Media analysis 2
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This document analyzes and summarizes the conventions used in an indie music video. It discusses how the video follows a narrative of an American high school prom. Many of the song's lyrics about being sad correlate with the actions on screen, such as teenagers being rejected. The video can be considered illustrative as the lyrics are linked to the on-screen actions and the music is part of the video's world. It also features the band in both a performance and narrative role.
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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.
Analysis of The 1975's Robbers
The 1975 - Robbers music video uses handheld camera shots and natural lighting to give it a realistic, indie rock style. It features the lead singer Matt Healy with a female protagonist in various outdoor settings as their relationship becomes increasingly reckless. While the narrative gets dramatic, the slow editing and pace suits the slow song. The video emphasizes Healy's star image as the frontman through its focus on him, but also appeals to a wider audience with its inclusion of a romantic narrative.
Analysis of Panic! At The Disco's Nine In The Afternoon
The video for "Nine in the Afternoon" by Panic! At the Disco features each band member waking up in a differently colored bedroom before entering unrelated settings, such as being ambushed by women in old dresses. Though the video's events don't relate to the lyrics, clocks are set to 9 AM and it remains daytime, referencing the song's title. The video has a disjunctive, bizarre style that sells the album's unconventional title and reflects the upbeat, energetic music through happy imagery like a Beatles-inspired parade.
Initial Music Video Research
Initial research into music videos found they serve three main purposes: to promote artists and albums, create star images, and add meaning to songs. Andrew Goodwin's theory identified three types of music videos: illustrative videos that give meaning to lyrics through narrative and images, amplification videos that exaggerate lyrics and are repetitive, and disjunctive videos that ignore the song's meaning. Goodwin's theory also examines the relationship between lyrics and visuals, music and visuals, and how music videos reference other media and emphasize artists through close-ups.
Applying Andrew Goodwin’s theory
This document analyzes Shinedown's music video for "Bully" using Andrew Goodwin's six key features of music videos. It finds that the video amplifies the lyrics through editing and visuals depicting bullying. Scenes illustrate specific lyrics of being hung and pushed to the dirt. The music and visuals are edited to amplify each other. Close-up shots of the lead singer engage the audience but also convey fear and hurt relating to the anti-bullying theme. The video lacks voyeurism and intertextual references, which is common for rock music videos.
Music Video Analysis
The document analyzes a music video based on 5 criteria:
1) The relationship between the beats of the song and the structure of the music video. While the visuals tell a different love story than the lyrics.
2) The narrative and performance of the artists in the video. The story is not fully explained and requires interpretation from the audience.
3) How the main artist serves as the "star" through lip syncing and being part of the love story, while the group of artists tell the overall narrative.
4) The visuals illustrate the indie rock genre through images of playing guitar and being in black and white, and amplify through repeated shots while not ignoring the key meanings of the song
Music video analysis
The music video for All-American Rejects' "Dirty Little Secret" combines performance and concept elements. It focuses on close-ups of the band playing alongside cards held by people revealing their darkest secrets, directly linking the lyrics to the visuals. The dark clothing and lighting also symbolize the song's lyrics. The video primarily features the band's energetic live performance in a dark room, consistent with expectations of the rock genre.
Music video analysis
The document analyzes a music video based on 5 criteria:
1. The relationship between the beats of the song and the structure of the music video. While the visuals tell a different love story than the lyrics.
2. The narrative and performance of the artists in the video. The story is not fully explained and requires interpretation from the audience.
3. How the artists are presented as the "stars" of the video, with one doing most of the lip syncing to tell the love story.
4. The relationship of the visuals to the genre of indie rock, through elements like black and white footage and guitar playing. Key meanings of the song are represented even if the story is not.
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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.
Analysis of The 1975's Robbers
The 1975 - Robbers music video uses handheld camera shots and natural lighting to give it a realistic, indie rock style. It features the lead singer Matt Healy with a female protagonist in various outdoor settings as their relationship becomes increasingly reckless. While the narrative gets dramatic, the slow editing and pace suits the slow song. The video emphasizes Healy's star image as the frontman through its focus on him, but also appeals to a wider audience with its inclusion of a romantic narrative.
Analysis of Panic! At The Disco's Nine In The Afternoon
The video for "Nine in the Afternoon" by Panic! At the Disco features each band member waking up in a differently colored bedroom before entering unrelated settings, such as being ambushed by women in old dresses. Though the video's events don't relate to the lyrics, clocks are set to 9 AM and it remains daytime, referencing the song's title. The video has a disjunctive, bizarre style that sells the album's unconventional title and reflects the upbeat, energetic music through happy imagery like a Beatles-inspired parade.
Initial Music Video Research
Initial research into music videos found they serve three main purposes: to promote artists and albums, create star images, and add meaning to songs. Andrew Goodwin's theory identified three types of music videos: illustrative videos that give meaning to lyrics through narrative and images, amplification videos that exaggerate lyrics and are repetitive, and disjunctive videos that ignore the song's meaning. Goodwin's theory also examines the relationship between lyrics and visuals, music and visuals, and how music videos reference other media and emphasize artists through close-ups.
Applying Andrew Goodwin’s theory
This document analyzes Shinedown's music video for "Bully" using Andrew Goodwin's six key features of music videos. It finds that the video amplifies the lyrics through editing and visuals depicting bullying. Scenes illustrate specific lyrics of being hung and pushed to the dirt. The music and visuals are edited to amplify each other. Close-up shots of the lead singer engage the audience but also convey fear and hurt relating to the anti-bullying theme. The video lacks voyeurism and intertextual references, which is common for rock music videos.
Music Video Analysis
The document analyzes a music video based on 5 criteria:
1) The relationship between the beats of the song and the structure of the music video. While the visuals tell a different love story than the lyrics.
2) The narrative and performance of the artists in the video. The story is not fully explained and requires interpretation from the audience.
3) How the main artist serves as the "star" through lip syncing and being part of the love story, while the group of artists tell the overall narrative.
4) The visuals illustrate the indie rock genre through images of playing guitar and being in black and white, and amplify through repeated shots while not ignoring the key meanings of the song
Music video analysis
The music video for All-American Rejects' "Dirty Little Secret" combines performance and concept elements. It focuses on close-ups of the band playing alongside cards held by people revealing their darkest secrets, directly linking the lyrics to the visuals. The dark clothing and lighting also symbolize the song's lyrics. The video primarily features the band's energetic live performance in a dark room, consistent with expectations of the rock genre.
Music video analysis
The document analyzes a music video based on 5 criteria:
1. The relationship between the beats of the song and the structure of the music video. While the visuals tell a different love story than the lyrics.
2. The narrative and performance of the artists in the video. The story is not fully explained and requires interpretation from the audience.
3. How the artists are presented as the "stars" of the video, with one doing most of the lip syncing to tell the love story.
4. The relationship of the visuals to the genre of indie rock, through elements like black and white footage and guitar playing. Key meanings of the song are represented even if the story is not.
One republic
This document provides a detailed analysis of the One Republic music video for their song "Good Life". The analysis examines the video based on 7 key criteria: 1) The video demonstrates characteristics of the pop rock genre through elements like soft instrumentation. 2) The relationship between the lyrics and visuals convey an overall happy and optimistic mood. 3) The relationship between the music and visuals is strong, with upbeat instrumentation matching happy-go-lucky visuals. 4) There are many close-ups of the band members, and motifs like their formal attire are consistent. 5) There are no references to voyeurism or the notion of looking. 6) No intertextual references are identified. 7) The video amplifies and
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The document analyzes and summarizes the music video for Selena Gomez's song "The Heart Wants What It Wants". It discusses several aspects of the video including the camera shots, narrative, mise-en-scene, and how it relates to music video analysis theories. Specifically, it notes that the video uses many close-up shots of Gomez singing to focus on her emotions. It also has a narrative element showing Gomez's character torn between acting happy in public but hurting privately after a breakup. The black-and-white and low-key lighting style reflects the sad mood of the song.
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Detailed analysis 2
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Goodwins theory
The document discusses different elements that are often present in music videos. It notes that there is typically a relationship between the lyrics and visuals, with the visuals illustrating, amplifying, or contradicting the lyrics. It also mentions that genre-related style and iconography are usually present. The video features dancing to illustrate the genre of soca. Close-ups of the main artist are also commonly included.
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Fireflies analysis
This document provides a framework for analyzing music videos using 7 key ideas identified by Andrew Goodwin. It then provides an example analysis of the music video for the song "Fireflies" by Owl City. The analysis finds that the video is primarily performance-based, showing the artist performing the song on piano. It also illustrates the song's concept/narrative of growing up and letting go of dreams through its setting and visual references that coincide with the lyrics. Overall, the video is considered highly illustrative of both the lyrics and music.
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The music video for Celine Dion's song "Ashes" from the Deadpool 2 soundtrack meets expectations for a film tie-in song. It features a long cameo from Deadpool who humorously dances along to the lyrics. When the song hits the chorus, Deadpool's dancing matches the increased rhythm and energy of the music. Throughout the video, it intercuts between Deadpool's performance and clips from Deadpool 2 to promote the film. The video establishes Celine Dion's role as the artist through her prominence at the beginning.
Music theorist andrew goodwin
Andrew Goodwin theorized that music videos can illustrate, amplify, or contradict the lyrics and music of a song, changing how audiences perceive it. He identified five key aspects for audiences to analyze in music videos: thought beats where you "see" the sound; narrative and performance elements; the star image; the relationship between visuals and song; and technical aspects. Goodwin believed matching video elements like editing, scenes, and themes to lyrics, music, and genre conventions can enhance the video and convey different meanings.
13. music video worksheet
The music video for Celine Dion's song "Ashes" from the Deadpool 2 soundtrack does not meet expectations for a film soundtrack song. While the film is upbeat, the song is slow and emotional. Additionally, the song is more fitting for a romance film rather than an action film like Deadpool 2. The lyrics of "Ashes" reference Deadpool's character who dies but comes back invincible, symbolizing rebuilding from remains. When the song gets more emotional, more upsetting scenes from the film are shown, portraying Deadpool's relationship. Deadpool subverts the male gaze by dancing in stiletto heels. Celine Dion is prominently featured and recognized throughout the video. The video also references
Conventions in a music video
The document discusses several conventions of music videos. It begins by outlining the main purposes of music videos as promoting singles, albums, and artists. It then describes the basic structure of most music videos as being 3-4 minutes and combining live performances, narratives, and computer graphics. Common themes in music videos depend on the genre of music. The document also discusses how music videos often tell short stories and can feature direct address of the viewer or use of the "male gaze" and "female as object". It identifies five key aspects audiences look for in music videos.
Music video analysis
This music video tells a narrative story that relates to the song's lyrics about heartbreak. The visuals show a boy in various situations with a girl, until another boy interrupts and the girl chooses him instead. Throughout the video, the music and visuals are closely linked, with cuts matching the song's flow. While there are no performances by the band shown, there are close-ups of the people in the narrative story. The video also uses the notion of looking at times, with shots of the boy and girl looking directly at the camera.
Music videos basics
The document discusses different categories of music videos including performance, conceptual, and narrative styles. Performance videos focus on the artist performing, conceptual videos are based on an idea rather than performance, and narrative videos tell a story. Popular genres like pop often use narrative styles while rock may use conceptual or performance. Examples are provided for each category to illustrate their distinguishing characteristics.
The killers – mr brightside analysis
The document analyzes the music video for "Mr. Brightside" by The Killers. It finds:
1) The video establishes a relationship between the music and visuals, showing the band playing in sync with the song, and tells a narrative of a love triangle matching the song's lyrics.
2) The lyrics about a love triangle are directly illustrated by the video's plot of two men vying for a woman.
3) The video has intertextual references to films like Moulin Rouge in its story and costumes that make it unique.
Who is Andrew Goodwin?
Andrew Goodwin identified six key points used in music videos in his book "Dancing in the Distraction Factory". These include genre characteristics, relationships between lyrics/music and visuals, the star image of the artist, voyeurism, and intertextuality. He analyzed how elements like dance routines, camera shots, and ideas borrowed from other videos are used to illustrate meanings, emphasize themes, or promote the artist.
Genre conventions
The document discusses creating a music video for an acoustic/folk artist based on audience feedback. It states that the genre was chosen fits the artist and audience preferences for folk/acoustic music. It notes that Laura Mulvey's Male Gaze theory would rarely apply to this genre as the videos focus on natural outdoor settings rather than emphasizing the artist. The music video will feature typical folk genre characteristics like acoustic guitars and laidback clothing, and reflect the lyrics and tone of the music through the visuals and atmosphere without objectifying the artist.
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Dansettes
The homepage for the fictional band "The Dansettes" featured a striking natural background to adhere to conventions of indie bands, whose advertising often features natural imagery. The homepage also included social media widgets and a direct link to purchase the band's newest album on iTunes.
A second page provided bios of the two band members, allowing viewers to get to know them as individuals, an approach common to popular indie bands. Subsequent pages promoted upcoming tour dates through two ticket vendors, displayed photos from shows and magazines reviews to foster closeness with fans, and included a blog for behind-the-scenes updates.
The final contact page reinforced the idea that fans could easily communicate with the band to strengthen connections between artists and listeners
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One republic
This document provides a detailed analysis of the One Republic music video for their song "Good Life". The analysis examines the video based on 7 key criteria: 1) The video demonstrates characteristics of the pop rock genre through elements like soft instrumentation. 2) The relationship between the lyrics and visuals convey an overall happy and optimistic mood. 3) The relationship between the music and visuals is strong, with upbeat instrumentation matching happy-go-lucky visuals. 4) There are many close-ups of the band members, and motifs like their formal attire are consistent. 5) There are no references to voyeurism or the notion of looking. 6) No intertextual references are identified. 7) The video amplifies and
Pop Genre research - A2 Media
Music videos accompany songs and tell visual stories. The first music video aired on MTV in 1980. Music videos can be categorized based on their style, such as performance videos that primarily feature the artist performing, or narrative videos that tell a story. They use various camera shots and editing techniques to engage audiences. Elements like lighting, costumes, locations, and colors create moods and represent characters. Sound is also carefully crafted, using both diegetic sounds from the environment and non-diegetic versions of the song.
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The document analyzes and summarizes the music video for Selena Gomez's song "The Heart Wants What It Wants". It discusses several aspects of the video including the camera shots, narrative, mise-en-scene, and how it relates to music video analysis theories. Specifically, it notes that the video uses many close-up shots of Gomez singing to focus on her emotions. It also has a narrative element showing Gomez's character torn between acting happy in public but hurting privately after a breakup. The black-and-white and low-key lighting style reflects the sad mood of the song.
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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.
Fireflies Analysis
The document provides guidance for analyzing music videos using 7 key ideas identified by Andrew Goodwin. It then analyzes the music video for the song "Fireflies" by Owl City. The analysis finds that the video is primarily performance-based, showing the artist performing the song on piano. It illustrates the song's concept/narrative of growing up and letting go of dreams through childhood objects and scenes that coincide with the lyrics. The video also illustrates the relationship between the lyrics and music through visual cues that amplify the meaning of what is being sung and played.
Detailed analysis 2
This document provides guidance for analyzing music videos using 7 key ideas identified by Andrew Goodwin. It includes a table to structure notes when reviewing elements like genre characteristics, relationships between lyrics/music and visuals, close-ups of artists, notions of looking, intertextual references, and how the video illustrates, amplifies or contradicts the song. It then provides an example analysis of the James Blunt music video for "Carry You Home," noting elements like the soft rock genre characteristics matched the slow, calm visuals and steady tempo that illustrated the sad emotions in the lyrics.
Goodwin Everybody's Fool
The music video for Evanescence's "Everybody's Fool" synchronizes the music and visual elements, with cuts coinciding with drops in the beat. Scenes of the artist, who plays the main character, are shown when the lyrics mention "Everybody's Fool" and she bows down when it says "bow down". Close ups of the lead singer throughout, and her as the protagonist, demonstrate the record label's influence over crafting her image. The character is portrayed as voyeuristic through tight clothing and looking through mirrors in different personas.
Goodwins theory
The document discusses different elements that are often present in music videos. It notes that there is typically a relationship between the lyrics and visuals, with the visuals illustrating, amplifying, or contradicting the lyrics. It also mentions that genre-related style and iconography are usually present. The video features dancing to illustrate the genre of soca. Close-ups of the main artist are also commonly included.
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The music video for "Post Break-up Sex" by The Vaccines follows typical conventions of the indie pop/rock genre through its low-budget production, familiar setting of a house, and focus on live musical performance over commercial success. It amplifies the song's lyrics of regret after a breakup through a narrative of a woman experiencing this and imagery like her crying. Frequent close-ups on faces convey emotion, while the overall tone matches the dingy color palette and melancholy lyrics. The video relies on a linear narrative structure to illustrate the song's meaning without additional intertextual references.
Fireflies analysis
This document provides a framework for analyzing music videos using 7 key ideas identified by Andrew Goodwin. It then provides an example analysis of the music video for the song "Fireflies" by Owl City. The analysis finds that the video is primarily performance-based, showing the artist performing the song on piano. It also illustrates the song's concept/narrative of growing up and letting go of dreams through its setting and visual references that coincide with the lyrics. Overall, the video is considered highly illustrative of both the lyrics and music.
13. music video worksheet
The music video for Celine Dion's song "Ashes" from the Deadpool 2 soundtrack meets expectations for a film tie-in song. It features a long cameo from Deadpool who humorously dances along to the lyrics. When the song hits the chorus, Deadpool's dancing matches the increased rhythm and energy of the music. Throughout the video, it intercuts between Deadpool's performance and clips from Deadpool 2 to promote the film. The video establishes Celine Dion's role as the artist through her prominence at the beginning.
Music theorist andrew goodwin
Andrew Goodwin theorized that music videos can illustrate, amplify, or contradict the lyrics and music of a song, changing how audiences perceive it. He identified five key aspects for audiences to analyze in music videos: thought beats where you "see" the sound; narrative and performance elements; the star image; the relationship between visuals and song; and technical aspects. Goodwin believed matching video elements like editing, scenes, and themes to lyrics, music, and genre conventions can enhance the video and convey different meanings.
13. music video worksheet
The music video for Celine Dion's song "Ashes" from the Deadpool 2 soundtrack does not meet expectations for a film soundtrack song. While the film is upbeat, the song is slow and emotional. Additionally, the song is more fitting for a romance film rather than an action film like Deadpool 2. The lyrics of "Ashes" reference Deadpool's character who dies but comes back invincible, symbolizing rebuilding from remains. When the song gets more emotional, more upsetting scenes from the film are shown, portraying Deadpool's relationship. Deadpool subverts the male gaze by dancing in stiletto heels. Celine Dion is prominently featured and recognized throughout the video. The video also references
Conventions in a music video
The document discusses several conventions of music videos. It begins by outlining the main purposes of music videos as promoting singles, albums, and artists. It then describes the basic structure of most music videos as being 3-4 minutes and combining live performances, narratives, and computer graphics. Common themes in music videos depend on the genre of music. The document also discusses how music videos often tell short stories and can feature direct address of the viewer or use of the "male gaze" and "female as object". It identifies five key aspects audiences look for in music videos.
Music video analysis
This music video tells a narrative story that relates to the song's lyrics about heartbreak. The visuals show a boy in various situations with a girl, until another boy interrupts and the girl chooses him instead. Throughout the video, the music and visuals are closely linked, with cuts matching the song's flow. While there are no performances by the band shown, there are close-ups of the people in the narrative story. The video also uses the notion of looking at times, with shots of the boy and girl looking directly at the camera.
Music videos basics
The document discusses different categories of music videos including performance, conceptual, and narrative styles. Performance videos focus on the artist performing, conceptual videos are based on an idea rather than performance, and narrative videos tell a story. Popular genres like pop often use narrative styles while rock may use conceptual or performance. Examples are provided for each category to illustrate their distinguishing characteristics.
The killers – mr brightside analysis
The document analyzes the music video for "Mr. Brightside" by The Killers. It finds:
1) The video establishes a relationship between the music and visuals, showing the band playing in sync with the song, and tells a narrative of a love triangle matching the song's lyrics.
2) The lyrics about a love triangle are directly illustrated by the video's plot of two men vying for a woman.
3) The video has intertextual references to films like Moulin Rouge in its story and costumes that make it unique.
Who is Andrew Goodwin?
Andrew Goodwin identified six key points used in music videos in his book "Dancing in the Distraction Factory". These include genre characteristics, relationships between lyrics/music and visuals, the star image of the artist, voyeurism, and intertextuality. He analyzed how elements like dance routines, camera shots, and ideas borrowed from other videos are used to illustrate meanings, emphasize themes, or promote the artist.
Genre conventions
The document discusses creating a music video for an acoustic/folk artist based on audience feedback. It states that the genre was chosen fits the artist and audience preferences for folk/acoustic music. It notes that Laura Mulvey's Male Gaze theory would rarely apply to this genre as the videos focus on natural outdoor settings rather than emphasizing the artist. The music video will feature typical folk genre characteristics like acoustic guitars and laidback clothing, and reflect the lyrics and tone of the music through the visuals and atmosphere without objectifying the artist.
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The homepage for the fictional band "The Dansettes" featured a striking natural background to adhere to conventions of indie bands, whose advertising often features natural imagery. The homepage also included social media widgets and a direct link to purchase the band's newest album on iTunes.
A second page provided bios of the two band members, allowing viewers to get to know them as individuals, an approach common to popular indie bands. Subsequent pages promoted upcoming tour dates through two ticket vendors, displayed photos from shows and magazines reviews to foster closeness with fans, and included a blog for behind-the-scenes updates.
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This document provides an analysis of the Fallout Boy music video "A Little Less Sixteen Candles, A Little More "Touch Me"". The video follows conventions of the indie genre by featuring the band members as characters within a narrative. It focuses on a male vampire protagonist and his interactions with girls, reflecting common themes in indie music videos. The lyrics and visuals are generally correlated, with scenes illustrating the meaning of the words. Close-ups are used to highlight sensual features and exaggerate the vampiric elements. While the music itself does not directly correlate to the visuals, the video draws from pop culture references to vampires and relationships between boys and girls.
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The music video uses various shots of the band members and changing outfits to distinguish them from other similar bands. There is little correlation between the lyrics and visuals of the video. This music video is entirely contradictory, with the music being structured and the video being unstructured. The video focuses on the lead singer with close-ups and uses a subtle defocus effect common in Cage the Elephant videos. The video explores some folklore elements but does not delve deeply into any single concept or subject.
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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
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.
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.
Pop music video deconstructions
A PowerPoint presentation which includes the deconstruction of 3 pop music videos, discussing how they conform, develop and challenge genre conventions. Also linking the videos to Goodwin's theory.
Media summer assignment 2017
The document outlines Goodwin's Rules for analyzing music videos. It states that music videos typically demonstrate genre characteristics through elements like dance routines or stage performances. It also notes there should be a relationship between the lyrics, music, and visuals whether illustrative, amplifying, or contradicting. Additionally, it says record labels want close-ups of artists and artists may develop recurring motifs. It mentions music videos often reference looking and treat the female body in a voyeuristic way and contain intertextual references to other media.
Music video analysis
The document analyzes several music videos and their relationships to the songs:
1. A Fall Out Boy video satirizes traditional music videos by replacing elements with dog-related items to depict the song from a dog's dream perspective.
2. A Paramore video uses cinematography and lighting symbolism to portray feelings of being ignored addressed in the aggressive song.
3. A You Me At Six video symbolically shows characters regrowing lost partners from buried sentimental objects to represent reviving lost relationships mentioned in the emotional song.
Music video analysis oor
The document analyzes a music video for One Ok Rock's song "The Beginning" using Andrew Goodwin's music video theory. It discusses several key points:
1) The music video demonstrates several genre conventions of rock music videos, such as incorporating both a live performance and narrative elements, using darker colors for the live performance, and focusing on the lead singer.
2) There is a relationship between the lyrics and visuals, though the visuals do not always directly correspond to the current lyrics. The visuals help tell the story conveyed in the lyrics.
3) The editing is closely synced to the music, cutting between shots on each beat to create a relationship between the music and visuals.
Fireflies Analysis
This document provides a framework for analyzing music videos using 7 key ideas identified by Andrew Goodwin. It then applies this framework to analyze the music video for the song "Fireflies" by Owl City. The summary analyzes how the video illustrates the genre characteristics of electronic pop music. It also discusses how the visuals in the video directly relate to and amplify the lyrics being sung, such as words appearing on a children's toy. Overall, the video takes an illustrative approach to representing the lyrics and music.
Andrew Goodwins Theory
The music video for "Hottest Girl In The World" by JLS demonstrates several characteristics of boy band music videos. It illustrates the lyrics through visuals such as dance routines and shots of women. These visuals amplify the meaning of the song by showing the band members interacting in an appealing way for their target audience. Typical genre characteristics like unity dance moves and exploiting the female form are on display. The demands of the record label are met through balanced group and individual shots of the band members. Frequently the video references the notion of looking at women as sexual objects. There are no intertextual references to other works.
Goodwins’ Theory
The music video for "What The Water Gave Me" by Florence + The Machine demonstrates several aspects of Goodwin's music video theory. It shows a relationship between the lyrics and visuals through references to water and themes of freedom. It also includes close-ups of the artist and uses her recognizable birdcage tattoo, aligning with record label demands. Additionally, it employs intertextual references to Frida Kahlo and Virginia Woolf. For "Girls" by The 1975, the video prominently features a stage performance, maintains the band's visual style, and uses close-ups of the lead singer, reflecting genre characteristics and record label influence. It also includes females dressed provocatively, though this may
Music Video Analysis - Not So Sad
This document analyzes the music video for "Not So Sad" by the indie rock band Faux Pas based on six conventions of music videos identified by Andrew Goodwin. The video takes place entirely in one location, appearing to be a band member's living room, with no storyline, due to the band's lack of budget and being unsigned. While fitting the convention of a live performance, it lacks professional elements and other conventions like reference to voyeurism, due to the band's inexperience. Rotations of the band members changing clothes are unexplained. The video concludes with thanks and a "blooper" scene. Overall, though amateurish, it is a valid attempt at a music video for an unsigned band.
Music Video Analysis
The music video for Cinnamon Chasers' "Luv Deluxe" tells a narrative story without lyrics by using effective mis-en-scene and point-of-view shots. It follows two characters who meet, run away together partying and taking drugs in various locations, until eventually killing each other. The Naked and Famous' "All of This" video is predominantly a performance video, but also includes symbolic shots of objects relating to the lyrics. Robyn's "Be Mine" combines a performance video with narrative elements as she encounters an ex while singing about unrequited love.
Music video analysis (1)
This music video for Haim's song "Forever" demonstrates several genre characteristics of indie pop rock bands through a performance-based narrative that contrasts with their usual rock-based live shows. There are relationships between the lyrics, which reference past relationships, and the visuals, which include flashbacks to the sisters' childhood. The video focuses on close ups of the lead singer to establish her role and features eye contact with the audience. While it does not have a recurring visual motif, the band is known to use filters and vintage styling across their videos.
Music video analysis - The XX
The music video for The XX's song "Islands" is primarily a performance-based video that focuses on the band singing and dancers moving to the music. It emphasizes repetition through continuous zooming shots that match the repetitive lyrics and beat. While it deviates from using close-ups of instruments, the focus on performance still establishes the band's indie genre. The relationship between the music and visuals is largely amplifying, with the dancers' moves and changing shots synchronizing with shifts in the music.
The 1975 chocolate analysis
This document analyzes and summarizes Andrew Goodwin's music video theory based on the music video for "The 1975". Some key points made:
- The music video reinforces common indie/alternative genre tropes like a black and white filter, drug references in the lyrics/visuals, and sexual scenes.
- There is a medium-paced relationship between the music and visuals, though the visuals do not change pace when the music quickens.
- As the lead singer is the face of the band, the video focuses on close-ups of him to promote him as the artist.
- Women are frequently sexualized, reinforcing gender stereotypes about vulnerability and power.
Music video research
The document summarizes conventions used in Avenged Sevenfold music videos. It discusses how the band consistently shows their logo at the beginning or end to build their brand. They often include religious symbols and live performances to advertise themselves. Videos commonly feature scary animals and elements to fit their dark genre. The document analyzes specific videos for Nightmare, Almost Easy, and Afterlife to show how they employ these standard conventions through imagery, locations, and shots that relate to the songs' meanings.
Conventions of form and genre
The document discusses three common conventions in music videos: narrative, performance, and abstract. It provides examples for each type. Narrative music videos follow a story through character experiences. Performance videos feature the artist singing and lip syncing. Abstract videos have little connection to the song lyrics and emphasize creative, unusual visuals and dancing. The document also notes that pop music videos typically feature visual references to lyrics to associate the video with the song. They often portray young characters to attract youth audiences.
Goodwin common occurences
The document discusses Goodwin's theory of common occurrences in music videos and analyzes how two music videos conform to the theory. It examines six common occurrences: 1) demonstrating genre characteristics 2) relationship between lyrics and visuals 3) relationship between music and visuals 4) role of the artist 5) intertextual references 6) voyeuristic treatment of female bodies. It finds that "When You Love Someone" conforms to most principles while "The A-Team" conforms to some but not others due to its low budget. Relating lyrics to visuals is identified as an important principle for an effective music video.
Music Video Analysis
Wolf Alice is a four-piece alternative rock band from London. Their music video for "You're a Germ" tells a horror narrative story through exaggerated facial expressions and amplified scenes that represent the lyrics. There are clear relationships between the lyrics, music, and visuals as events in the video heighten with the music and specific shots represent lyrics. Close-ups are used to focus on lead singer Ellie Rowsell and allow the audience to follow the story from different perspectives without directly addressing the camera like a conventional performance video.
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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.
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The immediate aftermath of the Dwayne Johnson kidnappin
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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.
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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.
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Leonardo DiCaprio House: Malibu Beachfront Retreat
A Prime Location
His Malibu beachfront house is one of the most famous properties in Leonardo DiCaprio's real estate portfolio. Situated in the exclusive Carbon Beach. also known as "Billionaire's Beach," this property boasts stunning ocean views and private beach access. The "Leonardo DiCaprio house" in Malibu is a testament to the actor's love for the sea and his penchant for luxurious living.
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Another remarkable property in Leonardo DiCaprio's collection is his Hollywood Hills house. This secluded retreat offers privacy and tranquility. making it an ideal escape from the hustle and bustle of Los Angeles. The "Leonardo DiCaprio house" in Hollywood Hills nestled among lush greenery. and offers panoramic views of the city and surrounding landscapes.
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Christian Louboutin is celebrated for his innovative approach to footwear design, marked by his trademark red soles. This in-depth look at his life and career explores the origins of his creativity, the milestones in his journey, and the impact of his work on the fashion industry. Learn how Louboutin's bold vision and dedication to excellence have made his brand synonymous with luxury and style.
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Media analysis 2
- 2. This video uses a variety of conventions which are commonly found in indie music videos. Firstly indie videos commonly feature the band who are playing, and a trend which is shared in most of this particular bands music videos is that the band actually play a role within a mainly narrative driven video.
- 3. The song is of course called ‘Dance Dance’ which certainly correlates with what is going on within the video, with the narrative following the story of an American high school prom. Many of the lyrics also sing about being sad ect which in some ways does correlate with the actions on screen with many of the teenagers being rejected by each other for example.
- 4. The video could be considered to be illustrative as it is sung in the context of being within the world of the music video. In this way the lyrics which are sung are essentially linked to the actions on screen, but the other way in which it is illustrative is that the music is actually a part of the video itself because it is sung within the music videos world.
- 5. This is certainly present within Fallout Boy videos as they commonly feature the band in an acting role within the video but also as the band themselves. This is something which has become recognized throughout all of their videos. The close ups within the videos generally focus upon the band themselves, especially at important parts of the song.
- 6. This isn't especially true for most of the video although one scene is present towards the end which shows a woman dancing in a way which would be considered sexual and it is certainly represented in that way by other characters on screen.
- 7. There is no exact reference to other media products but instead focuses on popular pop culture in terms of the school prom setting. This kind of setting is especially common in American music as it is a setting which can work with completely different music genres.
- 8. The video is partially performance based and partially narrative based, the performance section is in the form of the actual band playing at the prom which is the centre of the narrative. The band members are present within the narrative as actual characters and are also of course the band on stage.