This document discusses several common codes and conventions used in music videos. It begins by explaining the main purposes of music videos which are to tell a narrative story, help audiences visualize the aesthetics of a song, and promote the artist and their music/tour. It then outlines several conventions used to present the artist including portraying lavish lifestyles, fashion, success, and passionate performances to encourage audience attachment. Other conventions discussed are enhancing artist accessibility, appreciating other art forms, and employing sophisticated cinematography. The document concludes with two detailed shot analyses of specific music videos.

1. CODES AND
CONVENTIONS
OF MUSIC
VIDEOS
By Molly Pullen

2. WHY ARE MUSIC VIDEOS CREATED?
• Narrative- Some songs are intended to tell a story, and a
music video provides an opportunity to the artist to convey
their preferred reading of their lyrics.
• Immersion- The addition of a music video can assist the
audience in visualising the "aesthetics" of the song
• Promotion-
• Music videos tend to garner more attention than lyric or acoustic
videos, usually since they stimulate conversation/online discussion
• Music videos often simulate concert performances, of which artists
usually promote tour dates around the same time as new
music/album/EP releases. -> Artists/Record labels directly profit

3. PRESENTING THE ARTIST
AS AN ASPIRATIONAL
FIGURE
• This can be in the form of:
• Flaunting lavish lifestyles
• Presenting the artist(s) as a "fashion icon"
• Presenting capitalist ideologies
• This convention is usually employed to encourage the
audience to live vicariously through the artist and aspire
to their apparent success.
Music video stills displayed: ME!,Taylor Swift (2019), Black Magic, Little Mix (2015), Perfect,

4. PRESENTING THE ARTIST AS A
PERFORMER
• This can be in the form of:
• Concert/Band footage and musical instruments
• Choreographed dances/scenes
• Direct mode of address
• Passionate performance
• This convention is used so the audience can imagine a live
performance and the atmosphere of that performance. It
often subliminally encourages the audience to at least
consider attending that artists' concert/tour, which profits the
artist.
Music video stills displayed: Single Ladies, Beyonce (2008), Problem, Ariana Grande (2014),

5. ARTIST ACCESSIBILITY
• Artist 'accessibility' can be presented in the following ways:
• An idealised representation of the target audience (ties
into point below)- often 'avatars' (taking the shape of
the target audience i.e., a young girl) are employed to
interact with the artist, so the audience can insert
themselves into the scenario.
• The 'relatability factor'- often low-budget music videos
are more positively looked on, since they appear
'effortless' but still visually appealing. Such videos usually
rely on setting/backdrop/scenery and camera quality to
reach such a standard.
• Socio-political value alignment
• Countercultural perspectives
• This conventions are intended to promote the artist by
encouraging the audience to create a personal
attachment/association with the artist.
Music video stills displayed: What Makes You Beautiful, One Direction (2011), Perfect, Ed
Sheeran (2017), The Man, Taylor Swift (2019)

6. APPRECIATIONS OF OTHER
FORMS OF ART
• This can be in the form of:
• High production value
• Sophisticated filmic narratives
• Urban artforms
• This convention represents the artist's support of
alternative artforms, and believing they deserve
recognition and appreciation
• Audiences often respond well to such examples, as
they see it as multiple interests joining together in a
form of collaboration.
Music video stills displayed: Steal My Girl, One Direction (2014), Treat People With Kindness,
Harry Styles (2019), Easy Love, Sigala (2015)

7. DETAILED SHOT ANALYSIS: BACKYARD BOY, CLAIRE
ROSINKRANZ
-Deep depth of
field
-Full/Long shot
-Naturalistic
Lighting
-Editing: Pre-
song
instrumental,
tinny sound
mimicking the
boy wearing
earphones
Credits: Typography: Bold, Sans-serif, mellow yellow (symbolising
the light, breezy tone of the music video).
-Depth of field:
Foreground
blurred,
background in
focus
-Proxemics: Two
people frame the
subject, drawing
attention to centre
screen
-Medium-Long
shot
-Slight low-angle
-Angle:
overhead shot
-Full shot
-Props:
Headphones
and notebook,
suiting lyrics
(informal
recount of a
crush)
-Naturalistic
lighting
-Angle: Eye-level
shot
-Close-up
-Costume: Hair
clips, earrings,
top– link to the
youthful lyrics and
melody (upbeat),
as well as the era
appropriate
fashion (2020 saw
a rise in so-called
'kidcore', 'preppy'

8. SHOT-BY-SHOT ANALYSIS: OPENING OF 'ALL TOO
WELL' SHORT FILM MUSIC VIDEO, TAYLOR SWIFT
-Tracking camera shots throughout the opening, shows fluidity, makes the audience feel like they are journeying through the house with the
subjects
-Credits:
Typography-
thin, sans serif
font, artistic
-Black bars
used to mimic
cinematic style.
-Editing: Lyric
Match ('I walked
through the door,
the air was cold')
-Angle: The camera
is posed over the
character's
shoulder, first
scene is seen
through female
character's eyes
since the lyrics are
in first person.
-Editing: Lyric
match
'something
about it felt like
home', she
seems in awe,
comforted.
-Medium close-
up shot
-Zooming shot
and focused
-Editing: Lyric
match ('I left my
scarf there')
-Props: 'Red'
scarf has 3 key
symbols
1)The album the
song was placed
on was named
'Red'.
2) The scarf will be referenced later in the song ('you kept my scarf from that very first week'). It is used to symbolise a relationship of passion, in bo
and negative ways (referenced in a song called Red from the same album, 'passionate as sin', 'fighting' for 'no right answer).
3) The relationship beginning in Autumn, shots of exterior falling leaves are shown

9. THE BEGGARS
MUSIC GROUP:
HOW IT RELATES
TO 'AUDIENCE'
The Beggars Music Group originated by founder
Martin Mills' record shop, 'Banquet Records' in
London. Although it has physically and financially
expanded since then, the shop remains popular,
especially in the recent resurgence of vinyl
records.
The label is comprised of many separate labels,
such as 4AD, Matador, Rough Trade, XL and
Young. They currently represent a host of award-
winning artists and groups such as Adele,
Pavement, FKA Twigs and Car Seat Headrest
They have previously represented such artists as
Bon Iver, Dizzee Rascal, The Libertines, Pixies,
The Prodigy, The Strokes, Vampire Weekend, and
The White Stripes.
They seemingly don't specialise in a singular
genre, or target audience, and invest a variety of