.
A2 Media Studies (Music Video) - Evaluation Question 1 Part 1 Hafsah Zaman
This document discusses the codes and conventions of music videos. It defines codes and conventions as techniques used to construct meaning. It then examines several common technical and symbolic codes and conventions, including camera shots/angles/movement, editing/special effects, sound, and mise-en-scene elements like costume, lighting, makeup, props, and setting. Specific music video examples are provided to illustrate each convention. The document aims to analyze how a music video may use, develop, or challenge these typical forms and conventions.
The document discusses several conventions of music videos. It notes that music videos typically show relationships between the lyrics, visuals, and music. Specific genres may have characteristic visual styles and themes. Music videos usually focus closely on the main artist and develop their public image over multiple videos. They may also reference voyeurism and incorporate elements from other media like films or TV shows.
Music videos are short films that accompany songs or music recordings. They originated in the 1980s as a marketing tool to promote music sales. Music videos can be categorized based on their style, such as performance, narrative, or image-focused videos. Different genres of music tend to have different conventions for music videos, for example hip hop videos often feature cars, houses, women, and alcohol. Effective music videos employ various camera techniques, editing styles, lighting, costumes, colors, locations, and props to match the mood and genre of the song.
Music videos use codes and conventions in their cinematography, editing, sound, mise-en-scene, and genre-specific techniques to promote artists and connect with audiences. Cinematography employs shots like close-ups and angles that suit different genres and songs. Editing cuts rhythmically to the beat. Mise-en-scene reflects lyrics through locations, costumes, and instruments. Genres have recognizable styles - R&B features wealth, rock uses dark colors for live performances, while pop uses bright colors and some voyeurism targeted at teens.
The document discusses various codes and conventions used in music videos. It describes technical codes like camera shots, angles, editing techniques, and sound design. It also covers symbolic codes like mis en scène elements involving lighting, props, costumes, makeup, hair, location, and color. Specific examples are provided to illustrate different types of music videos and how codes and conventions can convey meaning and enhance audience understanding.
Narrative music videos tell a story through a sequence of events that run parallel to the song. They create an emotional bond between artist and viewer by presenting the artist's ideas in an engaging way that increases recall value. Performance music videos give audiences an authentic view of the artist by filming a live performance. Conceptual music videos are abstract and convey emotion/meaning through the music using creative freedom rather than relating directly to lyrics. Production of narrative videos requires developing a concept/script, scheduling shoots, location scouting, principal/supporting footage, and editing.
Music videos use codes and conventions to convey meaning and narrative. Technical techniques like cinematography, editing, and sound shape the story, while symbolic techniques like costumes, setting, and color aid interpretation. Effective music videos employ shots, transitions, and other techniques appropriate to their genre to engage viewers through performance or narrative.
The document discusses the codes and conventions commonly found in different genres of music videos. It explains that technical conventions include camera angles, editing techniques, sound design choices while symbolic conventions relate to facial expressions and mise-en-scene elements. Specific genres like pop, R&B, and metal videos each have their own set of conventions around themes, locations, costumes, and whether they prioritize performance or narrative. Maintaining genre-specific conventions helps music videos effectively portray the mood and message of the song for the target audience.
The document discusses the purpose and conventions of music videos. Music videos are used as marketing tools to promote artists and sell music. There are generally three types of music videos: performance, narrative, and a mixture of both. Common conventions include the use of camera shots, movements, lighting, mise-en-scene, and editing to match the mood, genre, and pace of the song. Conventions vary by genre, with genres like hip hop using flashy displays and rock employing moody, low-key lighting. The production of music videos has evolved over time to allow for cheaper, independently-produced videos.
The document discusses how the media product challenges conventions of real Hip Hop and R&B music videos. It portrays the female lead in a non-sexual way, unlike typical videos which use the "male gaze". It also shows the male lead in a vulnerable state through lighting and camera angles, breaking from conventions of displaying arrogance. Overall, the video challenges stereotypes while still developing themes seen in inspirational works like Drake's "Find Your Love".
This document discusses genre conventions in music videos. It explains that music videos are a promotional tool that help artists establish their image and brand to differentiate themselves and appeal to loyal fans. The document also discusses several elements that define genres in music videos, including mise-en-scene, themes, camerawork, editing styles, and performance. It notes that camerawork and editing are often fast-paced and can be used to emphasize certain aspects. Music videos can take the form of performances, narratives, or concept-driven approaches to engage audiences and increase viewership.
This document discusses conventions and elements of music videos in different genres. It notes that indie/rock videos tend to be black and white and feature extreme close-ups and shots of the artist. Hip hop videos typically feature fancy locations, alcohol/drugs, and attractive women. Pop videos focus on performances, bright colors, and close-ups of the artist's face. The document also outlines common elements of music videos like narrative, performance, cameos, and symbolism. It discusses the use of camera shots, movement, lighting, costumes, and other techniques to convey meaning and mood.
Conventions are specific aspects of a genre that ensure a work fits within that genre and is understood by audiences. Music video conventions include the narrative style, performance style, animation, and mixtures of these. Common camera techniques are close-ups, two-shots, and point-of-view shots. Mise-en-scene elements like costumes, lighting, colors, and props also have conventions. Editing commonly uses fast cuts or slow motion. Music videos often portray an extravagant lifestyle and gender representations. The document discusses following these conventions while also potentially subverting expectations in the author's own music video project.
The document discusses the purposes, styles, techniques, and conventions of music video production. It outlines three core motivations of music videos: to entertain, create an artist's brand/identity, and sell to the audience. Common camera shots like eye level, low/high angles, and close-ups are described. Editing techniques such as cross dissolves, wipes, and cuts are also examined. Modern productions make use of CGI and green screens to enhance visuals beyond traditional film capabilities.
The document discusses the equipment and software the author will use to create a video and accompanying materials for a course. This includes a Canon EOS 500D camera for high quality video and images, a tripod to keep the camera steady, an Apple Mac computer running Final Cut Express for video editing, and Adobe Photoshop and InDesign for additional design work. The author plans to learn how to use Final Cut Express and become familiar with the Mac before beginning the project.
The four main music institutions that dominate the music industry today are Universal Music Group, Sony Music Entertainment, Warner Music Group, and EMI Music Publishing, collectively known as "The Big Four". These institutions fund and create music videos that are marketed and promoted through various platforms like YouTube, clothing lines, and live shows. They also own and control copyrights for musical compositions. The institutions promote various media forms through smaller subsidiary companies.
This promotional poster uses size, font styles, and imagery to emphasize important information and create an appealing design. The artist's name is the largest text to highlight their importance. The main image takes up most of the space to promote the album. Inclusion of the record label and websites provide legitimacy. Overall, the poster utilizes visual elements effectively to catch the audience's attention and promote the product.
The document discusses various elements and conventions of music videos across different genres. It begins by defining music videos and explaining their purpose for marketing songs. It then outlines five main categories of music videos based on elements like genre, lyrics, and visuals: performance, narrative, cameo, animation, and mixture. The document proceeds to discuss conventions for each category in more detail, including common camera shots, lighting, editing techniques, and how mise-en-scene reflects meaning. It also examines how these elements vary depending on the genre of the music video, focusing on conventions for pop, R&B/hip hop, and indie/rock videos.
The document provides guidance for analyzing promotional materials like music magazine covers and posters. It notes key elements to look for such as font size and style, image size and placement, information emphasized through size, logos that reassure audiences, and details that engage or broaden target markets. For posters specifically, it highlights examining the central image, awards, repeated words, availability details, and symbols in images. The document then shifts to discussing elements of CD covers like the ratio of image to text, how the content relates to the artwork, use of colors, body language, and trends within genres.
Plastic pop is a genre that emerged from talent shows discovering new pop artists. It emphasizes appealing to younger audiences through bright, aspirational imagery and themes of following dreams. Major figures like Simon Cowell and Disney play a role in cultivating large fanbases and using merchandise to profit from the genre's teen idols. Plastic pop songs are often produced for groups to appeal to popularity contests that turn their contestants into stars through exposure and fan voting.
The document discusses the four major music institutions (also known as the "Big Four") that dominate the modern music industry. The Big Four institutions are Universal Music Group, Sony Music Entertainment, Warner Music Group, and EMI Music Publishing. They fund and create music videos and promote artists, and control smaller music companies that distribute entertainment to audiences.
The document discusses the equipment and software the author will use to create a video and other materials for a course. This includes a Canon EOS 500D camera, tripod, Apple Mac computer, and editing programs like Final Cut Express, Photoshop, and InDesign. The author explains that the camera and tripod will provide quality video and images, while the Mac and programs like Final Cut will allow professional editing and design work. As the author is new to the Mac and Final Cut, they plan to research how to use them through online resources and experimentation before beginning their projects.
The video begins with the words "MYSTERY JETS YOUNG LOVE" in white surrounded by different bright colors. It then shows the band members being rolled into the frame wearing different styles of clothing representing individuality and phases of young love. Scenes cut between the band members singing and a person in white overalls sweeping words away, representing how young people's interests quickly change.
The document discusses the benefits of exercise for mental health. Regular physical activity can help reduce anxiety and depression and improve mood and cognitive functioning. Exercise causes chemical changes in the brain that may help boost feelings of calmness and well-being.
This document provides a breakdown of the typical attire of male and female audiences for a music magazine. It then lists several indie music artists and bands - Noah and the Whale, Naked and Famous, She & Him, The Ting Tings, and The Vaccines - whose fans the magazine expects to reach based on their image influences.
The document summarizes the design choices made for the cover of a magazine prototype. It includes a central image intended to represent the indie/rock genre through colors and style similarities to other magazines. The image challenges conventions by using objects instead of human models. The target audience is described as being between ages 16-24 based on research of similar magazines.
The document discusses reasons for not using various photos in a magazine project. Photos were rejected for having cut-off areas, being too dark or light, having distracting or confusing elements in the background, not fitting the intended edgy style, and not clearly showing the intended subject due to angles or other issues. Alternative photos were chosen that better portrayed the intended mood, subjects, and flow of the magazine without these problems.
The document discusses reasons for not using various images in a school magazine. The author did not select one image because it was taken too far away compared to the chosen photo. Another image was not used because it was meant as a joke and did not seem appropriate. A third photo was not chosen because the model was not ready and the image quality suffered as a result.
The document describes the process of designing a magazine contents page and cover in Photoshop and InDesign. Pictures were edited in Photoshop and arranged on pages in InDesign. The contents page included images and text boxes listing articles. The front cover included a masthead, images, and text describing features. Finishing touches like page numbers and logos were added to complete the design.
The document discusses a student's school magazine project. For the magazine, the student decided not to follow typical magazine conventions since research found most school magazines also diverged from conventions. The intended audience was students, based on survey feedback. The front cover and contents page use images and colors appealing to younger audiences. Distribution would likely be by students or school governors to increase their involvement. Through creating the magazine, the student learned about transferring assets between Photoshop and InDesign for layout, and gained experience using a Nikon camera.
The document discusses factors to consider when targeting the audience for a magazine, including age range, gender, social class, income, employment, and psycho-graphics. It focuses on targeting audiences aged 16-24, both male and female, and targeting mainstreamers, explorers, and constrained psycho-graphic groups as the largest, most open-minded, and those who could access a free magazine. The document explores defining and segmenting audiences based on attitudes, values, and lifestyles.
How to Manage Your Lost Opportunities in Odoo 17 CRMCeline George
Odoo 17 CRM allows us to track why we lose sales opportunities with "Lost Reasons." This helps analyze our sales process and identify areas for improvement. Here's how to configure lost reasons in Odoo 17 CRM
Exploiting Artificial Intelligence for Empowering Researchers and Faculty, In...Dr. Vinod Kumar Kanvaria
Exploiting Artificial Intelligence for Empowering Researchers and Faculty,
International FDP on Fundamentals of Research in Social Sciences
at Integral University, Lucknow, 06.06.2024
By Dr. Vinod Kumar Kanvaria
This presentation was provided by Steph Pollock of The American Psychological Association’s Journals Program, and Damita Snow, of The American Society of Civil Engineers (ASCE), for the initial session of NISO's 2024 Training Series "DEIA in the Scholarly Landscape." Session One: 'Setting Expectations: a DEIA Primer,' was held June 6, 2024.
বাংলাদেশের অর্থনৈতিক সমীক্ষা ২০২৪ [Bangladesh Economic Review 2024 Bangla.pdf] কম্পিউটার , ট্যাব ও স্মার্ট ফোন ভার্সন সহ সম্পূর্ণ বাংলা ই-বুক বা pdf বই " সুচিপত্র ...বুকমার্ক মেনু 🔖 ও হাইপার লিংক মেনু 📝👆 যুক্ত ..
আমাদের সবার জন্য খুব খুব গুরুত্বপূর্ণ একটি বই ..বিসিএস, ব্যাংক, ইউনিভার্সিটি ভর্তি ও যে কোন প্রতিযোগিতা মূলক পরীক্ষার জন্য এর খুব ইম্পরট্যান্ট একটি বিষয় ...তাছাড়া বাংলাদেশের সাম্প্রতিক যে কোন ডাটা বা তথ্য এই বইতে পাবেন ...
তাই একজন নাগরিক হিসাবে এই তথ্য গুলো আপনার জানা প্রয়োজন ...।
বিসিএস ও ব্যাংক এর লিখিত পরীক্ষা ...+এছাড়া মাধ্যমিক ও উচ্চমাধ্যমিকের স্টুডেন্টদের জন্য অনেক কাজে আসবে ...
June 3, 2024 Anti-Semitism Letter Sent to MIT President Kornbluth and MIT Cor...Levi Shapiro
Letter from the Congress of the United States regarding Anti-Semitism sent June 3rd to MIT President Sally Kornbluth, MIT Corp Chair, Mark Gorenberg
Dear Dr. Kornbluth and Mr. Gorenberg,
The US House of Representatives is deeply concerned by ongoing and pervasive acts of antisemitic
harassment and intimidation at the Massachusetts Institute of Technology (MIT). Failing to act decisively to ensure a safe learning environment for all students would be a grave dereliction of your responsibilities as President of MIT and Chair of the MIT Corporation.
This Congress will not stand idly by and allow an environment hostile to Jewish students to persist. The House believes that your institution is in violation of Title VI of the Civil Rights Act, and the inability or
unwillingness to rectify this violation through action requires accountability.
Postsecondary education is a unique opportunity for students to learn and have their ideas and beliefs challenged. However, universities receiving hundreds of millions of federal funds annually have denied
students that opportunity and have been hijacked to become venues for the promotion of terrorism, antisemitic harassment and intimidation, unlawful encampments, and in some cases, assaults and riots.
The House of Representatives will not countenance the use of federal funds to indoctrinate students into hateful, antisemitic, anti-American supporters of terrorism. Investigations into campus antisemitism by the Committee on Education and the Workforce and the Committee on Ways and Means have been expanded into a Congress-wide probe across all relevant jurisdictions to address this national crisis. The undersigned Committees will conduct oversight into the use of federal funds at MIT and its learning environment under authorities granted to each Committee.
• The Committee on Education and the Workforce has been investigating your institution since December 7, 2023. The Committee has broad jurisdiction over postsecondary education, including its compliance with Title VI of the Civil Rights Act, campus safety concerns over disruptions to the learning environment, and the awarding of federal student aid under the Higher Education Act.
• The Committee on Oversight and Accountability is investigating the sources of funding and other support flowing to groups espousing pro-Hamas propaganda and engaged in antisemitic harassment and intimidation of students. The Committee on Oversight and Accountability is the principal oversight committee of the US House of Representatives and has broad authority to investigate “any matter” at “any time” under House Rule X.
• The Committee on Ways and Means has been investigating several universities since November 15, 2023, when the Committee held a hearing entitled From Ivory Towers to Dark Corners: Investigating the Nexus Between Antisemitism, Tax-Exempt Universities, and Terror Financing. The Committee followed the hearing with letters to those institutions on January 10, 202
How to Fix the Import Error in the Odoo 17Celine George
An import error occurs when a program fails to import a module or library, disrupting its execution. In languages like Python, this issue arises when the specified module cannot be found or accessed, hindering the program's functionality. Resolving import errors is crucial for maintaining smooth software operation and uninterrupted development processes.
This slide is special for master students (MIBS & MIFB) in UUM. Also useful for readers who are interested in the topic of contemporary Islamic banking.
Biological screening of herbal drugs: Introduction and Need for
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for Anti-inflammatory, Antiulcer, Anticancer, Wound healing, Antidiabetic, Hepatoprotective, Cardio protective, Diuretics and
Antifertility, Toxicity studies as per OECD guidelines
it describes the bony anatomy including the femoral head , acetabulum, labrum . also discusses the capsule , ligaments . muscle that act on the hip joint and the range of motion are outlined. factors affecting hip joint stability and weight transmission through the joint are summarized.
1. [DEFINITION]
MUSIC VIDEO: A short video/film accompanied by a specific song, generally used as a
marketing device
CODES
& CONVENTIONS: A set of features familiar to a specific type of media, used to communicate
a particular messages or impressions behind an idea to a target audience
*Technical codes include: camera angles, sound, and lighting while Symbolic codes
include: language, costume, character actions
2. Music videos can be separated into five main categories; the category they are put into depends on a number of
things such as the genre of music and the lyrics within the song itself as they can influence what is then
shown in the video
These categories include:
+ Performance
+ Narrative
+ Cameo
+ Animation
+ Mixture
…the codes and conventions which make up these music videos, vary depending on the category it comes under.
When determining this category, a number of aspects are taken into consideration. For example camera,
specifically looking at the type of shots being used as certain categories use certain shots more often than
others. Further aspects include sound and editing where the main thing to take note of is the synchronised jump
cutting used to match the track being promoted, regularly used within most of the categories, changes in sound
levels, split screens and CGI also come under sound and editing. Mise En Scene is also an important area to
look at as it contains the use of props and costume amongst other things, which, alone, both provide and reveal
a lot about music videos in general e.g. it’s genre. In general, however, music videos tend to include the
artist(s) being shown performing, edited to fit to the pace of the song.
In addition to the mentioned categories above, music videos can also be described as videos of disjuncture.
Videos defined by this term are completely abstract; there is no clear link to either the music, lyrics or song
title. Once there is no visible link to the song, in any of the ways previously mentioned, the video is at a
point of ‘disjuncture’ from the song. Examples of these types of music videos include Spike Jones’ video for
Daft Punk’s ‘Da Funk’ or any Radiohead video
Another thing commonly used in music videos, especially those of narrative category, is the ‘notion of looking’
which is basically when a music video elaborates on existing stereotypes and labels. In order to appeal to
specific audiences, these stereotypes are regularly taken advantage of e.g. in ‘Keri Hilson ft Kanye West -
Knock You Down’ -through Keri Hilson’s role, females are portrayed as clingy and needy; this is shown through
her affectionate actions towards Kanye West’s character, i.e. the intimate hug at the beginning of the video.
At this point in the video, males are portrayed as more dominant and powerful in comparison to females as it
seems as though Keri Hilson is weak and needs a man; this dominance is shown when Kanye’s character moves away
from her embrace in a cool and steady way. In contrast to this, later on in the video, their roles are switched
as she has her back turned to Kanye whilst he is falling back, suggesting that males are weaker as he is now
chasing her. The use of past tense within the lyrics of the song emphasize this reversal as they show us that
she is moving on after the end of her relationship.
3. PERFORMANCE:
In general music videos from this category consist of either the band or artist performing their track. Looking at these
videos in closer detail, they can be whittled down to two types -band/group performances and solo performances.
Within band performance videos, close -ups of lip -syncing are inevitable. In addition to this, it is also common to see
unusual camera shots or angles being used (e.g. the use of micro cameras attached to the neck of a guitar) in order to show
the groups mimed playing of instruments. Sweeping crane shots are also often used to film stage scenes as well as the
reaction of the crowd toward the staged performance. Solo performances, on the other hand, are similar to group performances
in the sense that they include a number of the above elements; however, in addition to these, they tend to incorporate the
use of choreographed dance routines -enhancing the repeatability of the song, and also appealing to audiences as they are
more likely to remember it (this is demonstrated within a number Lady Gaga’s videos).
In order to capture the attention of consumers, the main singer will often look straight at the camera, directly engaging
viewers and allowing audiences to feel involved. Otherwise, a lack of engagement with the camera would result in viewers
losing interest in the content of the video and, therefore, in the song. In relation to the concept of PLASTIC POP, TV
talent shows such as, ‘The X Factor’ take advantage of these conventions in order for contestants to appear professional and
experienced.
NARRATIVE:
The music videos associated with this category usually incorporate some form of storyline to co-inside with the track.
However, saying this, narrative videos are never completely dedicated to a narrative as the artists (s) often disrupt the
continuity of the storyline by singing directly to camera.
Looking at the success of these videos, in order to fully market or advertise the band/artist and their song, they tend to
feature a narrative that is more idealistic than realistic; this is due the assumption that a realistic storyline would
become too boring for audiences to watch after the first few viewings. The narratives within these videos almost always
include parallel editing which is when jump cutting is used, throughout the video, between scenes/stories to give off the
impression that they are happening simultaneously.
In some cases, the narrative behind the video interlinks with film. This is an increasing trend with music videos and by
doing this creates an immediate link between the music industry and the film industry, allowing them to promote one another
as the music will, presumably, be used as a soundtrack for the film and vice versa; the intertextuality between the film and
song therefore encourages people to buy both products. In addition to this, the type of film acts as a reflection of the
genre of the music video e.g. in ‘Flo Rida - Club Can’t Handle Me’ both R’n’B and Hip Hop are being reflected by the street
dancing based film ‘STREETDANCE?’, this is the same when it comes to the genre of video/song as, again, it too reflects the
narrative of the film e.g. a fast song would be used to reflect the storyline of a fast paced film whereas a slow song would
be used to reflect a sad film.
When looking at narrative music videos, Mise En Scene plays a much bigger and important part in comparison to the other
categories. This is because there is more that needs to be clearly represented in order for viewers to fully comprehend
what’s going on. In addition to the earlier mentioned link between film and music, Mise En Scene is also often used to
create a theme in relation to the film e.g. the Mise En Scene in ‘Madonna - Beautiful Stranger’ reflects the historical
period of the sixties which helps the video with its intertextual link to the Austin Powers film
4. CAMEO:
This is basically when the band/artist features within a narrative without actually performing. Videos from the Foo
Fighters are prime examples of videos from the Cameo category.
ANIMATION:
These videos can either be done digitally or by using stop-frame animation. CGI may also be used to generate animated
images with the use of computer graphics as well as the use of a green screen and any other additional computer effects.
*CGI : Computer Generated Imagery
MIXTURE:
This is when a music video is both performance and narrative based. In these cases, the categories have been joined in
order for the music video to have a better chance at success among consumers. An primary example of this would be the 2010
release ‘Eminem ft Rihanna - Love The Way You Lie’ which features Dominic Monaghan and Megan Fox as the two people involved
in its aggressive natured storyline as well as both Eminem and Rihanna performing in front of a burning house.
Overall, the video portrays a message of love and challenges whether of not it can exist in abusive relationships where
hate and anger is present. Looking at the video, this message is magnified through the constant use of visual effects in
reference to fire; this acts as a constant metaphor throughout the lyrics. In addition to this, the artists behind the song
reflect the actors within the narrative e.g. the advance in hatred Dominic Monaghan goes through is mirrored through
Eminem’s movements and lyrics as well as the way he says them –by doing this the artists become part of the videos story,
acting as the narrator as well as the participant, creating a direct link to the characters and allowing viewers to relate
to both narrative and performance parts of the video in the same way.
In some cases, rather than simply illustrating the lyrics or sounds a director will combine categories in order to
‘amplify’ both through unusual ideas and creative approaches. Saying this, there is still a direct link to the song,
whether it be through the beat, specific parts of the lyrics or song title.
See Spike Jones’ video for Fat Boy Slim’s ‘Praise You’
5. OTHER ELEMENTS:
Camera:
This includes camera shots, angles, movements and composition, all of which are regularly used to create emphasis on the artist, their
location and even their emotions. General camera shots and angles include establishing shots, long shots, mid-shots, close ups, extreme
close ups and both high and low angles. When looking at music videos, it is clear to see that the use of close ups and extreme close ups to
reflect the words of the song through lip syncing is a common trend. Furthermore, general camera movements, consist of pans, track shots,
tilts and overhead crane shots -which are used to follow the physical actions of a performer(s) such as running, walking or dancing.
Lighting:
Lighting is an important factor when it comes to music videos as it helps to provide the tone; it also plays a part in delivering the
intended messages or representations behind the song or video idea. For instance, the use of natural or bright lighting can make something
seem welcoming or angelic while the use of dark lighting creates a lot of shadows - making something seem scary or even give off the
impression of something being evil; using lighting in this way is more commonly known as ‘expressive lighting’ and is a key feature in
music videos. Saying this, lighting can also be used to represent the genre or mix genres in a song, e.g. in ‘B.O.B ft Hayley Williams –
Airplanes’ the use of bright colours alongside the, overall, low key lighting of the video reflects the two musical backgrounds of the
artists involved (B.O.B –Grime, Hayley Williams [Paramore] -Rock) therefore broadening its audience. As well as this, lighting can be
manipulated to suit the pace of a song e.g. it can be used in flashes to suit the beat of a fast song or used minimally to intensify an
emotion of a slow song. In addition to this, lighting can emphasize a certain mood or theme.
Sound & Editing:
The editing process of a music video includes controlling the length of a shot –by either shortening or extending it- adding transitions,
filters/effects and any forms of special effects (SFX) such as CGI or split screens. Within music videos, editing is mainly used to make it
seem as though the events it consists of, flow - and this is done through the use of jump cutting which is used frequently in music videos
to show a sudden change between scenes or shots. In addition to this, music videos are usually edited so that they match the beat or rhythm
of its track, which, in a way, act as its guide lines. In some music videos promotional aspects are more effective; this is due to the fact
that their editing moves so fast that it makes viewers feel the need to re-watch it which therefore makes it more likely that viewers will
want to own the track being promoted. Music videos can also use editing to overlap voice recordings, allowing the song to gain depth.
Looking at transitions, as well as creating an alternate effect to a cut, they can also be used as a way of representing something, e.g. a
‘fade’ transition can be used to represent a flash back or memory. As the four element being described interlink, lighting effects such as
strobes or flashing can also be linked to CGI and are commonly used within dance videos to enhance an atmosphere. Using the length of a
shot is another way to show a representation, e.g. in the music video for ‘The Big Pink – Dominoes’ (a full performance video) their
‘intense’ performance is enhanced with the use of slow motion clips which imply that each moment is significant. However, for many music
videos a shot doesn’t tend to exceed a duration of 3-5 seconds. Going on to look at sound, editing is heavily linked to this area in the
sense that it is used to alter sound levels and also to add sound effects. When looking at music videos, the mood of the song usually acts
as the basis behind the overall tone or storyline of its video, e.g. a sad song would follow sad storyline, this is usually known as
‘parallel sound’. As a general fact, all music videos include non-diegetic sound and this is because the track is added in.
Mise En Scene:
This term refers to the characteristics within a music video, such as props, lighting, the arrangement of performers, costume and setting -
amongst other things. Mise en scene focuses, mainly, on the importance of representing something, such as a character or object, in either
one or a number of ways –this can be done through symbolism and the use of colour, some of which are associated with specific genres. As
well as this, Mise En Scene is used to convey specific messages to the consumer, e.g. the importance of a character and is considered
essential when creating an atmosphere or tone. The use of costume within Mise En scene is also important as it reflects both the mood and
genre of the song; it also has the ability to influence the trends within an audience as the artists/band act as their role models. Costume
may also be used to keep up with a persona, a prime example of this being Lady Gaga.
6. OTHER ELEMENTS: IN GENRES
The genre of a music video can usually be determined by its use of the four previously covered areas. For example, a
specific camera shot or movement can be associated with a specific genre or video category (performance, narrative etc-)
*Looking at specific genres:
POP:
This genre often incorporates the use of various bright colours, flashing lights and creative settings into its videos and, overall, aims
to appeal to a younger, more teenage orientated, audience. This is because many existing Pop artists are also young, meaning that their
audience will be able to relate to the lyrics of their catchy and upbeat songs. In addition to this, many of the outfits worn in these
videos, in the past, were classed as ‘innocent’ in the sense that they weren’t revealing. However, in more recent years this commonly used
trait has slowly been challenged by the changing generations of Pop artists, as it is becoming increasingly popular for them wear outfits
or costumes that expose the majority of their body. Performances have also become more provocative, a prime example of these points being
Rihanna. Older Pop artists such as Madonna, otherwise known as the Queen of Pop, and Britney Spears have also adopted this trend in order
to keep up with the success of younger artists as well as maintain the attention of an older, slightly more male based, audience. Looking
at lighting, Pop videos regularly use artificial light –creating a ‘bleaching’ effect on the face(s) of the artist(s) making them seem
ageless and also giving the overall video an enhanced look. In terms of camera shots, close ups are often used to show happiness or, when
using extreme close ups, purity and innocence; other commonly used shots include mid shots and long shots which are used in order to
successfully portray the largely narrative based videos within Pop. These shots can also reveal the personality of the artist; this is
shown through a number of Lady Gaga’s videos.
R’N’B / HIP HOP:
The videos from this genre don’t usually follow a storyline. Instead, they are largely centred around the artist(s) involved in the song.
The location of these videos remain simple, usually focusing on party atmospheres within clubs, parties, and generally glamorous
surroundings where alcohol is present. Within these surroundings, popular brands of clothing and jewellery, expensive houses and cars
often make an appearance in order to exaggerate the star persona of the artist, usually, shown through long shots, establishing shots and,
when focusing on particular objects such as jewellery, close ups. Attractive women shown in a sexual way (wearing revealing clothes and
dancing provocatively) are also a common convention within these videos and along with the inclusion of other elements such as money and
cars, their presence appeals to males as it makes them want to be like the artist so that they can lead the lifestyle that portrays wealth
and power. Saying this, in the past R’n’B and Hip Hop genres were largely male orientated; however, with the introduction of artists like,
female icon, Beyoncé both male and female audiences are targeted -males through the sex appeal behind her and her provocative choreography
and females through their aspirations to be like her. In addition to this, black is repeatedly used within R’n’B and Hip Hop videos to
show dominance and looking at ‘Beyoncé - Single Ladies’ this is shown as she and her dancers wear black costumes -asserting her authority.
This emphasises Beyoncé's role as a female icon, further reinforced by the precise actions of her dance routine.
INDIE / ROCK:
Videos from this genre are similar to those of Hip Hop in the sense that they too use simple settings -however, they tend to be a lot
darker in comparison to the glamorous locations of Hip Hop videos. In addition to this, the content of the video is usually centred around
the artist/band so that they are shown throughout; key instruments in association with the genre, such as guitars and drums, also feature
in these videos which is the reason why most of them are performance based. Looking at the different shots, extreme close ups, close ups
and long shots are common and are often used to show the use of instruments or an intense emotion or facial expression on the face(s) of
the artist(s) –which isn’t normally of happiness as these videos tend to relate to the feeling or message behind the lyrics of the song.
In terms of Mise En Scene, dark lighting is commonly used to emphasise or reinforce the emotional aspects of the song lyrics. As well as
this, as the majority of Rock videos are performance based, footage from concerts, gigs or rehearsal studios are regularly used in order
to create a sense of authenticity; during which, low angle shots and levels are frequently used to show dominance and power.