The music video is for Eminem's "Without Me" song. The video uses a narrative, performance, and concept-based approach. Eminem performs in a chaotic studio setting while telling the story of a troubled boy helped by a superhero version of himself dressed as Robin. The video references comic books and pop culture through its sets, costumes, and imagery.

3. EMINEM- WITHOUT ME
• THIS MUSIC VIDEO IS FOR THE SONG ‘WITHOUT ME’ WITH THE ARTIST BEING EMINEM. THE VIDEO IS NARRATIVE, PERFORMANCE AND CONCEPT BASED
THROUGH EMINEM PERFORMING TO US, TELLING US A STORY AND THE MUSIC VIDEO BEING A PARODY OF POP CULTURE. THE NARRATIVE INVOLVED
TELLS A STORY OF A TROUBLED BOY NEEDING HELP FROM A SUPERHERO, WHICH IN THIS CASE HAPPENS TO BE EMINEM. THE PERFORMANCE IS IN A
STUDIO SETTING IN WHICH THERE IS A CHAOTIC BACKGROUND WITH EMINEM PERFORMING TO THE CAMERA. IT DOES NOT INVOLVE DANCE
ROUTINES. IN TERMS OF CONTEXT, THE ENTIRE VIDEO IS MAINLY BASED ON THE IDEA OF A COMIC. WE ALSO SEE EMINEM PLAYING THE ROLE OF ROBIN
AND WE SEE THE ICONIC BATMAN SYMBOL IN A SPOTLIGHT FORM UTILISEDIN THE VIDEO WITH A SIGN OF AN E. THERE ARE VARIOUS TYPES OF
LOCATIONS IN THIS VIDEO. INITIALLY, THEY ARE ON A BED WHICH REINFORCES THE STEREOTYPE OF HIP HOP VIDEOS BEING SEXUALLY ORIENTATED. IN
ANOTHER SCENE, WHILE DRESSED AS BIN LADEN, HE IS IN A CAVE WHICHCONTROVERSIALLY REFERENCES THE TERRORISM THAT WAS PRESENT AT
THAT TIME. FOR A SIGNIFICANT PORTION OF THE VIDEO THEY ARE IN A CAR REFERENCING THE ICONIC BATMOBILE SEEN IN THE BATMAN SERIES. AS
FOR THE ARTIST’S STAR IMAGE, HE SPENDS THE MAJORITY OF THE VIDEODRESSED IN THE ATTIRE OF COMIC BOOK HERO ROBIN. THIS IS MORE
TOWARDS THE CONCEPT BEHIND THE MUSIC VIDEO BUT LINKS TO THE STARIMAGE AS IT CONVEYS THE IDEA OF HIM BEING THIS COMICAL
INDIVIDUAL THROUGH HIS TAKE ON THE OUTFIT. IN OTHER SECTIONS OF THE VIDEO HE IS SEEN TO BE IN THE STEREOTYPICAL CLOTHING OF BASEBALL
JACKETS, BAGGY TRACKSUIT BOTTOMS, A BEANIE HAT, AND HAVING EXCESSIVE JEWELLERY ON HIM SUCH AS WATCHES AND BRACELETS. AS FOR
CAMERA WORK, VOYEURISM IS USED CONSISTENTLY THROUGHOUT THE VIDEO. WE SEE THIS RIGHT AT THE START OF THE VIDEO IN WHICH THE
DIRECTOR COUNTS DOWN FROM 5 AS WE SEE THE COUNTDOWN ON SCREEN AND THEN ARE PLACED INTO THE SCREEN. WE ARE MADE TO FEEL
POSITIONED WITH EMINEM AS IF WE ARE THERE WITH HIM. THE LIGHTING IS QUITE HIGH KEY SO THAT WE CAN SEE EVERYTHING THAT IS HAPPENING
CLEARLY. ADDITIONALLY, THE EDITING IS FAST PACED TO HIGHLIGHT THE CHAOTIC NATURE OF THE GENRE THAT IS HIP HOP AND HOW FAST HIS STYLE
OF RAP IS. THE RELATIONSHIP BETWEEN EDITING, VISUALS, LYRICS, AND BEAT IS VERY STRONG AND IN SYNCH.

4. SCHOOLBOY Q- COLLARD GREENS
• THIS MUSIC VIDEO IS FOR THE SONG ‘COLLARD GREENS’ WITH THE ARTIST BEING SCHOOLBOY Q AND FEATURING KENDRICK LAMAR. THE VIDEO IS
PERFORMANCE BASED THROUGH THE ARTISTS PERFORMING THE SONG TO US.THE PERFORMANCE IS WITHIN A HOUSE PARTY IN WHICH THE ARTISTS
SEEM TO BE LIVING A HEDONIST WAY OF LIFE. THE DANCE ROUTINE IS NOT PARTICULARLY PROFESSIONAL AS IT IS MORE PARTY BASED IN WHICH THE
DANCING COMES OFF AS QUITE AGGRESSIVE AND AS IF IT IS INFLUENCEDBY THE ALCOHOL AND ATMOSPHERE IF ANYTHING. THE LOCATIONS IN THIS
VIDEO ARE ALL WITHIN WHAT APPEARS TO BE THE ARTIST’S HOUSE. HIS HOUSE IS FILLED WITH FEMALES IN NUDE DRESSING AND PROVOCATIVE
CLOTHING, REINFORCING THE STEREOTYPE OF HIP HOP BEING EXTREMELY SEXUALLY ORIENTATED. THEY ARE ALSO SEEN IN WHAT APPEARS TO BE HIS
BACKYARD WHICH CONTAINS A SWIMMING POOL AND A LOT OF SPACE, HIGHLIGHTING HIS LUXURIOUS LIFESTYLE AND CHAOTIC WAY OF LIVING
THROUGH THE AMOUNT OF PEOPLE PRESENT AND ALCOHOL. AS FOR THE ARTIST’S STAR IMAGE, HE IS DRESSED IN A PATTERNED T-SHIRT AND BAGGY
JEANS, WITH HIS SIGNATURE BUCKET HAT, RELATING TO WHAT HIP HOP ARTISTS ARE STEREOTYPICALLY THOUGHT TO ALWAYS DRESS AS. THE EDITING
FOR THE VIDEO IS REALLY FAST PACED TOP MATCH THE RHYTHM OF THE SONG AND EMPHASISE HOW CHAOTIC IT ACTUALLY IS. THE USE OF MONTAGE
IS SEEMED TO BE ABUSED IN THIS VIDEO. IT MAKES IT DIFFICULT FOR THE VIEWER TO FOCUS ON A PARTICULAR SCENE LONG ENOUGH WHICH PROVES
VERY EFFECTIVE IN THE VIDEO ACCOMPLISHING ITS STYLE OF CHOICE. FURTHERMORE, A LOT OF SPECIAL EFFECTS ARE USED IN SPLITTING THE
SCREENS AND CREATING SYMMETRY AND SUCH FOR A SURREAL FEEL. THIS HELPS HIGHLIGHT THE NATURE OF THE VIDEO AND INDICATES THE USE OF
DRUGS AND SUCH, AS THE VISUALS ARE QUITE HECTIC TO SAY THE LEAST. IT ALSO IMPLIES TOWARDS THE GENRE OF HIP HOP BEING QUITE MODERN
NOWADAYS AND INVOLVING A LOT OF TECHNOLOGY IN ITS MUSIC, AND THEREFORE, INVOLVING A HUGE USE OF TECHNOLOGY IN THE VIDEO MAKING.
THE RELATIONSHIP BETWEEN EDITING, VISUALS, LYRICS, AND BEAT IS VERY STRONG AND IN SYNCH.

5. JAY Z & KANYE WEST- NI**AS IN PARIS
• THE MUSIC VIDEO IS FOR THE SONG ‘NI**AS IN PARIS’ WITH THE ARTISTS BEING JAY Z AND KANYE WEST. THE VIDEO IS
PERFORMANCE BASED THROUGH THE ARTISTS PERFORMING THE SONG TO US.THE PERFORMANCE IS ON A STAGE IN A HUGE
ARENA IN WHICH THEY ARE PERFORMING TO THOUSANDS OF PEOPLE IN THE AUDIENCE. THERE IS NOT A PARTICULAR DANCE
ROUTINE, AS THE ARTISTS’ MAINLY JUST MOVE TO THE RHYTHM WITH INDIVIDUALS IN THE AUDIENCE DANCING TO THE
MUSIC IN PARTY STYLE. THE SETTING OF THE VIDEO AS I’VE STATED ABOVE IS ON A STAGE IN AN ARENA. THE ARTISTS’ STAR
IMAGES ARE STEREOTYPICAL TO HIP HOP ARTISTS IN THAT THEY ARE WEARING T-SHIRTS, SNAPBACKS, TRAINERS, BAGGY
JEANS, JEWELLERY ETC. THERE ARE A LOT OF EFFECTS USED IN THIS VIDEO, SO MUCH IN FACT THAT AT THE START OF THE
VIDEO THERE IS A WARNING FOR ANYONE VIEWING WHO MAY HAVE EPILEPSY OF SUCH AND WARNING THAT THE VIDEO
CONTAINS A LOT OF STRONG LIGHTING AND EFFECTS. THE EFFECTS MAY INDICATE TOWARDS THE GENRE OF HIP HOP BEING
HEAVILY INFLUENCED BY TECHNOLOGY IN BOTH ITS MUSIC AND VISUALS. TOWARDS THE END OF THE VIDEO WE START TO
SEE OMINOUS VISUALS INVOLVING THE USE OF PREDATORY ANIMALS IN A DARK LIGHTING, SUGGESTING TOWARDS THE
GENRE OF HIP HOP BEING QUITE DARK IN SOME AREAS AND ALSO HOW THESE TWO BLOCKBUSTER ARTISTS HAVE RISEN TO
THE TOP IN WHICH THEY ARE VIEWED AS THE LIONS. THEY ARE NOW THE PREDATORS OR AT THE TOP OF THE FOOD CHAIN IF
YOU WILL, WITH THIS METAPHOR BEING IMPLICATED.

6. KID CUDI- JUST WHAT I AM
• THE MUSIC VIDEO IS FOR THE SONG ‘JUST WHAT I AM’ WITH THE ARTIST BEING KID CUDI. THE VIDEO IS
PERFORMANCE BASED THROUGH THE ARTIST PERFORMING THE SONG TO US. THE PERFORMANCE IS
WITHIN A PARTY IN WHICH THE ARTIST SEEM TO BE LIVING A HEDONIST WAY OF LIFE. THE DANCE
ROUTINE IS NOT PARTICULARLY PROFESSIONAL AS IT IS MORE PARTY BASED IN WHICH THE DANCING
COMES OFF AS QUITE AGGRESSIVE AND AS IF IT IS INFLUENCED BY THE ALCOHOL AND ATMOSPHERE IF
ANYTHING. THE LOCATIONS ARE A CAR, AND A PARTY. THE ARTIST’S STAR IMAGE IS STEREOTYPICAL OF
HIP HOP ARTISTS IN THAT HE IS WEARING BAGGY CLOTHING WITH A T-SHIRT AND BUCKET HAT. THERE
ARE QUITE A LOT OF EFFECTS USED IN THIS VIDEO FOR EDITING PURPOSES. WE SEE THE EFFECT OF SMOKE
IMPLEMENTED WHEN THE ARTIST MENTIONS THE SMOKING OF DRUGS IN HIS LYRICS, REINFORCING THE
IDEA OF THEIR BEING A RELATIONSHIP BETWEEN THE VISUALS AND LYRICS. ADDITIONALLY, THE GENRE OF
HIP HOP IS UNDERSTOOD TO HAVE ACQUIRED A LOT OF HELP FROM TECHNOLOGY IN ITS MUSIC AND SO
YOU CAN UNDERSTAND WHY THE VIDEO WILL ALSO BE HEAVILY INFLUENCED BY IT.

7. SUMMING UP THE CONVENTIONS OF HIP
HOP
• CULTURE- THE GENRE IS NORMALLY THOUGHT TO BE A BLACK DOMINATED INDUSTRY.
• COSTUME- HUGE CONTRAST BETWEEN THE DRESSING OF MEN AND WOMEN. WHILE MEN ARE SEEN TO
WEAR BAGGY TROUSERS AND AT TIMES NO SHIRT WITH HEAVY JEWELLERY, WOMEN ARE SEEN TO WEAR
ALMOST NOTHING AS THEY ARE VIEWED AS SEXUAL OBJECTS.
• LOCATIONS- MAINLY IN HOMETOWNS (THE GHETTO), HUGE HOUSES.
• THEMES- GANG CULTURE, PREJUDICE, RELATIONSHIP AGENDAS, DEMORALISATION OF WOMEN IN TERMS
OF SEXUALISING THEM.
• EDITING- LOUD BASS, FAST TEMPO, SPECIAL EFFECTS.

9. ONE DIRECTION- LIVE WHILE WE’RE YOUNG
• THE MUSIC VIDEO IS FOR THE SONG ‘LIVE WHILE WE’RE YOUNG’ WITH THE ARTISTS BEING BOY BAND
SENSATION ONE DIRECTION. THE VIDEO IS PERFORMANCE BASED WITH IT BEING ON LOCATION, OUTSIDE IN
OPEN SPACE IN SOME SORT OF RETREAT. IT CONSISTS OF A HUGE PARTY TAKING PLACE INVOLVING LOADS OF
TEENAGERS IN WHICH IT LOOKS AS IF NO EXPENSES WERE SPARED IN THE PRODUCTION OF THIS VIDEO. THE
PERFORMANCE DOES INVOLVE A DANCE ROUTINE AS MOST POP VIDEOS USUALLY DO WITH THE ROUTINE BEING
ONE THAT IS ASSOCIATED WITH THE BAND BY A LOT OF INDIVIDUALS AND AN EASY ONE TO LEARN, WHICH
PROVES EFFECTIVE IN ATTRACTING VIEWERS. THE ARTISTS ARE DRESSED IN QUITE MODERN CLOTHING AND AS
SOME WOULD CALL ‘HIPSTER’, WHICH IS THE LOOK THAT HAPPENS TO BE TRENDING FOR POP STYLED
INDIVIDUALS AND TEENAGERS. AN UNBUTTONED SHIRT, SLEEVES UP, SKINNY JEANS AND NICELY GROOMED
HAIR HELPS FULFIL THIS LOOK. THERE ARE A LOT OF CLOSE UP SHOTS IN THE VIDEO TO TRY AND ESTABLISH A
RELATIONSHIP BETWEEN THE ARTISTS AND THE VIEWER, AND YOU COULD SAY TO SHOW OFF THEIR LOOKS IN A
WAY WITH THE MAJORITY OF VIEWS COMING FROM, YOU WOULD THINK, THE FEMALE POPULATION. THE
LIGHTING IS HIGH KEY.

10. JESSIE J FT ARIANA GRANDE & NICKI MINAJ- BANG BANG
• THE MUSIC VIDEO IS FOR THE SONG ‘BANG BANG’ WITH THE ARTIST BEING JESSIE J FEATURING ARIANA
GRANDE AND NICKI MINAJ. THE VIDEO IS PERFORMANCE BASED IN WHICH THE ARTISTS ARE
PERFORMING TO US. THE PERFORMANCE TAKES PLACE IN SEVERAL LOCATIONS, BEING THE STREETS, A
ROOM, AND A HELIPAD. THE PERFORMANCE DOESN’T CONSIST OF ANY STAND OUT DANCE ROUTINES BUT
THE ARTISTS ARE DANCING AND QUITE PROVOCATIVELY AT THAT. THE ARTIST’S STAR IMAGE IS QUITE
PROVOCATIVE. THEY ARE DRESSED IN TIGHT CLOTHING AND IN SOME CASES VERY SHORT SKIRTS OR
SHORTS, REINFORCING THE STEREOTYPE OF FEMALE POP STARS BEING SEX SYMBOLS NOWADAYS. THERE
ARE A LOT OF CLOSE UPS AND ANGLED SHOTS TO GET US TO VIEW THE ARTISTS IN A SEXUAL WAY. THERE
ARE QUITE A LOT OF MONTAGES SO THAT IT SEEMS AS IF A LOT IS GOING ON AND EXAGGERATE THE
SPACING BETWEEN THE ARTISTS BEFORE THEY ARE ALL UNITED TOWARDS THE END OF THE VIDEO. THE
LIGHTING IS HIGH KEY.

11. TAYLOR SWIFT- LOVE STORY
• THE MUSIC VIDEO IS FOR THE SONG ‘LOVE STORY’ WITH THE ARTIST BEING TAYLOR SWIFT. THE VIDEO HAPPENS TO BE NARRATIVE,
PERFORMANCE AND CONCEPT BASED. THE NARRATIVE IS ABOUT A HIGH SCHOOL GIRL AND BOY WHO SEE EACHOTHER FOR THE
FIRST TIME AND FALL IN LOVE, WITH THEM NEEDING TO GO THROUGH MANY OBSTACLES AS OF RESULT. THE PERFORMANCE IS IN
WHAT APPEARS TO BE A VENETIAN SETTING WITH A CASTLE BACKDROP. THERE IS A DANCE ROUTINE WHICH RELATES TO THE
CONTEXT OF THE VIDEO AS IT IS ONE OF AN ANCIENT AGE IN THAT OF SHAKESPEARIAN TIME, WHICH MAY NOW BE REFERRED TO AS
WHAT WE CALL ‘BALLROOM DANCING.’ THIS SONG USES SHAKESPEARE’S CLASSIC PLAY ‘ROMEO AND JULIET’ AS ITS BASIS. THE
SEVERAL LOCATIONS SEEN IN THE VIDEO ARE A COLLEGE CAMPUS, A HUGE HALL, CASTLE AND SO FORTH. THE ARTIST’S STAR IMAGE
IS OF A DRESS WHICH IS UNDERSTOOD BE WHAT THE WOMEN OF THE TIME PERIOD THE PLAY WAS SET IN WOULD HAVE WORN.
SHE’S ALSO WEARING QUITE EXPENSIVE LOOKING JEWELLERY. WHEN IN THE MODERN AND NON-FICTIONAL PARTS OF THE VIDEO,
BEING HER AS A STUDENT AT COLLEGE, SHE IS IN THE TYPICAL CLOTHING OF JEANS AND A TOP. THERE ARE QUITE A LOT OF CLOSE
UPS AND MID SHOTS TO SHOW THE VIEWER HOW SHE IS FEELING WITH HER EMOTIONS, AND ALSO ESTABLISH A CONNECTION
BETWEEN US AND HER. ADDITIONALLY, THERE ARE MANY TWO SHOTS TO REVEAL THE DISTINCT RELATIONSHIP BETWEEN THE
ARTIST AND HER LOVER IN THE VIDEO AT QUESTION. THE LIGHTING IS HIGH KEY AS IT IS A LOVE SONG, AND SO, NEEDING TO CREATE
A COMFORTING FEEL AS OPPOSE TO AN INTENSE ONE SET FROM LOW KEY. THE EDITING ISN’T TOO FAST PACED AS THE SONG IS A
SOOTHING ONE. HOWEVER, THE USE OF MONTAGE HEIGHTENS TOWARDS THE END SWITCHING BETWEEN THE TWO SIDES OF THE
VIDEO IN HOPE OF MAKING A STRONGER IMPRESSION ON THE VIEWER.

12. KATY PERRY- DARK HORSE
• THE MUSIC VIDEO IS FOR THE SONG ‘DARK HORSE’ WITH THE ARTIST BEING KATY PERRY. THE VIDEO APPEARS TO BE A
NARRATIVE, PERFORMANCE, AND CONCEPT BASED. THE NARRATIVE TELLS A STORY OF A POWERFUL WOMAN WHO HAS
STRENGTH IN HER LOVE, IN THAT SHE’S QUOTED TO BE “AS SWEET AS PIE BUT IF YOU BREAK HER HEART SHE’LL TURN AS
COLD AS A FREEZER.” THE WOMAN HAPPENS TO BE AN EGYPTIAN GODDESS WHO SEEMS TO BE LIVING IN LUXURY AND
CLAIMING ALL THE REWARDS THERE ARE AVAILABLE WHETHER IT BE THROUGH GIFTS OR TAKEN BY FORCE. THE
PERFORMANCE IS ON LOCATION INVOLVING SOME SORT OF DANCE ROUTINE, WITH THE LOCATION BEING IN EGYPT, AMONG
PYRAMIDS AND ON A THRONE OF SUCH. THE CONTEXT BEHIND THIS MUSIC VIDEO IS HEAVILY BASED ON EGYPTIAN HISTORY
WITH KATY PERRY PLAYING THE ROLE OF WHAT YOU CAN ASSUME IS THE CORRUPT GODDESS, MAYBE A REFERENCE
TOWARDS CLEOPATRA. THROUGHOUT THE VIDEO, WE SEE MANY INDIVIDUALS TRYING TO WORM THEIR WAY INTO HER
GOOD BOOKS AND IN ONE CASE, POISON HER, WHICH HAS LITTLE EFFECT AS SHE USES HER POWER TO DESTROY HIM AND
GETS HER SLAVES TO ACQUIRE HER SOME WATER, WHICH AFTER DOING SOME RESEARCH, I DISCOVERED TO BE A STORY
SOMEWHAT SIMILAR TO AN OCCURRENCE THAT OCCURRED WITH CLEOPATRA HERSELF. THE ARTIST’S STAR IMAGE
CONSISTS OF QUITE EXTRAORDINARILY UNCANNY CLOTHING, UPHOLDING THE STYLING OF THE ANCIENT EGYPTIAN
GODDESSES. SHE ALSO HAS HER HAIR DONE UP TO MIMIC THE LOOK OF A SPHINX. THERE ARE QUITE A LOT OF HIGH ANGLES
TO EMPHASISE HER POSITION OF POWER IN THIS VIDEO. ADDITIONALLY, AS THE MUSIC SPEEDS UP SO DOES THE SPEED OF
THE CHANGING OF IMAGES IN MONTAGE FORM. THE LIGHTING IS HIGH KEY.

13. SUMMING UP THE CONVENTIONS OF POP
• ARTISTS ARE CLOTHED IN FASHIONABLE, STYLISH, AND MAINSTREAM OUTFITS TO HELP WITH STANDING
OUT.
• PORTRAYED AS HAPPY, CONTENT, AND ENJOYING LIFE.
• LYRICS USUALLY BASED AROUND LOVE OR RELATIONSHIPS.
• TARGET AUDIENCE MAINLY TEENS.
• BRIGHT AND BOLD COLOURS.

15. IMAGINE DRAGONS- DEMONS
• THE MUSIC VIDEO IS FOR THE SONG ‘DEMONS’ BY THE BAND IMAGINE DRAGONS. THE VIDEO IS BOTH
NARRATIVE AND PERFORMANCE BASED. THE NARRATIVE TELLS THE STORY OF HOW MANY PEOPLE ARE
AFFECTED BY PROBLEMS OF THEIR OWN, WHETHER IT IS ANOREXIA OR BEING SUBJECT TO ABUSE;
EVERYONE HAS PROBLEMS AND A ‘DEMON’ THAT NEEDS UNLEASHING IF YOUWILL. THE PERFORMANCE IS
SET ON A STAGE IN FRONT OF HUNDREDS OF PEOPLE. THE ARTISTS ARE ALL DRESSED IN BLACK, WITH
THEIR ATTIRE BEING THAT OF A STEREOTYPICAL ONE TOWARDS ROCK ARTISTS, WITH SKINNY JEANS AND
LOOSE TOPS. THEY ALSO HAVE QUITE DISTINCTIVE HAIRSTYLES, WITH THE LEAD SINGER HAVING A
MULLET AND THE GUITARIST HAVING QUITE LONG HAIR. THE LIGHTING, YOU CAN ARGUE, IS BOTH HIGH
KEY AND LOW KEY, WITH IT BEING QUITE DARK IN THE ARENA BUT NOT TOO DARK BEYOND SIGHT, AND
THEN THE CUT SCENES HELPING THE NARRATIVE PROGRESS BEING IN HIGH KEY. THE EDITING IS QUITE
SLOW AND THEN INTENSIFIES ONCE THE SONG PICKS UP PACE.

16. THIRTY SECONDS TO MARS- UP IN THE AIR
• THE MUSIC VIDEO IS FOR THE SONG ‘UP IN THE AIR’ BY THE BAND THIRTY SECONDS TO MARS. THE VIDEO IS
PERFORMANCE BASED WITH THE BAND PERFORMING THE VIDEO IN A HUGE STUDIO SETTING. WITHIN THE
VIDEO, THERE ARE SO MANY PECULIAR AND UNCANNY THINGS GOING ON, WHICH HAPPENS TO BE WHAT CAN
BE EXPECTED FROM A TYPICAL ROCK VIDEO. WE HAVE A LION ROAMING FREE, A NUDE FEMALE BEHAVING
PROMISCUOUSLY WHILE ON AN ELECTRONIC BULL, A PAINT FIGHT, MASKED DRUMMERS, AND SO MUCH MORE.
THESE HAPPEN TO BE THE UNCONVENTIONAL THINGS WHICH IRONICALLY CAN BE DESCRIBED AS
CONVENTIONS OF ROCK, WHICH IS WHAT MAKES THE VIDEO SO SUCCESSFUL IN TERMS OF FULFILLING THE
CRITERIA OF ITS SPECIFIC GENRE. THE ARTISTS ARE DRESSED IN VARIOUS OUTFITS, ONE BEING ALL BLACK TO
GIVE OFF A DARK AND MYSTERIOUS FEEL, ANOTHER BEING HALF NAKED TO PRESENT THE PROMISCUOUS SIDE
OF THE MUSIC. THE LIGHTING IS HIGH KEY SO THAT WE ARE ABLE TO CLEARLY SEE EVERYTHING THAT IS GOING
ON IN THE VIDEO; IN FACT, THERE IS A WARNING AT THE START OF THE VIDEO REFERENCING THOSE WITH
PHOTOSENSITIVE EPILEPSY INDICATING JUST HOW STRONG THE LIGHTING IS.

17. THE VAMPS- LAST NIGHT
• THE MUSIC VIDEO IS FOR THE SONG ‘LAST NIGHT’ BY THE BOY BAND NAMED VAMPS. THE VIDEO IS
PERFORMANCE BASED WITH THE PERFORMANCE BEING ON SET. THE LOCATION IS AN ABANDONED
WAREHOUSE WHICH THE BOYS END UP TURNING INTO AN EXTRAVAGANT PARTY, OR FUNFAIR IF YOU WILL
INCLUDING RIDES, GAMES, AND A WHOLE LOT OF TEENAGERS. THE ARTISTS ARE SEEN TO BE WEARING
SKINNY JEANS, SHIRTS, BASICALLY QUITE MODERN AND HIPSTER LOOKINGOUTFITS, WITH GUITAR AND
DRUM SET AT HAND. THE LIGHTING IS HIGH KEY SETTING OFF A LIVELY ATMOSPHERE, WHILE THE EDITING
IS VERY FAST PACED TO MATCH THE PACE OF THE MUSIC. A LOT OF MID SHOTS AND CLOSE UPS ARE USED
TO CAPTURE THE EMOTIONS OF THE BAND AND MAKE US FEEL MORE INVOLVED WITH THEM, AND SOME
WIDE SHOTS TO CAPTURE ALL FOUR MEMBERS TOGETHER.

18. THE NEIGHBOURHOOD- SWEATER WEATHER
• THE MUSIC VIDEO IS FOR THE SONG ‘SWEATER WEATHER’ BY A BAND CALLED THE NEIGHBOURHOOD. THE
VIDEO IS NARRATIVE AND PERFORMANCE BASED WITH THE LOCATION BEINGIN CALIFORNIA. THE
NARRATIVE TELLS THE STORY OF THE BAND TAKING A TRIP TO CALIFORNIA AND HAVING THE TIME OF
THEIR LIVES, WITH WHAT APPEARS TO BE A HEDONIST LIFESTYLE BEING PROMOTED BY THE COLLECTIVE
INDIVIDUALS. THEY PERFORM TO US IN SEVERAL LOCATIONS, BE IT IN AHOUSE, A CAR, OR THE BEACH.
HOWEVER, QUITE ODDLY, NONE OF THE PERFORMANCE IS ON STAGE WHICH IS UNCOMMON FOR A ROCK
VIDEO. THE ARTISTS ARE DRESSED IN ALL BLACK UPHOLDING THE HIPSTER/ROCK LOOK. THEY ALSO HAVE
QUITE A FEW TATTOOS HINTING TOWARDS THEIR REBELLIOUS NATURE. THERE ARE SOME SIGNIFICANT
EDITING TECHNIQUES AND CAMERAWORK PRESENT, SPECIFICALLY TOWARDS THE END WHERE THE
VISUALS ARE FLIPPED UPSIDE DOWN AS THE BEAT DROPS. ADDITIONALLY, THE ENTIRE VIDEO IS IN BLACK
AND WHITE.

19. SUMMING UP THE CONVENTIONS OF ROCK
• NARRATIVE VS PERFORMANCE, TELLING A STORY BUT MAINLY SHOWCASING EMOTIONS THROUGH
PERFORMANCE USUALLY IN FRONT OF OTHERS E.G. A STAGE OR ARENA.
• COSTUME- USUALLY DARK IN COLOUR, SKINNY FITTED.
• DISTINCTIVE HAIRSTYLES.
• LIGHTING IS USUALLY DARK WITH SPOTLIGHTS OR IN SOME CASES EXTREMELY WELL LIT.
• INSTRUMENTS, FIRE, DANGEROUS PROPS.