Goodwins theory
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This document summarizes Goodwin's theory on key features of music genres and characteristics of music videos. It identifies six features: 1) genre characteristics reflected in music videos, 2) relationship between lyrics and visuals, 3) relationship between music and visuals, 4) star image motifs, 5) notion of looking, and 6) performance, narrative or concept-based approaches. For each feature, it provides definitions and examples to illustrate common ways they are demonstrated in music videos.
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Goodwins theory
Goodwin's theory outlines several key features of music video genres:
1) Genre characteristics - music videos often reflect their musical genre through stereotypical traits like dance routines.
2) Relationship between music and visuals - visuals can be illustrative, amplifying, or contradicting of the song's lyrics and music.
3) Notion of looking - videos may include "screens within screens" or voyeuristic treatment of the female body.
Music Theories
The document discusses several theories about key elements in music videos:
1. Andrew Goodwin's theory identifies six elements including relationships between lyrics/music and visuals, narrative/performance, use of close-ups to promote the artist's image, and technical aspects.
2. Sven Carlsson proposes two categories - performance clips focusing on staged performances and conceptual clips with exaggerated settings beyond the artist.
3. Richard Dyer's theory discusses how stars are constructed commercially, how audiences relate through admiration/imitation, and how this increases the star's appeal.
Andrew goodwin’s music video theory
Andrew Goodwin identifies 6 conventions that are commonly used in music videos:
1) The relationship between lyrics and visuals - the visuals can illustrate, amplify, or contradict the lyrics.
2) "Thought beats" - the visuals are edited to the music/beats of the song.
3) Genre-related style and iconography represent the music's style and make it recognizable.
4) Close-ups of the artist promote their star image and brand.
5) Voyeurism, especially of females, entices audiences' interest in the artist.
6) Intertextual references to other media engage audiences through recognition.
Music video theory
1) Goodwin's music video theory outlines 5 key aspects of music videos including the relationship between the song and visuals, the narrative and performance conveyed through the song, and portraying the star image or protagonist.
2) Sven E Carlsson proposed two main music video theories - the performance theory, which focuses on singing and dancing to advertise the artist, and the conceptual theory, which uses unrelated visuals to portray the meaning of the song in a more artistic way.
3) Michael Shore theorized that many music videos are based on satisfying male fantasies through the use of exposed women in evocative imagery, as seen in videos like GDFR by Flo Rider.
Types of music videos
The document discusses three main types of music videos:
1. Performance-based videos feature the artist(s) performing the song throughout the video. These are commonly used in pop and rock genres to showcase the talents and star image of the artist.
2. Narrative-based videos tell a story or plot related to the song, sometimes featuring the artist and other times using actors. These can appear as short films with music.
3. Conceptual-based videos are based on an unusual or obscure idea that may not relate directly to the song's meaning, appealing to niche audiences. They often combine surreal elements with some performance aspects.
Theories for representation
This document discusses several theories related to representation in media such as music videos. It first describes a music video production about lost love between a male and female. It then discusses Richard Dyer's star theory that stars are constructed images meant to increase sales and brand identity. The document also covers Richard Dyer's typography of representation, John Berger's analysis of gender representation with women as commodities, and Laura Mulvey's male gaze theory where women are portrayed for the male audience. The document applies these theories to analyze the representation in the described music video production. It concludes with Andrew Goodwin's theory on typical conventions in different music video genres.
Andrew Goodwin's Theory
Andrew Goodwin's theory discusses common characteristics found in music videos. Some key points include:
1) Music videos typically demonstrate genre characteristics like dance routines for pop bands or revealing clothing for rap videos.
2) There is frequent use of voyeurism and notions of looking, especially with the female body being treated in a seductive manner.
3) Visuals in music videos are used to illustrate, amplify, or disjuncture from the song's lyrics and meaning. Record labels also influence visual styles of the artist.
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.
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Goodwins theory
Goodwin's theory outlines several key features of music video genres:
1) Genre characteristics - music videos often reflect their musical genre through stereotypical traits like dance routines.
2) Relationship between music and visuals - visuals can be illustrative, amplifying, or contradicting of the song's lyrics and music.
3) Notion of looking - videos may include "screens within screens" or voyeuristic treatment of the female body.
Music Theories
The document discusses several theories about key elements in music videos:
1. Andrew Goodwin's theory identifies six elements including relationships between lyrics/music and visuals, narrative/performance, use of close-ups to promote the artist's image, and technical aspects.
2. Sven Carlsson proposes two categories - performance clips focusing on staged performances and conceptual clips with exaggerated settings beyond the artist.
3. Richard Dyer's theory discusses how stars are constructed commercially, how audiences relate through admiration/imitation, and how this increases the star's appeal.
Andrew goodwin’s music video theory
Andrew Goodwin identifies 6 conventions that are commonly used in music videos:
1) The relationship between lyrics and visuals - the visuals can illustrate, amplify, or contradict the lyrics.
2) "Thought beats" - the visuals are edited to the music/beats of the song.
3) Genre-related style and iconography represent the music's style and make it recognizable.
4) Close-ups of the artist promote their star image and brand.
5) Voyeurism, especially of females, entices audiences' interest in the artist.
6) Intertextual references to other media engage audiences through recognition.
Music video theory
1) Goodwin's music video theory outlines 5 key aspects of music videos including the relationship between the song and visuals, the narrative and performance conveyed through the song, and portraying the star image or protagonist.
2) Sven E Carlsson proposed two main music video theories - the performance theory, which focuses on singing and dancing to advertise the artist, and the conceptual theory, which uses unrelated visuals to portray the meaning of the song in a more artistic way.
3) Michael Shore theorized that many music videos are based on satisfying male fantasies through the use of exposed women in evocative imagery, as seen in videos like GDFR by Flo Rider.
Types of music videos
The document discusses three main types of music videos:
1. Performance-based videos feature the artist(s) performing the song throughout the video. These are commonly used in pop and rock genres to showcase the talents and star image of the artist.
2. Narrative-based videos tell a story or plot related to the song, sometimes featuring the artist and other times using actors. These can appear as short films with music.
3. Conceptual-based videos are based on an unusual or obscure idea that may not relate directly to the song's meaning, appealing to niche audiences. They often combine surreal elements with some performance aspects.
Theories for representation
This document discusses several theories related to representation in media such as music videos. It first describes a music video production about lost love between a male and female. It then discusses Richard Dyer's star theory that stars are constructed images meant to increase sales and brand identity. The document also covers Richard Dyer's typography of representation, John Berger's analysis of gender representation with women as commodities, and Laura Mulvey's male gaze theory where women are portrayed for the male audience. The document applies these theories to analyze the representation in the described music video production. It concludes with Andrew Goodwin's theory on typical conventions in different music video genres.
Andrew Goodwin's Theory
Andrew Goodwin's theory discusses common characteristics found in music videos. Some key points include:
1) Music videos typically demonstrate genre characteristics like dance routines for pop bands or revealing clothing for rap videos.
2) There is frequent use of voyeurism and notions of looking, especially with the female body being treated in a seductive manner.
3) Visuals in music videos are used to illustrate, amplify, or disjuncture from the song's lyrics and meaning. Record labels also influence visual styles of the artist.
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.
Analysis of bands/artists
This document analyzes images of different artists and bands to identify their musical genres based on visual cues. It discusses Beyoncé's image representing the R&B genre through her seductive pose, clothing, lighting, and asymmetric positioning. The 1975's black and white effect, relaxed posture, and edgy clothing in their image emphasizes the alternative rock genre. One Direction's bright colors, high key lighting, and symmetrical positioning shows their pop genre. Carrie Underwood holding a flower with blurred natural backgrounds identifies her country genre. Lady Gaga's high key lighting, monochrome edgy style, and face paint emphasizes her electro-pop genre which blends electric music and pop.
Kings of leon video analysis
This document provides an analysis of the Kings of Leon music video for "Sex on Fire" using various music video and film theories:
1) The video demonstrates characteristics of the indie/alternative genre through its low-budget production, the band's ragged appearance, and lyrics about sex, drugs and alcohol.
2) While the lyrics are understandable, the visuals are disjunctured and don't relate to the lyrics, showing one band member eating chicken for no reason.
3) The sad music matches the sad lyrics and visuals that fade in and out with the beat.
4) There are many close-ups of the band, especially the singer, to build recognition for future releases.
Andrew Goodwin's Theory
Andrew Goodwin's theory suggests that a music video's genre characteristics, lyrics, and visuals are linked. Characteristics seen in a hip hop video may include depictions of wealth, drugs, and exploitation of women, whereas a metal video may show band members performing on stage. Goodwin also proposed that a video's visuals can be illustrative of song lyrics, amplify meanings beyond the lyrics, or contradict the lyrics entirely. Frequently, music videos employ voyeurism through props like mirrors and binoculars to sell the artist through sex appeal. An artist's label may demand certain visual styles, like close-ups, that then recur across their work.
Types and styles of music videos
This document discusses different types and styles of music videos. There are three main types: narrative-based videos that tell a story related to the song's lyrics, performance-based videos that primarily feature the artist(s) performing, and concept-based videos that are based on a particular theme or concept. Some common styles discussed are animation, interpretive, impressionist, intertextual, surrealist, and allusion. Examples are provided for each type and style.
Types and styles of music videos
This document discusses different types and styles of music videos. There are three main types: narrative-based videos that tell a story related to the song's lyrics, performance-based videos that primarily feature the artist(s) performing, and concept-based videos that are based on a particular theme or concept. Some common styles discussed are animation, interpretive, impressionist, intertextual, surrealist, and allusion. Examples are provided for each type and style.
Types and styles of music videos
This document discusses different types and styles of music videos. There are three main types: narrative videos that tell a story related to the song's lyrics, performance videos that primarily feature the artist singing and dancing, and concept videos based on a specific theme. Some common styles are animation, where the video uses cartoons, and interpretive, impressionist, intertextual, surrealist, and allusion styles that use abstract visuals open to audience interpretation. Examples are provided for each type and style.
Types and styles of music videos
This document discusses different types and styles of music videos. There are three main types: narrative-based videos that tell a story related to the song's lyrics, performance-based videos that primarily feature the artist(s) performing, and concept-based videos that are based on a particular theme or concept. Some common styles discussed are animation, interpretive, impressionist, intertextual, surrealist, and allusion. Examples are provided for each type and style.
Andrew Goodwin’s Theory
1. Andrew Goodwin identified 5 key aspects of music videos that audiences should look for: thought beats, narrative and performance, the star image, the relation of visuals to song, and technical aspects.
2. Goodwin recognized that there is often a relationship between the music video's visuals and the song's lyrics, either illustrating, amplifying, or contradicting them. Visuals are also commonly edited to the song's beats or changes in pace.
3. Different music genres have distinguishing styles and icons used in their music videos to represent the genre, and artists often repeat trademark actions to make their songs recognizable.
Music video analysis
The music video for HAIM's "Finally" features the three sisters performing in a forest setting with a hazy, vintage filter. It includes many close-ups of the lead singer and has no narrative, instead focusing solely on their performance. While there is no direct relationship between the lyrics, music, and natural visuals, the slow editing and shot transitions match the slow pace of the song. HAIM's music videos are known for their consistent hazy filter and vintage clothing styles.
Katy Perry's "Rise" depicts her overcoming challenges represented through lyrics and imagery, such as "circling vultures" and rising into the air. The upbeat pop song is reflected in the bright colors, lighting
A2 media goodwin analysis
The document discusses different types of music videos and their characteristics. It outlines that music videos typically link lyrics and visuals, as well as music and visuals. Genre characteristics, intertextual references, and notions of looking are also associated with music videos. The document further discusses narrative, performance, and concept-based music videos, as well as demands that may be placed on artists by record labels.
Types and Styles of music videos
This document summarizes different types and styles of music videos. It discusses three main types: narrative based videos that tell a story related to the song's lyrics, performance based videos that primarily feature the artist singing and dancing, and concept based videos that are based on a particular theme. It then describes various styles of music videos including animated, interpretive, impressionist, using intertextuality, surrealist, and allusion. Examples are provided for each type and style.
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 and laura mulvey music video theories
The document discusses Andrew Goodwin's theories on music video conventions and Laura Mulvey's concept of the male gaze. Goodwin identified six common conventions in music videos: 1) relationships between lyrics and visuals, 2) synchronization of music and visuals, 3) iconography of recurring motifs, 4) close-ups of artists, 5) voyeuristic treatment of female bodies, and 6) intertextual references. The document provides examples for each convention. It also summarizes Laura Mulvey's male gaze theory, which proposes that women are treated as objects for the viewer's visual pleasure through the perspective of the heterosexual male gaze.
Andrew Goodwin's Theory
The document discusses Andrew Goodwin's 6 features of music videos and analyzes how the music video for "Glad You Came" by The Wanted illustrates these features, such as showing relationships between the lyrics and visuals through scenes that match what is being sung and having visuals and editing that amplify the tone of the music. The video also demonstrates genre characteristics of a typical boy band through shots of the group and close-ups of individual members, as well as some treatment of women that promotes voyeurism. Intertextual references in the opening credits help establish the band's brand identity across their videos.
Music video theories
This document summarizes several theories about analyzing music videos:
- Goodwin's theory identifies 6 key aspects to analyze like the relationship between lyrics and visuals, music and visuals, genre style, star image, voyeurism, and intertextual references.
- Mulvey's male gaze theory argues that many music videos depict women as objects of pleasure from a masculine perspective for the audience to view.
- Relationships between lyrics, music, and visuals can illustrate, amplify, or contradict each other to promote the song in different ways. Genre conventions and an artist's image are also important visual elements to consider.
Music Video Analysis
Goodwin's music video theory states that each genre has characteristics that define it. Grimes' "Kill V. Maim" demonstrates synthpop genre characteristics like a narrative-based storyline, bright colors, and fast editing. The lyrics and visuals illustrate Grimes wreaking havoc as a genderbending vampire. There are many close-ups of Grimes, developing her motif of angelic figures. The video references films, TV, and other media through costumes, settings, and intertitles. Melanie Martinez's "Pity Party" also shows its alternative pop genre through a narrative, artistic style, and focus on the artist's appearance. The lyrics and visuals follow Cry Baby's insanity at her lonely
Music theory
Andrew Goodwin identified 5 key aspects that audiences look for in music videos: 1) Thought Beats which show the structure of the song, 2) Narrative and performance which switches between the story and the artist singing, 3) The star and image how the artist presents themselves, 4) Relation of visuals to the song how the video illustrates the lyrics, and 5) Technical aspects like camerawork, editing, and effects that hold the video together. Goodwin explained that music videos should use narrative to promote the song and keep audiences interested by switching between performance and story. An artist's image may also change over time as their style and music changes.
Analysis of twenty one pilots' Stressed Out
The music video for "Stressed Out" by twenty one pilots uses handheld camera work and static shots to create a sense of realism for the audience. It features settings like bedrooms and residential areas that are relatable to the audience and portray the nostalgia in the song's lyrics. The video also introduces the character of "Blurryface" and has a muted color scheme with an emphasis on red. The band's movements sync with the song and the video theme explores nostalgia and childhood to relate to the lyrics. Both band members are prominently featured conforming to genre conventions but in a way that is relatable to audiences.
Andrew goodwin’s presentation final 1
This document summarizes Andrew Goodwin's theories about music video conventions and techniques. It discusses common elements in music videos like genre characteristics, narrative/performance, intertextual references, and relationships between lyrics/music and visuals. Techniques covered include illustration, amplification, and disjuncture. It also addresses the star image, iconology, notions of looking/voyeurism, genre characteristics, and the role of record labels. The document provides many examples to illustrate Goodwin's points about how music videos are typically constructed and aim to promote the artist.
Conventions of music video
Genre conventions, lyrics, visuals, music, and voyeurism are common elements used in music videos. Record labels also influence music video content by demanding close-ups of artists and sexualization of women to appeal to audiences. Music videos now commonly use intertextuality by referencing other media texts. Common music video styles include performance, narrative, and concept-based approaches.
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Analysis of bands/artists
This document analyzes images of different artists and bands to identify their musical genres based on visual cues. It discusses Beyoncé's image representing the R&B genre through her seductive pose, clothing, lighting, and asymmetric positioning. The 1975's black and white effect, relaxed posture, and edgy clothing in their image emphasizes the alternative rock genre. One Direction's bright colors, high key lighting, and symmetrical positioning shows their pop genre. Carrie Underwood holding a flower with blurred natural backgrounds identifies her country genre. Lady Gaga's high key lighting, monochrome edgy style, and face paint emphasizes her electro-pop genre which blends electric music and pop.
Kings of leon video analysis
This document provides an analysis of the Kings of Leon music video for "Sex on Fire" using various music video and film theories:
1) The video demonstrates characteristics of the indie/alternative genre through its low-budget production, the band's ragged appearance, and lyrics about sex, drugs and alcohol.
2) While the lyrics are understandable, the visuals are disjunctured and don't relate to the lyrics, showing one band member eating chicken for no reason.
3) The sad music matches the sad lyrics and visuals that fade in and out with the beat.
4) There are many close-ups of the band, especially the singer, to build recognition for future releases.
Andrew Goodwin's Theory
Andrew Goodwin's theory suggests that a music video's genre characteristics, lyrics, and visuals are linked. Characteristics seen in a hip hop video may include depictions of wealth, drugs, and exploitation of women, whereas a metal video may show band members performing on stage. Goodwin also proposed that a video's visuals can be illustrative of song lyrics, amplify meanings beyond the lyrics, or contradict the lyrics entirely. Frequently, music videos employ voyeurism through props like mirrors and binoculars to sell the artist through sex appeal. An artist's label may demand certain visual styles, like close-ups, that then recur across their work.
Types and styles of music videos
This document discusses different types and styles of music videos. There are three main types: narrative-based videos that tell a story related to the song's lyrics, performance-based videos that primarily feature the artist(s) performing, and concept-based videos that are based on a particular theme or concept. Some common styles discussed are animation, interpretive, impressionist, intertextual, surrealist, and allusion. Examples are provided for each type and style.
Types and styles of music videos
This document discusses different types and styles of music videos. There are three main types: narrative-based videos that tell a story related to the song's lyrics, performance-based videos that primarily feature the artist(s) performing, and concept-based videos that are based on a particular theme or concept. Some common styles discussed are animation, interpretive, impressionist, intertextual, surrealist, and allusion. Examples are provided for each type and style.
Types and styles of music videos
This document discusses different types and styles of music videos. There are three main types: narrative videos that tell a story related to the song's lyrics, performance videos that primarily feature the artist singing and dancing, and concept videos based on a specific theme. Some common styles are animation, where the video uses cartoons, and interpretive, impressionist, intertextual, surrealist, and allusion styles that use abstract visuals open to audience interpretation. Examples are provided for each type and style.
Types and styles of music videos
This document discusses different types and styles of music videos. There are three main types: narrative-based videos that tell a story related to the song's lyrics, performance-based videos that primarily feature the artist(s) performing, and concept-based videos that are based on a particular theme or concept. Some common styles discussed are animation, interpretive, impressionist, intertextual, surrealist, and allusion. Examples are provided for each type and style.
Andrew Goodwin’s Theory
1. Andrew Goodwin identified 5 key aspects of music videos that audiences should look for: thought beats, narrative and performance, the star image, the relation of visuals to song, and technical aspects.
2. Goodwin recognized that there is often a relationship between the music video's visuals and the song's lyrics, either illustrating, amplifying, or contradicting them. Visuals are also commonly edited to the song's beats or changes in pace.
3. Different music genres have distinguishing styles and icons used in their music videos to represent the genre, and artists often repeat trademark actions to make their songs recognizable.
Music video analysis
The music video for HAIM's "Finally" features the three sisters performing in a forest setting with a hazy, vintage filter. It includes many close-ups of the lead singer and has no narrative, instead focusing solely on their performance. While there is no direct relationship between the lyrics, music, and natural visuals, the slow editing and shot transitions match the slow pace of the song. HAIM's music videos are known for their consistent hazy filter and vintage clothing styles.
Katy Perry's "Rise" depicts her overcoming challenges represented through lyrics and imagery, such as "circling vultures" and rising into the air. The upbeat pop song is reflected in the bright colors, lighting
A2 media goodwin analysis
The document discusses different types of music videos and their characteristics. It outlines that music videos typically link lyrics and visuals, as well as music and visuals. Genre characteristics, intertextual references, and notions of looking are also associated with music videos. The document further discusses narrative, performance, and concept-based music videos, as well as demands that may be placed on artists by record labels.
Types and Styles of music videos
This document summarizes different types and styles of music videos. It discusses three main types: narrative based videos that tell a story related to the song's lyrics, performance based videos that primarily feature the artist singing and dancing, and concept based videos that are based on a particular theme. It then describes various styles of music videos including animated, interpretive, impressionist, using intertextuality, surrealist, and allusion. Examples are provided for each type and style.
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 and laura mulvey music video theories
The document discusses Andrew Goodwin's theories on music video conventions and Laura Mulvey's concept of the male gaze. Goodwin identified six common conventions in music videos: 1) relationships between lyrics and visuals, 2) synchronization of music and visuals, 3) iconography of recurring motifs, 4) close-ups of artists, 5) voyeuristic treatment of female bodies, and 6) intertextual references. The document provides examples for each convention. It also summarizes Laura Mulvey's male gaze theory, which proposes that women are treated as objects for the viewer's visual pleasure through the perspective of the heterosexual male gaze.
Andrew Goodwin's Theory
The document discusses Andrew Goodwin's 6 features of music videos and analyzes how the music video for "Glad You Came" by The Wanted illustrates these features, such as showing relationships between the lyrics and visuals through scenes that match what is being sung and having visuals and editing that amplify the tone of the music. The video also demonstrates genre characteristics of a typical boy band through shots of the group and close-ups of individual members, as well as some treatment of women that promotes voyeurism. Intertextual references in the opening credits help establish the band's brand identity across their videos.
Music video theories
This document summarizes several theories about analyzing music videos:
- Goodwin's theory identifies 6 key aspects to analyze like the relationship between lyrics and visuals, music and visuals, genre style, star image, voyeurism, and intertextual references.
- Mulvey's male gaze theory argues that many music videos depict women as objects of pleasure from a masculine perspective for the audience to view.
- Relationships between lyrics, music, and visuals can illustrate, amplify, or contradict each other to promote the song in different ways. Genre conventions and an artist's image are also important visual elements to consider.
Music Video Analysis
Goodwin's music video theory states that each genre has characteristics that define it. Grimes' "Kill V. Maim" demonstrates synthpop genre characteristics like a narrative-based storyline, bright colors, and fast editing. The lyrics and visuals illustrate Grimes wreaking havoc as a genderbending vampire. There are many close-ups of Grimes, developing her motif of angelic figures. The video references films, TV, and other media through costumes, settings, and intertitles. Melanie Martinez's "Pity Party" also shows its alternative pop genre through a narrative, artistic style, and focus on the artist's appearance. The lyrics and visuals follow Cry Baby's insanity at her lonely
Music theory
Andrew Goodwin identified 5 key aspects that audiences look for in music videos: 1) Thought Beats which show the structure of the song, 2) Narrative and performance which switches between the story and the artist singing, 3) The star and image how the artist presents themselves, 4) Relation of visuals to the song how the video illustrates the lyrics, and 5) Technical aspects like camerawork, editing, and effects that hold the video together. Goodwin explained that music videos should use narrative to promote the song and keep audiences interested by switching between performance and story. An artist's image may also change over time as their style and music changes.
Analysis of twenty one pilots' Stressed Out
The music video for "Stressed Out" by twenty one pilots uses handheld camera work and static shots to create a sense of realism for the audience. It features settings like bedrooms and residential areas that are relatable to the audience and portray the nostalgia in the song's lyrics. The video also introduces the character of "Blurryface" and has a muted color scheme with an emphasis on red. The band's movements sync with the song and the video theme explores nostalgia and childhood to relate to the lyrics. Both band members are prominently featured conforming to genre conventions but in a way that is relatable to audiences.
Andrew goodwin’s presentation final 1
This document summarizes Andrew Goodwin's theories about music video conventions and techniques. It discusses common elements in music videos like genre characteristics, narrative/performance, intertextual references, and relationships between lyrics/music and visuals. Techniques covered include illustration, amplification, and disjuncture. It also addresses the star image, iconology, notions of looking/voyeurism, genre characteristics, and the role of record labels. The document provides many examples to illustrate Goodwin's points about how music videos are typically constructed and aim to promote the artist.
Conventions of music video
Genre conventions, lyrics, visuals, music, and voyeurism are common elements used in music videos. Record labels also influence music video content by demanding close-ups of artists and sexualization of women to appeal to audiences. Music videos now commonly use intertextuality by referencing other media texts. Common music video styles include performance, narrative, and concept-based approaches.
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Andrew goodwin and laura mulvey music video theories
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Andrew goodwin theory
This document summarizes Andrew Goodwin's framework for analyzing music videos. It identifies six key aspects: 1) Relationship between lyrics and visuals, 2) Relationship between music and visuals, 3) Demonstration of genre characteristics, 4) Close ups and motifs of the artist, 5) Reference to voyeurism, and 6) Intertextual references. Each aspect is then further explained with examples relating to how the visual components of music videos can illustrate, amplify, or disjuncture from the song's meaning.
Andrew goodwin theory
This document summarizes Andrew Goodwin's theoretical framework for analyzing music videos. It identifies six key aspects: 1) The relationship between lyrics and visuals, 2) The relationship between music and visuals, 3) Demonstration of genre characteristics, 4) Close ups and motifs of the artist, 5) References to voyeurism, and 6) Intertextual references. It then applies this framework to analyze the music video for "Naive" by The Kooks, examining how the video illustrates the lyrics, amplifies the meaning of the song through visuals, incorporates genre-typical elements like the lead singer as protagonist, uses close ups and traveling shots as motifs, references voyeurism through shots of the
Music Video Analysis
The document provides an overview of Andrew Goodwin's theory on characteristics found in music videos. It lists 7 main points: 1) Music videos demonstrate genre characteristics, 2) There is a relationship between lyrics and visuals where lyrics are represented through images, 3) The relationship between music and visuals where the visual tone reflects the music, 4) Record labels demand close ups of artists and artists develop recurring motifs, 5) Frequent references to looking through screens and mirrors and voyeuristic treatment of female bodies, 6) Artists develop recurring motifs that establish their visual style, 7) Intertextual references to other media like films and other music videos.
Music video analysis
The document provides an overview of Andrew Goodwin's theory on characteristics commonly found in music videos. It lists 7 key points: 1) Music videos demonstrate genre characteristics, 2) There is a relationship between lyrics and visuals, with lyrics typically being represented illustratively, amplifyingly, or contradictingly through images, 3) The tone and atmosphere of visuals typically reflects that of the music illustratively, amplifyingly, or contradictingly, 4) Record labels demand close-ups of artists, and artists may develop recurring visual motifs, 5) Videos frequently reference notions of looking and may treat the female body voyeuristically, 6) Artists often develop recurring visual motifs, and 7) Videos sometimes include intertextual references to
Andrew goodwin’s 6 features of music videos
The document discusses three key steps in developing a music video to accompany a song: [1] thinking about the song structure, voice, and storytelling; [2] using visuals to illustrate, amplify, or create disjuncture from the lyrics; and [3] establishing a consistent style or "star image" through elements like location, clothing, and close-ups of the artist. It provides examples to illustrate how music video conventions vary across genres and can allude to other media.
Goodwin theory
1. Music videos demonstrate genre characteristics through elements like stage performances in metal videos, dance routines in hip hop videos, and aspirations portrayed in hip hop videos.
2. The relationship between lyrics and visuals can be illustrative, amplifying, or contradictory. Illustrative visuals simply demonstrate the lyrics, while amplifying visuals enhance the lyrics and contradictory visuals are random compared to the lyrics.
3. Many music videos contain intertextual references to other music videos, films, and TV shows through clips or stylistic influences.
Question 1: In what ways does your music video/digipak/magazine advert, use d...
The document discusses the creation of a music video, digipak, and magazine advertisement for a hybrid R&B and pop song. It analyzes the works using theories from scholars on music video conventions. The project aims to incorporate representations from both genres effectively. Key influences included using neutral colors and plain settings from R&B, with bold colors and a focus on the artist from pop. The video tells a narrative of the artist expressing feelings over a lost love through flashbacks. The other works continue this theme. Analysis finds the project illustrates lyrics, uses performance and conceptual elements, and promotes the artist's image in line with music video conventions.
Music video genres
1) The document discusses different genres of music videos including performance, narrative, humour/parody, surreal, interpretative/impressionist, and animation.
2) It provides examples of each genre using specific music videos and analyzes them through Goodwin's music video theory, looking at the relationship between the music and visuals.
3) Goodwin's theory examines whether the music and visuals are complementary, contradictory, or amplifying, and how each genre engages with different elements of the theory.
Andrew Goodwin music video theory
The document summarizes Andrew Goodwin's theory of music video analysis. According to the theory, there are several elements to consider when analyzing a music video: the relationship between lyrics and visuals, the music structure and beat, the narrative and performance, the star image, genre characteristics, and intertextual references. These elements are illustrated using the example of Suicide Silence music videos. The theory helps explain how music videos appeal to audiences and target specific genres by incorporating typical visual conventions, narratives, and references.
Goodwin theory
Goodwin's Theory proposes 8 principles for analyzing music videos: 1) Links between lyrics and visuals to reinforce the song's meaning, 2) Links between music and visuals to match the genre and tempo, and 3) Genre characteristics like close-ups for pop videos and narratives for indie rock. Examples like Amy Winehouse's "You Know I'm No Good" and Michael Jackson's "Thriller" illustrate these principles. The theory also covers intertextual references, portrayals of gender, voyeurism of an artist's lifestyle, record label demands, and whether a video focuses on performance, narrative, or concept. Applying Goodwin's Theory can help create music videos that effectively connect with audiences.
Goodwin theory
Goodwin's Theory proposes 8 principles for analyzing music videos: 1) Links between lyrics and visuals to reinforce the song's meaning, 2) Links between music and visuals to match the genre and tempo, and 3) Genre characteristics like close-ups for pop videos and narratives for indie rock. Examples like Amy Winehouse's "You Know I'm No Good" and Michael Jackson's "Thriller" illustrate these principles. The theory also covers intertextual references, portrayals of gender, voyeurism of an artist's lifestyle, record label demands, and whether a video focuses on performance, narrative, or concept. Applying Goodwin's Theory can help create music videos that effectively connect with audiences.
Q1 In what ways does your media product use, develop or challenge forms and c...
1) A music video is meant to promote the artist through visual representations that connect to the song lyrics and showcase the artist. It aims to excite audiences and help build a fan base.
2) Successful music videos, like Michael Jackson's "Thriller" and PSY's "Gangnam Style" clearly show the artist and engage broad audiences through their visuals and dances.
3) Music video conventions theorized by Carol Vernallis, Andrew Goodwin, and Laura Mulvey emphasize editing techniques, linking genres to visuals, and challenging perspectives on the "male gaze."
Andrew goodwin
This document outlines Andrew Goodwin's 6 key features of music videos: 1) Genre characteristics, 2) Relationship between lyrics and visuals, 3) Relationship between music and visuals, 4) Close ups of artists, 5) References to looking/voyeurism, and 6) Intertextuality. Examples are provided for each feature, such as a metal band video exemplifying genre characteristics through clothing, instruments and setting. The document aims to identify common conventions in music videos that can help in their production.
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.
Reflection: Questions about theory/narrative
This document discusses different types of music videos and how their structure relates to genre. It finds that narrative-based music videos are now more prominent due to advanced technology allowing for special effects and mini-film storylines. Performance-based videos showing just the artist were more common historically. Genre influences video type based on an emphasis on instruments versus lyrics. For example, rock videos often feature performances while electronic videos use concepts due to minimal meaning in the music. Goodwin's music video theory is also analyzed for the conventions it explores and how genres like pop and R&B most prominently demonstrate notions of looking and voyeurism.
Music video analyse feedback
The music video is primarily performance based with some narrative elements. It begins by introducing each band member through medium shots that establish their instruments. Throughout, there are shots of the full band performing that demonstrate the genre's performance characteristics. Some narrative is provided by cuts between shots of transportation that relate to the lyrics about wanting to "get away from here." Overall, the video focuses on the band's performance to showcase their music.
Andrew goodwin and laura mulvey
The document discusses music video theory proposed by Andrew Goodwin and Laura Mulvey. Goodwin identifies several conventions of music videos, including demonstrating genre characteristics, relating lyrics and visuals, relating music and visuals, and addressing record label demands. Mulvey proposes the theory of the male gaze, where the audience perspective is that of a heterosexual man focusing on a woman's body, reducing her to a sexual object. Music videos often employ techniques like camera movements and slow motion to highlight a woman's physical appearance from the male gaze perspective.
Goodwin’s Theory
This document summarizes Andrew Goodwin's theory on music video analysis from his 1992 book "Dancing in the Distraction Factory". It outlines 6 key ideas from Goodwin's theory: 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 influence visual elements 5) Music videos often feature voyeuristic treatment of the female body 6) Music videos frequently reference other media through intertextuality. The document then provides examples to illustrate each point.
Music video theories
The document discusses Richard Dyer's theory on pop stars from 1979. Dyer states that stars are representations that can reinforce or occasionally alter prevalent conceptions of what it means to be human in society. On one hand, society stresses similarities among social groups, but also suggests norms for each group. Stars influence conceptions of such people.
Q1 In what ways does your media product use, develop or challenge forms and c...
1. A music video is a visual representation of a song that is used to promote the artist. It should relate to the lyrics and feature close-ups of the artist to excite audiences and help build a fan base.
2. Successful music videos, like Michael Jackson's "Thriller" and PSY's "Gangnam Style" clearly show the artist and engage broad audiences through their visuals and dances.
3. There are several theories about conventions in music videos, including using edits like jump cuts (Carol Vernallis), linking the video to the genre of the music (Andrew Goodwin), and challenging perspectives like only showing the female artist fully clothed (Laura Mulvey). Anc
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Young Tom Selleck: A Journey Through His Early Years and Rise to Stardom
Introduction
When one thinks of Hollywood legends, Tom Selleck is a name that comes to mind. Known for his charming smile, rugged good looks. and the iconic mustache that has become synonymous with his persona. Tom Selleck has had a prolific career spanning decades. But, the journey of young Tom Selleck, from his early years to becoming a household name. is a story filled with determination, talent, and a touch of luck. This article delves into young Tom Selleck's life, background, early struggles. and pivotal moments that led to his rise in Hollywood.
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Early Life and Background
Family Roots and Childhood
Thomas William Selleck was born in Detroit, Michigan, on January 29, 1945. He was the second of four children in a close-knit family. His father, Robert Dean Selleck, was a real estate investor and executive. while his mother, Martha Selleck, was a homemaker. The Selleck family relocated to Sherman Oaks, California. when Tom was a child, setting the stage for his future in the entertainment industry.
Education and Early Interests
Growing up, young Tom Selleck was an active and athletic child. He attended Grant High School in Van Nuys, California. where he excelled in sports, particularly basketball. His tall and athletic build made him a standout player, and he earned a basketball scholarship to the University of Southern California (U.S.C.). While at U.S.C., Selleck studied business administration. but his interests shifted toward acting.
Discovery of Acting Passion
Tom Selleck's journey into acting was serendipitous. During his time at U.S.C., a drama coach encouraged him to try acting. This nudge led him to join the Hills Playhouse, where he began honing his craft. Transitioning from an aspiring athlete to an actor took time. but young Tom Selleck became drawn to the performance world.
Early Career Struggles
Breaking Into the Industry
The path to stardom was a challenging one for young Tom Selleck. Like many aspiring actors, he faced many rejections and struggled to find steady work. A series of minor roles and guest appearances on television shows marked his early career. In 1965, he debuted on the syndicated show "The Dating Game." which gave him some exposure but did not lead to immediate success.
The Commercial Breakthrough
During the late 1960s and early 1970s, Selleck began appearing in television commercials. His rugged good looks and charismatic presence made him a popular brand choice. He starred in advertisements for Pepsi-Cola, Revlon, and Close-Up toothpaste. These commercials provided financial stability and helped him gain visibility in the industry.
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Despite his success in commercials. breaking into large acting roles remained a challenge for young Tom Selleck. He auditioned and took on small parts in T.V. shows and movies. Some of his early television appearances included roles in popular series like Lancer, The F.B.I., and Bracken's World. But, it would take a
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The Unbelievable Tale of Dwayne Johnson Kidnapping: A Riveting Saga
Introduction
The notion of Dwayne Johnson kidnapping seems straight out of a Hollywood thriller. Dwayne "The Rock" Johnson, known for his larger-than-life persona, immense popularity. and action-packed filmography, is the last person anyone would envision being a victim of kidnapping. Yet, the bizarre and riveting tale of such an incident, filled with twists and turns. has captured the imagination of many. In this article, we delve into the intricate details of this astonishing event. exploring every aspect, from the dramatic rescue operation to the aftermath and the lessons learned.
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The Origins of the Dwayne Johnson Kidnapping Saga
Dwayne Johnson: A Brief Background
Before discussing the specifics of the kidnapping. it is crucial to understand who Dwayne Johnson is and why his kidnapping would be so significant. Born May 2, 1972, Dwayne Douglas Johnson is an American actor, producer, businessman. and former professional wrestler. Known by his ring name, "The Rock," he gained fame in the World Wrestling Federation (WWF, now WWE) before transitioning to a successful career in Hollywood.
Johnson's filmography includes blockbuster hits such as "The Fast and the Furious" series, "Jumanji," "Moana," and "San Andreas." His charismatic personality, impressive physique. and action-star status have made him a beloved figure worldwide. Thus, the news of his kidnapping would send shockwaves across the globe.
Setting the Scene: The Day of the Kidnapping
The incident of Dwayne Johnson's kidnapping began on an ordinary day. Johnson was filming his latest high-octane action film set to break box office records. The location was a remote yet scenic area. chosen for its rugged terrain and breathtaking vistas. perfect for the film's climactic scenes.
But, beneath the veneer of normalcy, a sinister plot was unfolding. Unbeknownst to Johnson and his team, a group of criminals had planned his abduction. hoping to leverage his celebrity status for a hefty ransom. The stage was set for an event that would soon dominate worldwide headlines and social media feeds.
The Abduction: Unfolding the Dwayne Johnson Kidnapping
The Moment of Capture
On the day of the kidnapping, everything seemed to be proceeding as usual on set. Johnson and his co-stars and crew were engrossed in shooting a particularly demanding scene. As the day wore on, the production team took a short break. providing the kidnappers with the perfect opportunity to strike.
The abduction was executed with military precision. A group of masked men, armed and organized, infiltrated the set. They created chaos, taking advantage of the confusion to isolate Johnson. Johnson was outnumbered and caught off guard despite his formidable strength and fighting skills. The kidnappers overpowered him, bundled him into a waiting vehicle. and sped away, leaving everyone on set in a state of shock and disbelief.
The Immediate Aftermath
The immediate aftermath of the Dwayne Johnson kidnappin
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留信网认证的作用:
1:该专业认证可证明留学生真实身份
2:同时对留学生所学专业登记给予评定
3:国家专业人才认证中心颁发入库证书
4:这个认证书并且可以归档倒地方
5:凡事获得留信网入网的信息将会逐步更新到个人身份内，将在公安局网内查询个人身份证信息后，同步读取人才网入库信息
6:个人职称评审加20分
7:个人信誉贷款加10分
8:在国家人才网主办的国家网络招聘大会中纳入资料，供国家高端企业选择人才
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Introduction
In the realm of entertainment, few names resonate as Orpah Winfrey Dwayne Johnson. Both figures have carved unique paths in the industry. achieving unparalleled success and becoming iconic symbols of perseverance, resilience, and inspiration. This article delves into the lives, careers. and enduring legacies of Orpah Winfrey Dwayne Johnson. exploring how their journeys intersect and what we can learn from their remarkable stories.
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Early Life and Backgrounds
Orpah Winfrey: From Humble Beginnings to Media Mogul
Orpah Winfrey, often known as Oprah due to a misspelling on her birth certificate. was born on January 29, 1954, in Kosciusko, Mississippi. Raised in poverty by her grandmother, Winfrey's early life was marked by hardship and adversity. Despite these challenges. she demonstrated a keen intellect and an early talent for public speaking.
Winfrey's journey to success began with a scholarship to Tennessee State University. where she studied communication. Her first job in media was as a co-anchor for the local evening news in Nashville. This role paved the way for her eventual transition to talk show hosting. where she found her true calling.
Dwayne Johnson: From Wrestling Royalty to Hollywood Superstar
Dwayne Johnson, also known by his ring name "The Rock," was born on May 2, 1972, in Hayward, California. He comes from a family of professional wrestlers, with both his father, Rocky Johnson. and his grandfather, Peter Maivia, being notable figures in the wrestling world. Johnson's early life was spent moving between New Zealand and the United States. experiencing a variety of cultural influences.
Before entering the world of professional wrestling. Johnson had aspirations of becoming a professional football player. He played college football at the University of Miami. where he was part of a national championship team. But, injuries curtailed his football career, leading him to follow in his family's footsteps and enter the wrestling ring.
Career Milestones
Orpah Winfrey: The Queen of All Media
Winfrey's career breakthrough came in 1986 when she launched "The Oprah Winfrey Show." The show became a cultural phenomenon. drawing millions of viewers daily and earning many awards. Winfrey's empathetic and candid interviewing style resonated with audiences. helping her tackle diverse and often challenging topics.
Beyond her talk show, Winfrey expanded her empire to include the creation of Harpo Productions. a multimedia production company. She also launched "O, The Oprah Magazine" and OWN: Oprah Winfrey Network, further solidifying her status as a media mogul.
Dwayne Johnson: From The Ring to The Big Screen
Dwayne Johnson's wrestling career took off in the late 1990s. when he became one of the most charismatic and popular figures in WWE. His larger-than-life persona and catchphrases endeared him to fans. making him a household name. But, Johnson had ambitions beyond the wrestling ring.
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Goodwins theory
- 2. Goodwin‟s theory: The key features of a music Genre Characteristics Relationship between music and visuals Notion of looking Performance, Narrative or video… Concept-based?
- 3. Genre Characteristics Music videos often reflect their genre through the demonstration within the videos using specific characteristics, kind of like a stereotype. (A typical girl band would include a dance routine). For example: Girls Aloud – Promise this.
- 4. Relationship between lyrics and visuals The meaning of this one is quite obvious… a connection is shown through the visuals relating to the lyrics. Either being Illstrative: explaining the lyrics visually, amplifying: exaggeration of the lyrics linking to the video – therefore making sense and also contradicting: being the opposite, not such a strong relationship. An example of this is in Justin Beiber – Boyfriend video. The picture relating specifically to the lyric “I got money in my hands that I‟d really like to blow” because he is looks like he has “money to blow” showing wealthy aspects like the shiny car, blingjewellery and sunglasses
- 5. Relationship between music and visuals Again this simply means that the visuals show a connection to the actual music. These are also either illustrative, amplifying or contradicting. A music video that I thought showed this feature was Lawson – When she was mine. This is because a majority of the video shows the band, main singer, guitarist‟s and drummer: which reflects the upbeat instrumental music.
- 6. Star image motifs The music videos will need to include many close-up shots of the artist, demanded by the record labels, then the artists may develop motifs, these will recur across there work. An artist that came to mind when thinking about this was Lady Gaga because throughout her career she has built up a crazy reoccurring image. These images I have collected are from three of her popular music videos, including: Born this way, Poker face and Bad romance. They all reflect her strange, unique to say the least and weird costumes/visuals.
- 7. Notion of looking There are a few meanings by this heading, firstly is „screens within screens‟ Many music videos include televisions, mobile phones etc. Like the one I have chosen: Ne-Yo – Because of you (Right). The other meaning would be particularly voyeuristic treatment of the female body – women that are seen as a sexual object. There are a huge amount of music videos that could fit into this section nowadays. E.g. Rihanna – We found love music video has a lot of sexual references and also shows her quite exposed.
- 8. Intertexual references In many music videos you will find there are often links to other films, TV programmes or other music videos etc, this is called an intertextual reference. Madonna (ft. NickiMinaj and M.I.A) – Gimme all your luvin‟ shows intertexual reference to Marilyn Monroe: By all three of the artists dressed up in a white dress with a curly, blonde, short and classy wig, red lips and also her beauty spot.
- 9. Performance, Narrative or Concept-based? Performance-based means the focus is solidly on the artist/band. E.g. Beyonce – Single ladies, where the focus is on her body, this can be done because she is popular and already has her fan base built-up, also shows female empowerment. Narrative-based means that it has a story attached related to the lyrics of the song. Artic Monkeys – When the sun goes down shows elements that would fit into this section e.g. “So that she had to roam the streets” with the image (to the right) where she looks homeless, scruffy, roaming streets. Finally concept based is usually single concept – obscure/surreal for the audience, more than likely including special effects. The Prodidgy – Warriors dance video shows no relationship with the lyrics or music therefore is random, different and concept-based.