First analysis of music video (drake)
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The document discusses a music video analysis of Drake's "Started from the Bottom" by Goodwin. Goodwin notes that record labels demand many close-ups of the artist, also called "meat shots", and that music videos emphasize the voyeuristic treatment of the female body and notion of looking. Shots of Drake walking, sitting in a car and on a jet are typical for rap/hip hop videos emphasizing wealth. Goodwin believes music videos have either an illustrative, amplifying or disjunctive relationship between lyrics and visuals, and shots of Drake working in a supermarket amplify the message that he "Started from the bottom".
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The document profiles three female R&B artists - Keri Hilson, Rihanna, and Cassie Ventura - and discusses some of their most famous music videos. It notes that Keri Hilson's "Knock You Down" video featured Ne-Yo and Kanye West, helping boost her fame. Rihanna's "Take a Bow" video effectively portrayed a relationship through its storyline and performance concept. Cassie's "Long Way 2 Go" incorporated voyeurism in a way that well represented the R&B genre, influencing the document authors' plans for their own music video.
Music directors
A.R. Rahman is an Indian composer and musician who has integrated Eastern classical music with electronic sounds and world music genres in his film compositions. He has won two Academy Awards, two Grammy Awards, and numerous other awards. Rahman has directed music in several Bollywood films and popular albums. Trudy Bellinger is a British music video director affiliated with Merge @ Crossroads Films who has also directed television advertisements. In 2007, she directed music videos for songs by Sugababes vs. Girls Aloud, Shapeshifters, Bodyrockers, Therese, Girls Aloud, Dima Bilan, and Madu.
Evaluation task 1
In what ways does your media product use, develop or challenge forms and conventions of real media products
Andrew goodwin’s theory
This document discusses several theories about the relationship between lyrics, music, and visuals in music videos:
- Illustration directly depicts the lyrics through imagery.
- Amplification enhances the lyrics artistically through different performance and narrative techniques.
- Disjuncture ignores the lyrics and creates a new abstract meaning.
It also examines conventions like iconography, close-ups of artists, emphasis on looking, and intertextual references that are commonly used in music videos to promote the artist and engage audiences. Effective music videos consider the genre's conventions while also trying something new.
Goodwin’s theory
Goodwin's theory analyzes several elements of music videos including links between lyrics and visuals, genre characteristics, notions of looking, demands of record labels, and narrative/concept-based elements. Lyrics in the example video directly relate to what is shown, displaying genre traits like wealth and women. Notions of looking present women as objects and direct the audience's gaze. The record label influences elements like product placement and featuring other artists. While performance is minimal, the narrative story is told through a linear progression enhanced by the lyrics.
Theorys
Deborah Holdstein discusses different types of music videos, including political themes and fantasy genres. Fantasy videos focus entirely on an artist's performance across various settings and locations to portray them in mythical or surreal ways. This makes artists more accessible to fans by showing aspects of their image. Michael Jackson's "Beat It" video is analyzed as portraying messages of togetherness and stopping violence through its story of a gang conflict. Andrew Goodwin presents five key aspects of effective music videos: how they synchronize with song lyrics, music, genre expectations, an emphasis on the artist, and intertextual references. Sven Carlsson discusses the importance of an artist's involvement in a video through performance to make the song feel more realistic
Yesizur
This document provides an analysis of two music videos: Jay Rock's "Hood Gone Love It" featuring Kendrick Lamar, and Tupac's "California Love". For Jay Rock's video, it notes conventions like a relationship between lyrics and visuals depicting the lyrics. It also features male-dominated shots of Jay Rock and his crew in Compton asserting strength and ownership. Untypically, the women are not objectified. For "California Love", shots use conventions like low angles on Dr. Dre to enforce his power over viewers. The video also draws from the film "The Road Warrior" to support intertextuality. Closeups signify importance, and shots of 2Pac imply his danger and power.
Question 1
The document discusses the conventions of music videos according to Andrew Goodwin. It summarizes that music videos typically demonstrate genre characteristics, have a relationship between music and visuals in terms of tone and atmosphere, include close-ups of the artist, reference notions of looking, and can include intertextual references. The response then analyzes how the student's own music video conforms to several of these conventions, including having visuals that reflect the tone of the music, including close-ups of the actor's face, and illustrating the overall story or narrative of the song.
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The document profiles three female R&B artists - Keri Hilson, Rihanna, and Cassie Ventura - and discusses some of their most famous music videos. It notes that Keri Hilson's "Knock You Down" video featured Ne-Yo and Kanye West, helping boost her fame. Rihanna's "Take a Bow" video effectively portrayed a relationship through its storyline and performance concept. Cassie's "Long Way 2 Go" incorporated voyeurism in a way that well represented the R&B genre, influencing the document authors' plans for their own music video.
Music directors
A.R. Rahman is an Indian composer and musician who has integrated Eastern classical music with electronic sounds and world music genres in his film compositions. He has won two Academy Awards, two Grammy Awards, and numerous other awards. Rahman has directed music in several Bollywood films and popular albums. Trudy Bellinger is a British music video director affiliated with Merge @ Crossroads Films who has also directed television advertisements. In 2007, she directed music videos for songs by Sugababes vs. Girls Aloud, Shapeshifters, Bodyrockers, Therese, Girls Aloud, Dima Bilan, and Madu.
Evaluation task 1
In what ways does your media product use, develop or challenge forms and conventions of real media products
Andrew goodwin’s theory
This document discusses several theories about the relationship between lyrics, music, and visuals in music videos:
- Illustration directly depicts the lyrics through imagery.
- Amplification enhances the lyrics artistically through different performance and narrative techniques.
- Disjuncture ignores the lyrics and creates a new abstract meaning.
It also examines conventions like iconography, close-ups of artists, emphasis on looking, and intertextual references that are commonly used in music videos to promote the artist and engage audiences. Effective music videos consider the genre's conventions while also trying something new.
Goodwin’s theory
Goodwin's theory analyzes several elements of music videos including links between lyrics and visuals, genre characteristics, notions of looking, demands of record labels, and narrative/concept-based elements. Lyrics in the example video directly relate to what is shown, displaying genre traits like wealth and women. Notions of looking present women as objects and direct the audience's gaze. The record label influences elements like product placement and featuring other artists. While performance is minimal, the narrative story is told through a linear progression enhanced by the lyrics.
Theorys
Deborah Holdstein discusses different types of music videos, including political themes and fantasy genres. Fantasy videos focus entirely on an artist's performance across various settings and locations to portray them in mythical or surreal ways. This makes artists more accessible to fans by showing aspects of their image. Michael Jackson's "Beat It" video is analyzed as portraying messages of togetherness and stopping violence through its story of a gang conflict. Andrew Goodwin presents five key aspects of effective music videos: how they synchronize with song lyrics, music, genre expectations, an emphasis on the artist, and intertextual references. Sven Carlsson discusses the importance of an artist's involvement in a video through performance to make the song feel more realistic
Yesizur
This document provides an analysis of two music videos: Jay Rock's "Hood Gone Love It" featuring Kendrick Lamar, and Tupac's "California Love". For Jay Rock's video, it notes conventions like a relationship between lyrics and visuals depicting the lyrics. It also features male-dominated shots of Jay Rock and his crew in Compton asserting strength and ownership. Untypically, the women are not objectified. For "California Love", shots use conventions like low angles on Dr. Dre to enforce his power over viewers. The video also draws from the film "The Road Warrior" to support intertextuality. Closeups signify importance, and shots of 2Pac imply his danger and power.
Question 1
The document discusses the conventions of music videos according to Andrew Goodwin. It summarizes that music videos typically demonstrate genre characteristics, have a relationship between music and visuals in terms of tone and atmosphere, include close-ups of the artist, reference notions of looking, and can include intertextual references. The response then analyzes how the student's own music video conforms to several of these conventions, including having visuals that reflect the tone of the music, including close-ups of the actor's face, and illustrating the overall story or narrative of the song.
Andrew goodwin’s theory on music video’s and opposing
Goodwin concluded in the 1990s that music videos primarily promote artists but can also promote products, films, and locations. The document discusses several music videos that directly or indirectly promote brands through product placement or continuing a narrative. It states that even artistic music videos ultimately serve to promote the featured artist.
What is a music video?
This document discusses what music videos are and how they can be analyzed. It begins by defining a music video as a short film that integrates a song and imagery for promotional purposes. It discusses the origins of music videos in the late 19th century and how they became popularized on MTV in the 1980s. The document then outlines several conventions for analyzing music videos, such as their relationship to lyrics, genre influences, and themes of voyeurism. It provides examples of specific music videos to illustrate points about narrative structure and how they can promote the artist.
Andrew Goodwin Music Video Theory
Andrew Goodwin was a theorist and founder of USF's media studies department who developed a theory about analyzing music videos by examining the relationship between lyrics and visuals, music and visuals, genre stereotypes, voyeurism, intertextual references, and an artist's style. His theory looked at how visuals can illustrate, amplify, or contradict lyrics and music. Music videos often use genre stereotypes, voyeuristic portrayals of men and women, and references to other media. They also emphasize an artist's unique visual style. Katy Perry's "Last Friday Night" video illustrates her lyrics, uses voyeuristic shots, and draws attention to stereotypical party behaviors to engage viewers.
Purpose of a music video
Music videos serve several purposes: to promote and advertise songs, illustrate the music through visuals and storytelling, and market an artist's image to appeal to visual audiences, especially teenagers. They help create and brand an artist's image and extend their income through increased promotion, sales, and awareness. While pop videos focus more on the artist's image, indie videos tend to be more abstract and focused on the music itself. The availability and outlets for music videos have expanded significantly over time.
A2 Media Studies - Casting list
The document discusses casting choices for a music video. Dawid Jurkowski is chosen to play the main role of the artist "Run Down" because his relaxed posture suits the mood of the relaxing song. His fashion sense also suits the influence of fashion in music videos. Bartek Wielblad is chosen to play Dawid's friend because his calm posture further enhances the relaxed mood. However, Bartek will be shown as a potentially negative influence on Dawid through depicting drug use and negatively perceived behaviors and appearances.
Represenations
Representations are how directors construct realities through elements like props, costumes, and identities. Music videos represent elements like race, gender, politics, and personal views. Pop videos prominently feature sexualized representations to appeal to teenage audiences. Directors use techniques like fragmented body shots, lighting, and camerawork to facilitate voyeurism and emphasize the female body for the presumed "male gaze." Some artists like Lady Gaga exhibit control and independence through provocative self-displays.
Chris Brown - Beautiful People Music Video Analysis
The music video depicts Chris Brown and his friends riding through the streets at night. Though they appear bad at first, they are actually helping people. The video features upbeat hip-hop music and shots of the characters riding scooters. It shows motivational lyrics about beautiful people. Chris Brown is seen having a casual conversation with a stranger to portray the beautiful people. The video uses colorful lighting and features cameos from other famous hip-hop artists to attract attention and a large audience. It aims to send a positive message of not letting others bring you down and that everyone is beautiful.
Goodwin's theory
Goodwin proposed several common conventions in music videos, including that they demonstrate genre characteristics, relate lyrics and visuals, relate music and visuals, include close-ups of artists per label demands, develop recurring motifs, reference looking and treatment of the female body, and reference popular culture. The document applies Goodwin's theory to the music video "Wild Wild Love," noting its pop genre characteristics, close-ups of the artist per label demands, and voyeuristic treatment of female bodies.
Analysis of dubstep music videos
This document analyzes and summarizes several dubstep music videos. It discusses how each video uses visual techniques and storylines to emphasize the mood and atmosphere of the music. The videos examined generally lack narratives featuring the artists and instead focus on abstract visuals, lighting, and scenes that correlate with the instrumental nature of dubstep music and promote the club and dancing atmosphere. Common features across the videos include base drops designed to enhance dancing and a lack of focus on promoting the artists themselves.
Goodwins features
The document discusses several relationships between music videos and the songs they accompany. It provides examples of how visuals can illustrate, amplify, or contradict lyrics and music. Record companies often include close-ups of artists to promote their branding. Music videos may also contain intertextual references to other music videos, films, or TV shows.
Question three
The document discusses audience feedback received for a music video project. [1] The target audience was identified as teenagers around the same age as the creators, as they would understand what appeals to that demographic. [2] Feedback was gathered through a questionnaire after screening the video for classmates, and while most elements were enjoyed, some felt the pacing did not match the song or more could be done. [3] The creators believe most feedback was valid but some missed that flashy elements did not fit their artist's brand of being urban and down to earth.
Andrew Goodwin’s Theory of Analysis
The document summarizes some key characteristics and features that are commonly found in music videos according to Goodwin's book "Dancing in the Distraction Factory". These include: 1) Demonstrating genre characteristics through elements like stage performances for metal videos and dance routines for boy/girl bands. 2) Having a relationship between the lyrics and visuals, either illustrating, amplifying, or contradicting the lyrics. 3) Having a relationship between the music and visuals where the tone and atmosphere of the visual reflects the music.
Sound design
The document discusses sound artist Bill Fontana and his work recording natural environmental sounds. It notes that Fontana began his career in music composition but wanted to work with sound in a different way. He is known for recordings of sounds in abandoned spaces, like pigeon noises echoing in an old church. The document also discusses two of Fontana's sound works and how they use recorded ambient audio to create atmospheric, narrative compositions.
We found love andrew goodwin
Andrew Goodwin is the author of the book "Dancing in the Distraction Factory" where he discusses music television and cultural theory. In the book, he analyzes media aesthetics, critical theory, and pop music. Specifically, he argues that each music video contains six elements: genre characteristics, relationships between lyrics/visuals and music/visuals, record label demands, visual motifs, references to looking, and intertextual references.
Example 1
This document summarizes Elliot Hogan-Keogh's presentation on the codes and conventions of music videos. It discusses several purposes and types of music videos, such as performance-based, narrative-based, and concept-based videos. It also examines how genre characteristics are demonstrated in videos, how lyrics and visuals relate, and how music and visuals synchronize. Specific examples are provided to illustrate techniques like cutting to the beat, focusing on the singer during choruses/repetition, and relating album artwork to video imagery. The document also discusses Andrew Goodwin's notions of "looking" in music videos through techniques like screens within screens and voyeuristic treatment of the female body.
Conventions of music genre’s
This document summarizes the conventions of music videos across different genres. It discusses how rap/hip-hop videos focus on displaying wealth and power through luxury items and branding. Rock music videos emphasize performance to convey the loud, heavy music through costumes, lighting, and editing. Pop videos have large budgets for extravagant, conceptual productions showcasing artists. R&B videos center around themes of love and passion through narrative concepts and styling women as love interests. Dance videos are also concept-based and include dance routines to represent the genre without lyrics.
Andrew Goodwin's Theory
Andrew Goodwin's theory identifies several key features of music videos:
1) Links between lyrics and visuals - the images in a music video usually illustrate, amplify, or contradict the song's lyrics.
2) Voyeurism - music videos often depict notions of looking through mirrors, screens, cameras to engage the viewer.
3) Objectification of women - women are particularly subjected to voyeuristic objectification to appeal to male viewers.
4) Demands of record labels - record labels exert control over artists and shape their image to maximize profits, often demanding close-ups and sexualization of stars.
Music Video Presentation
Released in 2011, "Holocene" is a song by indie folk band Bon Iver. The music video features an Icelandic boy wandering the island's volcanic landscapes. The vast scenery contrasts with the small boy, reflecting the song's lyrics about feeling insignificant yet part of something greater. The video uses neutral colors and distance shots to represent the landscape's purity and the boy's innocence. It also synchronizes shots of the boy running with an increase in the song's pace and volume. The video focuses on interpreting the song's meaning rather than featuring the band, allowing audiences to connect with the nameless character.
Holocene - Bon Iver (Analysis)
Analysis of Music Video and how we could be influenced by its production when making our own music video.
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Goodwin’s music video theory
Goodwin developed a theory consisting of eight principles that can be applied to analyze any music video. The principles include: linking the lyrics and visuals, linking the music and visuals, showcasing genre characteristics, including intertextual references, employing notions of looking and voyeurism, addressing the demands of the record label, and being performance-based, narrative-based, or concept-based. Each principle is explained in more detail in the document.
Andrew Goodwin theory
Todd Goodwin is a theorist and founder of USF's media studies department. He authored a book analyzing music videos and developed theories about codes and conventions in music videos. His work showed that visuals can illustrate, amplify, or contradict lyrics and music. Common conventions include demonstrating genre characteristics through repeated actions, using sexual imagery for voyeurism and wider appeal, including references to other media, and promoting artists' star quality through close-up shots. Goodwin's theories provided a framework for analyzing relationships between audio and visual elements in music videos.
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Andrew goodwin’s theory on music video’s and opposing
Goodwin concluded in the 1990s that music videos primarily promote artists but can also promote products, films, and locations. The document discusses several music videos that directly or indirectly promote brands through product placement or continuing a narrative. It states that even artistic music videos ultimately serve to promote the featured artist.
What is a music video?
This document discusses what music videos are and how they can be analyzed. It begins by defining a music video as a short film that integrates a song and imagery for promotional purposes. It discusses the origins of music videos in the late 19th century and how they became popularized on MTV in the 1980s. The document then outlines several conventions for analyzing music videos, such as their relationship to lyrics, genre influences, and themes of voyeurism. It provides examples of specific music videos to illustrate points about narrative structure and how they can promote the artist.
Andrew Goodwin Music Video Theory
Andrew Goodwin was a theorist and founder of USF's media studies department who developed a theory about analyzing music videos by examining the relationship between lyrics and visuals, music and visuals, genre stereotypes, voyeurism, intertextual references, and an artist's style. His theory looked at how visuals can illustrate, amplify, or contradict lyrics and music. Music videos often use genre stereotypes, voyeuristic portrayals of men and women, and references to other media. They also emphasize an artist's unique visual style. Katy Perry's "Last Friday Night" video illustrates her lyrics, uses voyeuristic shots, and draws attention to stereotypical party behaviors to engage viewers.
Purpose of a music video
Music videos serve several purposes: to promote and advertise songs, illustrate the music through visuals and storytelling, and market an artist's image to appeal to visual audiences, especially teenagers. They help create and brand an artist's image and extend their income through increased promotion, sales, and awareness. While pop videos focus more on the artist's image, indie videos tend to be more abstract and focused on the music itself. The availability and outlets for music videos have expanded significantly over time.
A2 Media Studies - Casting list
The document discusses casting choices for a music video. Dawid Jurkowski is chosen to play the main role of the artist "Run Down" because his relaxed posture suits the mood of the relaxing song. His fashion sense also suits the influence of fashion in music videos. Bartek Wielblad is chosen to play Dawid's friend because his calm posture further enhances the relaxed mood. However, Bartek will be shown as a potentially negative influence on Dawid through depicting drug use and negatively perceived behaviors and appearances.
Represenations
Representations are how directors construct realities through elements like props, costumes, and identities. Music videos represent elements like race, gender, politics, and personal views. Pop videos prominently feature sexualized representations to appeal to teenage audiences. Directors use techniques like fragmented body shots, lighting, and camerawork to facilitate voyeurism and emphasize the female body for the presumed "male gaze." Some artists like Lady Gaga exhibit control and independence through provocative self-displays.
Chris Brown - Beautiful People Music Video Analysis
The music video depicts Chris Brown and his friends riding through the streets at night. Though they appear bad at first, they are actually helping people. The video features upbeat hip-hop music and shots of the characters riding scooters. It shows motivational lyrics about beautiful people. Chris Brown is seen having a casual conversation with a stranger to portray the beautiful people. The video uses colorful lighting and features cameos from other famous hip-hop artists to attract attention and a large audience. It aims to send a positive message of not letting others bring you down and that everyone is beautiful.
Goodwin's theory
Goodwin proposed several common conventions in music videos, including that they demonstrate genre characteristics, relate lyrics and visuals, relate music and visuals, include close-ups of artists per label demands, develop recurring motifs, reference looking and treatment of the female body, and reference popular culture. The document applies Goodwin's theory to the music video "Wild Wild Love," noting its pop genre characteristics, close-ups of the artist per label demands, and voyeuristic treatment of female bodies.
Analysis of dubstep music videos
This document analyzes and summarizes several dubstep music videos. It discusses how each video uses visual techniques and storylines to emphasize the mood and atmosphere of the music. The videos examined generally lack narratives featuring the artists and instead focus on abstract visuals, lighting, and scenes that correlate with the instrumental nature of dubstep music and promote the club and dancing atmosphere. Common features across the videos include base drops designed to enhance dancing and a lack of focus on promoting the artists themselves.
Goodwins features
The document discusses several relationships between music videos and the songs they accompany. It provides examples of how visuals can illustrate, amplify, or contradict lyrics and music. Record companies often include close-ups of artists to promote their branding. Music videos may also contain intertextual references to other music videos, films, or TV shows.
Question three
The document discusses audience feedback received for a music video project. [1] The target audience was identified as teenagers around the same age as the creators, as they would understand what appeals to that demographic. [2] Feedback was gathered through a questionnaire after screening the video for classmates, and while most elements were enjoyed, some felt the pacing did not match the song or more could be done. [3] The creators believe most feedback was valid but some missed that flashy elements did not fit their artist's brand of being urban and down to earth.
Andrew Goodwin’s Theory of Analysis
The document summarizes some key characteristics and features that are commonly found in music videos according to Goodwin's book "Dancing in the Distraction Factory". These include: 1) Demonstrating genre characteristics through elements like stage performances for metal videos and dance routines for boy/girl bands. 2) Having a relationship between the lyrics and visuals, either illustrating, amplifying, or contradicting the lyrics. 3) Having a relationship between the music and visuals where the tone and atmosphere of the visual reflects the music.
Sound design
The document discusses sound artist Bill Fontana and his work recording natural environmental sounds. It notes that Fontana began his career in music composition but wanted to work with sound in a different way. He is known for recordings of sounds in abandoned spaces, like pigeon noises echoing in an old church. The document also discusses two of Fontana's sound works and how they use recorded ambient audio to create atmospheric, narrative compositions.
We found love andrew goodwin
Andrew Goodwin is the author of the book "Dancing in the Distraction Factory" where he discusses music television and cultural theory. In the book, he analyzes media aesthetics, critical theory, and pop music. Specifically, he argues that each music video contains six elements: genre characteristics, relationships between lyrics/visuals and music/visuals, record label demands, visual motifs, references to looking, and intertextual references.
Example 1
This document summarizes Elliot Hogan-Keogh's presentation on the codes and conventions of music videos. It discusses several purposes and types of music videos, such as performance-based, narrative-based, and concept-based videos. It also examines how genre characteristics are demonstrated in videos, how lyrics and visuals relate, and how music and visuals synchronize. Specific examples are provided to illustrate techniques like cutting to the beat, focusing on the singer during choruses/repetition, and relating album artwork to video imagery. The document also discusses Andrew Goodwin's notions of "looking" in music videos through techniques like screens within screens and voyeuristic treatment of the female body.
Conventions of music genre’s
This document summarizes the conventions of music videos across different genres. It discusses how rap/hip-hop videos focus on displaying wealth and power through luxury items and branding. Rock music videos emphasize performance to convey the loud, heavy music through costumes, lighting, and editing. Pop videos have large budgets for extravagant, conceptual productions showcasing artists. R&B videos center around themes of love and passion through narrative concepts and styling women as love interests. Dance videos are also concept-based and include dance routines to represent the genre without lyrics.
Andrew Goodwin's Theory
Andrew Goodwin's theory identifies several key features of music videos:
1) Links between lyrics and visuals - the images in a music video usually illustrate, amplify, or contradict the song's lyrics.
2) Voyeurism - music videos often depict notions of looking through mirrors, screens, cameras to engage the viewer.
3) Objectification of women - women are particularly subjected to voyeuristic objectification to appeal to male viewers.
4) Demands of record labels - record labels exert control over artists and shape their image to maximize profits, often demanding close-ups and sexualization of stars.
Music Video Presentation
Released in 2011, "Holocene" is a song by indie folk band Bon Iver. The music video features an Icelandic boy wandering the island's volcanic landscapes. The vast scenery contrasts with the small boy, reflecting the song's lyrics about feeling insignificant yet part of something greater. The video uses neutral colors and distance shots to represent the landscape's purity and the boy's innocence. It also synchronizes shots of the boy running with an increase in the song's pace and volume. The video focuses on interpreting the song's meaning rather than featuring the band, allowing audiences to connect with the nameless character.
Holocene - Bon Iver (Analysis)
Analysis of Music Video and how we could be influenced by its production when making our own music video.
Baladi shaabijeel
This document provides an overview of three styles of Egyptian folk dance: Baladi, Shaabi, and Jeel. It describes the meanings and origins of each style, characteristic musical influences and dance movements, common costumes, and popular artists. Baladi refers to rural village dance and music, Shaabi emerged from urban working class culture in the 1960s, and Jeel originated in Libya and is a more modern and polished style. Each style is discussed in terms of its defining artistic and cultural elements.
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Andrew goodwin’s theory on music video’s and opposing
Andrew goodwin’s theory on music video’s and opposing
Chris Brown - Beautiful People Music Video Analysis
Chris Brown - Beautiful People Music Video Analysis
Similar to First analysis of music video (drake)
Goodwin’s music video theory
Goodwin developed a theory consisting of eight principles that can be applied to analyze any music video. The principles include: linking the lyrics and visuals, linking the music and visuals, showcasing genre characteristics, including intertextual references, employing notions of looking and voyeurism, addressing the demands of the record label, and being performance-based, narrative-based, or concept-based. Each principle is explained in more detail in the document.
Andrew Goodwin theory
Todd Goodwin is a theorist and founder of USF's media studies department. He authored a book analyzing music videos and developed theories about codes and conventions in music videos. His work showed that visuals can illustrate, amplify, or contradict lyrics and music. Common conventions include demonstrating genre characteristics through repeated actions, using sexual imagery for voyeurism and wider appeal, including references to other media, and promoting artists' star quality through close-up shots. Goodwin's theories provided a framework for analyzing relationships between audio and visual elements in music videos.
Goodwin's theory
The document discusses several music videos and how they demonstrate characteristics of different genres and convey meaning through the relationship between lyrics, music, and visuals. It provides examples of how K-Pop video "Boy in Love" shows choreographed dance routines, Queen's "I Want to Break Free" suggests the singer wants to break free from mundane life through its imagery, and Lana Del Rey's "Ultraviolence" gives a sad romantic feel through its bridal imagery and music. It also notes that record labels often demand close-up shots of artists to develop their persona, as seen in Madonna's "Vogue" video.
Goodwin’s theory applied to Kid Cudi
This document discusses Goodwin's theory on the relationship between lyrics and visuals in music videos. It suggests that lyrics will constantly reference visuals on screen and visuals will reinforce the lyrics. It uses the music video for Kid Cudi's "Pursuit of Happiness" as an example. Genre characteristics like jewelry and narrative concepts are also typically depicted. Notions of gaze and how artists are portrayed are addressed. Record label demands may influence inclusion of promotions. Narrative and conceptual elements are important components of Goodwin's theory.
Goodwin’s Analysis
Goodwin's Analysis is a theory for analyzing music videos in seven steps: 1) Lyrics and visuals should relate, 2) Music and visuals should be cut in time, 3) Genres have characteristics, 4) Artists must meet label demands, 5) Videos can reference other media, 6) Voyeurism involves intimacy and screens, 7) Popular artists develop recognizable iconography. The document explains each step and provides examples to illustrate Goodwin's Analysis in action.
Mva
The black and white music video establishes a mysterious atmosphere as it contrasts exterior shots of a bus with well-lit interior shots of the band performing. Both performance and narrative elements are featured, with close-ups showing the band performing on the bus and a woman's journey from being upset on the road to boarding the bus. The dark color palette and mysterious cityscape shots reinforce the band's image and genre of the song.
Goodwin's theory linked to rap and r&b
Goodwin's Theory Linked to Rap and R&B
Goodwin suggested 6 principles for relating visual elements in music videos to lyrics, music, and genre characteristics: 1) Visuals amplify lyrics, 2) Visuals reflect music's rhythm, 3) Genres have visual and lyrical tendencies, 4) Videos employ ways of looking like eye contact or voyeurism, 5) Close-ups and image motifs promote the artist, 6) Videos reference other media through style or content allusions. Examples are given for each principle from rap and R&B videos like Bobby Valentino's "Slow Down" and 50 Cent's "Just a Lil Bit."
Andrew goodwin's convention of a music video
The document outlines Andrew Goodwin's conventions of music videos which include demonstrating genre characteristics through style and performance, relating lyrics and visuals, relating music and visuals through mood and atmosphere, including demands of the record label through close-ups and developing the artist's image, incorporating notions of scopophilia through ways of looking at the artist, including some narrative or performance elements, using rhythmic editing, and making intertextual references. It provides examples for each convention and analyzes how Lady Gaga and Beyonce's "Telephone" video follows many of these conventions.
Goodwin 7 hwk
The document discusses the Goodwin Seven, which are seven features that most music videos contain. The Goodwin Seven are: (1) demonstrating genre characteristics, (2) relating lyrics to visuals, (3) relating music to visuals, (4) including close-ups of the artist per record label demands, (5) developing recurring motifs, (6) referencing the notion of "looking" and voyeurism of the female body, and (7) including intertextual references to film, TV and pop culture. Two examples are provided of music videos demonstrating the first and third Goodwin Seven features - a Rise Against video showing the band playing, and a Delta Heavy video synchronizing visuals like a Rub
Andrew goodwin’s
Andrew Goodwin developed a six point theory for analyzing conventions in music videos. The six points are: 1) Music videos demonstrate genre characteristics. 2) There is a relationship between lyrics and visuals. 3) There is a relationship between music and visuals. 4) Record labels demand close ups of artists to brand their image. 5) Record labels demand close ups of artists to brand their image and develop the artist's image. 6) Music videos often include intertextual references to other media.
Andrew Goodwin’s Theory
Andrew Goodwin's theory proposes six conventions for music videos: 1) The relationship between lyrics and visuals, which can illustrate, amplify, or contradict the lyrics. 2) The relationship between music and visuals. 3) Genre-related styles and iconography. 4) Multiple close-ups of the artist. 5) Voyeurism, especially of female artists. 6) Intertextual references to other media. Goodwin suggests the visuals should reinforce the lyrics, music, and genre in various ways, such as illustrating, amplifying, or contradicting them. Examples are given of videos that apply these conventions.
Andrew goodwin’s mjusic video theory
Andrew Goodwin defines a music video as a clip that responds to and visualizes the pleasures of music. His music video theory outlines 5 key aspects: 1) interpreting the lyrics through the beat, 2) the relationship between visuals and music, 3) narrative and artist performance, 4) technical elements, and 5) establishing the star image through focused camera shots. Goodwin believes the artist should be actively involved and that narrative, performance, and technical elements work together to engage audiences.
Drake - Cross Media Case Study Presentation
Drake is a Canadian rapper, singer and actor who gained initial fame starring in the TV series Degrassi: The Next Generation in the early 2000s. He has since released several successful albums including Thank Me Later (2010), Take Care (2011), and Views (2016) which spent 10 weeks at number one on the Billboard 200. Drake's record labels include OVO Sound, Young Money, Cash Money and Universal Motown. He promotes his music through his website, music videos and album tour promotions. His music video for "Hotline Bling" uses cinematography techniques and synchronization with the music to promote Drake.
Music types
The document discusses different types of music videos:
1. Concept-based videos focus on a single concept or idea through unusual filming/editing techniques. Taylor Swift's "Style" video depicts unusual merging scenes to portray a darker, more abstract version of herself.
2. Narrative-based videos tell a story, often mimicking film/TV genres. Taylor Swift's "Love Story" matches the song's lyrics by showing the couple meeting and falling in love.
3. Performance-based videos simply feature the artist performing the song. James Bay's "Hold Back the River" uses lighting and camerawork to engage viewers.
4. Hybrid videos combine two or more types, like Taylor Swift
MVA
The music video is filmed entirely in black and white, creating a mysterious atmosphere. There are both performance elements, with the band playing on a bus, and narrative elements, following a character who is comforted after boarding the bus. Throughout the video there are close-up shots of the lead singer that reflect the questioning lyrics. Stylistic elements like dark clothing and makeup reinforce the band's image. The live performance captures the intensity of the song, and fast cuts and lighting create energy matching the heavy beat.
Music video analysis
This document analyzes two music videos using Goodwin's features for analyzing music videos. It summarizes the key relationships between the visuals and lyrics in Ed Sheeran's "The A Team" video, noting how the visuals depict what is described in the lyrics. It also notes how Noah and the Whale's "5 Years Time" video effectively synchronizes the music and visual editing. The document then evaluates both videos in terms of Goodwin's additional features such as music genre, close-ups of artists, voyeurism, and intertextual references.
Goodwin Music Video Theory
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.
Goodwin music video theory - RM
Andrew Goodwin identified several key features that are commonly found in music videos. These include relationships between the lyrics and visuals, music and visuals, genre characteristics demonstrated, close-ups of the artist, development of star iconography, inclusion of voyeurism, and intertextual references. Goodwin discussed these features in his 1992 book "Dancing in the Distraction Factory" and provided examples for each one.
Mv notes
Kid Rock targets stereotypical American rockers, straight males, and rock fans in his music videos. His brand presents him as wild, free, loud, and out there with a redneck persona that plays into stereotypes. His music videos have fast-paced shots that fit the fast style of his songs. The videos can either literally illustrate the song lyrics and themes or build on them to further develop the messages.
A1 vid analysis2
This music video analysis document discusses several genre characteristics and relationships in rap music videos. It summarizes that rap videos often feature artists boasting wealth and being desired by others to create an image of power. The lyrics and visuals in this video strongly illustrate and amplify each other. Close-ups of the artist meet record label demands to establish their identity. The female artist is portrayed in a voyeuristic manner through revealing costumes and body shots while the male artist's body is shown in cut-up shots displaying jewelry.
Similar to First analysis of music video (drake) (20)
First analysis of music video (drake)
- 1. Drake – Started from the bottom • Goodwin identified that the demands of record labels include the need for many close-ups of the artist • Archer referred to these as MEAT SHOTS • Goodwin also noted that a key feature of music video is the NOTION OF LOOKING, and a voyeuristic treatment of the female body
- 2. • Goodwin recognises that music videos demonstrate genre characteristics; low angle shots of Drake walking next to or in the car and sitting on a jet are typical for the rap/hip hop, as many tracks emphasise the value of wealth. • Goodwin believes that in music videos there is either an illustrative, amplifying or disjunctive relationship between the lyrics and visuals. • Shots of Drake in ‘Started from the Bottom’ suggest that this may be an amplifying, as we see him working in a supermarket • We now know due to his meta-narrative that he is a successful US rapper, showing how he did in fact ‘Start from the bottom’
- 3. • https://www.youtube.com/watch?v=RubBzkZzpUA • Goodwin also identifies that in a music video there is either an illustrative, amplifying or disjunctive link between the music and the visuals • By using the link to watch the video, it is evident that this relationship is illustrative as there is a clear fast pace cutting rate to the beat of the music