The music video for "Heavydirtysoul" by Twenty One Pilots takes place inside the protagonist's mind. It features the band members playing in unusual locations while the protagonist escapes from a car that represents controlling influences. The video uses symbolism, lighting, and a looping narrative to explore themes of insecurity and mental entrapment without providing a definitive interpretation, allowing viewers to understand the meaning in different ways. Its purpose is to promote the song and album while resonating with the band's core young adult fan base.
The proposed music video for "Aphasia - Mr Fijiwiji" would explore a man recalling a breakup through hazy shots while in the hospital. Shots of past affection would be juxtaposed with separation. At the end the man is revealed to be in the hospital, recalling the past.
For "Fake You Out - Twenty One Pilots" the video would show a protagonist's facade breaking through scenes in non-chronological order. Shots of happiness would be juxtaposed with sadness and isolation. During the rap the truth would be revealed through cutting scenes.
The video for "Radioactive - Imagine Dragons" would follow multiple people exploring an abandoned earth.
The music video for "Peanut Butter Jelly" by Galantis shows characters in a supermarket dancing and having fun, matching the upbeat tone of the song. Though the lyrics don't match the visuals directly, the video depicts a party atmosphere through characters dancing in costumes that transform from mundane to bright party attire in time with the music. By the end, all the ordinary characters are dancing and enjoying themselves, linking to the party mood intended for the song.
The music video uses various cinematography techniques to tell a story. It begins and ends with a high-angle shot of the main character lying in his bed, showing he is stuck reliving the past. Flashbacks depicted through close-ups show him remembering his late mother. The dull lighting in the house contrasts with the glowing forest, indicating his trip through lucid dreaming. By getting high, the main character is able to see his mother one last time in the place of their happiest memories. The video aims to amplify the song's meaning and advertise the band to its target alternative rock audience.
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.
Arctic Monkeys - Arabella Music Video AnalysisSam Bond
The video for Arctic Monkeys' "Arabella" depicts a mysterious woman who seems to represent the song's titular character. It uses a voyeuristic style, with shaky camerawork and shots that zoom in on and linger on the woman. This emphasizes the themes of objectification and the male gaze. Scenes cut between shots of the woman and Alex Turner singing, implying he is singing about her. While other women are shown in sexually suggestive ways, shots of "Arabella" maintain an air of mystery and unattainability, preserving the idea that she represents an ideal woman. The video blends narrative shots with a live performance setting to interpret the song's themes without a concrete story.
1) The music video for "Flaws" by Bastille follows the lead artist through a day dealing with his flaws, represented by skeleton-faced girls. It continues the narrative from their previous video "Bad Blood" where he drowned.
2) Various shots and camera techniques are used to build a connection between the artist and audience, including close-ups of the artist and shots following his point of view.
3) Over the course of the day, the narrative shifts from the flaws antagonizing the artist to them enjoying each other's company, representing his acceptance of his flaws. The cyclical narrative leaves the ending open to interpretation.
The document proposes three music video ideas for songs:
1) "Six Billion" by Nothing But Thieves, about a psychopathic male character stalking a woman. Shots would imply loss but reveal his stalking.
2) "No Answers" by Amber Run, about a divorcing couple. Scenes would flip between their angry phone call and memories of their toxic relationship.
3) "Silk" by Wolf Alice, about a depressed woman who loves her friend, but finds out at a meeting the friend is engaged. Shots imply her daily sadness and reaction to the revelation.
1) The video analyzes the cinematography, mise-en-scene, editing, and sound used in the music video for the song "Best Day of My Life" by American Authors.
2) Shots establish connections between the protagonist and other characters while reflecting his gloomy mood at the beginning through framing and lighting.
3) Settings like the street and bar are used to portray the band and protagonist as ordinary while also conveying typical imagery like in a strip club scene.
The proposed music video for "Aphasia - Mr Fijiwiji" would explore a man recalling a breakup through hazy shots while in the hospital. Shots of past affection would be juxtaposed with separation. At the end the man is revealed to be in the hospital, recalling the past.
For "Fake You Out - Twenty One Pilots" the video would show a protagonist's facade breaking through scenes in non-chronological order. Shots of happiness would be juxtaposed with sadness and isolation. During the rap the truth would be revealed through cutting scenes.
The video for "Radioactive - Imagine Dragons" would follow multiple people exploring an abandoned earth.
The music video for "Peanut Butter Jelly" by Galantis shows characters in a supermarket dancing and having fun, matching the upbeat tone of the song. Though the lyrics don't match the visuals directly, the video depicts a party atmosphere through characters dancing in costumes that transform from mundane to bright party attire in time with the music. By the end, all the ordinary characters are dancing and enjoying themselves, linking to the party mood intended for the song.
The music video uses various cinematography techniques to tell a story. It begins and ends with a high-angle shot of the main character lying in his bed, showing he is stuck reliving the past. Flashbacks depicted through close-ups show him remembering his late mother. The dull lighting in the house contrasts with the glowing forest, indicating his trip through lucid dreaming. By getting high, the main character is able to see his mother one last time in the place of their happiest memories. The video aims to amplify the song's meaning and advertise the band to its target alternative rock audience.
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.
Arctic Monkeys - Arabella Music Video AnalysisSam Bond
The video for Arctic Monkeys' "Arabella" depicts a mysterious woman who seems to represent the song's titular character. It uses a voyeuristic style, with shaky camerawork and shots that zoom in on and linger on the woman. This emphasizes the themes of objectification and the male gaze. Scenes cut between shots of the woman and Alex Turner singing, implying he is singing about her. While other women are shown in sexually suggestive ways, shots of "Arabella" maintain an air of mystery and unattainability, preserving the idea that she represents an ideal woman. The video blends narrative shots with a live performance setting to interpret the song's themes without a concrete story.
1) The music video for "Flaws" by Bastille follows the lead artist through a day dealing with his flaws, represented by skeleton-faced girls. It continues the narrative from their previous video "Bad Blood" where he drowned.
2) Various shots and camera techniques are used to build a connection between the artist and audience, including close-ups of the artist and shots following his point of view.
3) Over the course of the day, the narrative shifts from the flaws antagonizing the artist to them enjoying each other's company, representing his acceptance of his flaws. The cyclical narrative leaves the ending open to interpretation.
The document proposes three music video ideas for songs:
1) "Six Billion" by Nothing But Thieves, about a psychopathic male character stalking a woman. Shots would imply loss but reveal his stalking.
2) "No Answers" by Amber Run, about a divorcing couple. Scenes would flip between their angry phone call and memories of their toxic relationship.
3) "Silk" by Wolf Alice, about a depressed woman who loves her friend, but finds out at a meeting the friend is engaged. Shots imply her daily sadness and reaction to the revelation.
1) The video analyzes the cinematography, mise-en-scene, editing, and sound used in the music video for the song "Best Day of My Life" by American Authors.
2) Shots establish connections between the protagonist and other characters while reflecting his gloomy mood at the beginning through framing and lighting.
3) Settings like the street and bar are used to portray the band and protagonist as ordinary while also conveying typical imagery like in a strip club scene.
The document discusses several conventions of music videos, including narrative/performance, sound, camera techniques, editing, lighting/colors, and performance shot types. It analyzes the music videos for "Airplanes" by B.O.B. featuring Hayley Williams and "Love the Way You Lie" by Rihanna featuring Eminem. Key elements like locations, props, costumes, and editing are described and related to conveying mood. Performance shots focus on emotion through close-ups while maintaining a balance between male and female artists.
The document provides guidance for a music video assignment, including templates and requirements for different sections of pre-production planning. It suggests selecting a song, generating 3 ideas for interpreting it in different styles/techniques, and researching 5 example music videos.
The summary includes 3 potential ideas for songs ("Nothing Else Matters" by Metallica, songs by Foals and Alter Bridge) and techniques like varied shots, close-ups, lighting, and editing to the beat. It also outlines conventions like a narrative with resolution and focusing on one character. The final idea is to make a comedic video depicting a character playing "Nothing Else Matters" on Guitar Hero after being unable to go outside in the rain.
The document provides a detailed analysis of the cinematography, mise-en-scene, costumes, editing, and sound design used in the music video for "Demons" by Imagine Dragons. It examines how various shot types, lighting, settings, costumes, editing pacing and diegetic/non-diegetic sound are used to convey the song's theme that everyone has their own "demons" or struggles, and to match the emotion and tone of the music. Flashback sequences for different characters are introduced through extreme close-ups and establish each person's specific issue through the visual elements.
The document provides an analysis of the music video for "Misery" by the band The Maine. It summarizes the key aspects of the video, including:
1) The video challenges conventions of the rock genre by not including live performances and keeping the band members separated throughout.
2) The visuals in the video are closely related to the lyrics and music, with actions matching the beat. As the song progresses and lyrics mention darker themes, the visuals and music take a darker turn as well.
3) As the lead singer, John is the main focus of the narrative and there are many close-ups of him, developing his restraint as a motif. This meets record label demands for focusing on
This document discusses music and sound choices for a short film. It explains that sounds and music help build tension and emotions in media and must be balanced with visuals. Different genres use different sounds, like horror films using eerie ambience building to a scream. The document outlines music choices for different scenes - an opening using soul and Italian music, a meeting scene using tense Italian music associated with "The Godfather," and an upbeat modern soundtrack for a chase scene. It also discusses using ambient sounds and replacing dialogue to construct atmosphere and ensure clarity.
The document analyzes trailers for several films including Wonder Woman, 47 Metres Down, 22 Jump Street, Forrest Gump, and Interstellar. It discusses the techniques used in each trailer such as establishing shots, dialogue, montage editing, changes in music, and juxtaposition to introduce characters, convey the plot or tone, and encourage viewers to watch the full movie. Key events and emotional moments are highlighted through the use of close-ups and changes in pace.
This document summarizes how the media product uses and develops conventions of real music videos. It provides several examples of shots and techniques from the media product that are similar to conventions in other music videos. These include close-up shots of eyes to create tension, rising shots to introduce characters, representations of lyrics through visuals, and similarities in lighting, camera angles, and depictions of characters to other music videos in the dubstep genre. Overall, the document analyzes how the media product challenges conventions through the use of experimental shots and draws from techniques across other music video genres and examples.
The music video for Bastille's "Send Them Off" features intertextual references to their album marketing campaign. It continues the narrative established in previous videos and keeps fans engaged. The lyrics about demons are represented visually through a shadow following the main character and strange hallucinatory events. While Bastille are not the main focus, close-ups maintain the connection with audiences. Technical aspects like camera angles, effects, and fast cutting establish an unsettling tone and the character's vulnerable mental state.
Spike Jonze is a music video and film director who started his career making skateboarding videos and co-founding a magazine. He is known for directing inventive and parody-filled music videos that use techniques like slow motion, contrasting lighting, and intertextuality to visually represent the themes and meanings of songs. Some of his most famous music video works include "Oh So Quiet" by Bjork, "Sabotage" by Beastie Boys, and "Buddy Holly" by Weezer, all of which spoofed different film genres to match the tone and lyrics of the songs. While Jonze's style usually involves humor and parody, his video for Kanye West's "Only One" took
The music video begins with the band members depicted as cartoon superheroes. Scenes show them discovering their kidnapped enemy Mr. A in their secret lair. They mock and laugh at him for not being as powerful as they see themselves. Later scenes show the band testing plans to send Mr. A to the moon, linking to the childish theme. At the climax, the lead singer is shown unmasking Mr. A before the band chants and launches him into space, ending their enemy's reign. Visuals throughout link directly to the lyrics of the song about overcoming their nemesis.
The music video treatment is for the song "Figure.09" by Linkin Park. It will tell the story of a teenage protagonist who encounters a supernatural figure. Throughout the night, the figure stalks the man in his bedroom and around his neighborhood. The man tries to escape by running into a nearby woodland area. During the climax of the song, the man is able to overcome the figure's possession and banish it, though it remains unclear if the threat is truly gone. The video will feature gritty scenes of the band performing in a garage as well as locations showing the man's paranoia and encounters with the figure.
The document analyzes and summarizes several music videos. It discusses key elements and themes in the videos for "Little Talks" by Of Monsters and Men, "Witchcraft", "Crush", and "Watercolour" by Pendulum. These elements include surrealism, color contrasts, close-ups, live performances, and main characters. Based on their analysis of techniques used across the videos, the group decides to create their own music video for the song "Witchcraft" by Pendulum, as they feel knowledgeable about the band and genre. They plan to further research album covers and digital packages for inspiration to make an original video.
This document provides summaries of several music album covers and music videos:
- A summary of a music album cover analysis discusses computer generated graphics, prominent fonts, beach backgrounds, and colorful costumes representing different personalities.
- A summary of the music video for "The Pretender" by Foo Fighters describes its setting in an ice hockey rink with lighting representing violence and riot police confronting the band.
- A summary of the music video for "Fight for This Love" by Cheryl Cole depicts her wearing outfits like tiger print and military uniforms representing overcoming insecurity through fighting.
- A summary of the music video for "Where Is the Love" by Black Eyed Peas shows them questioning
The document provides an analysis of several music album covers and music videos, summarizing the visual elements, themes, and story being conveyed in each. Key details analyzed include backgrounds, costumes, camera shots, colors, symbols and how they relate to the music. The analyses provide insights into how the visuals help represent the music and engage the audience.
The document provides analysis of the video techniques used in 5 music videos:
1. Metallica - One uses blacked out band members, western stock footage, and an abandoned warehouse setting to reflect the dark tone of the song. Close-ups and angles emphasize the importance of the music and drumming. Stock footage is cut with the music.
2. Michael Jackson - Thriller uses horror film-inspired settings, costumes, and camera techniques to portray a movie-like feel. Close-ups show transformation and screaming details. Shots establish settings and conversation-like tracking.
3. Bring Me The Horizon - Sleepwalking uses locations and subtle, handheld shots to portray the fragile nature of sleepwalking. Cross
This document defines essential terminology related to sound and music in film. It provides concise definitions for over 50 key terms, including diegetic and non-diegetic sound, sound effects, Foley, voice-overs, soundtracks, and more. The definitions explain how these elements are used to enhance meaning, direct audience understanding, set atmosphere, and engage viewers in the story. Sound is shown to play an integral role in film by enriching images and narratives through both expressive and informative functions.
The music video treatment proposes a circular narrative that contrasts scenes of the protagonist as an overworked adult with scenes of them reconnecting with their inner child. It begins and ends with the protagonist at their desk job, with scenes in between of them as a carefree child at a park and as a mentally deteriorating adult drinking alone in a pub. The treatment aims to use juxtaposition of light vs dark locations and lively vs dreary imagery to illustrate the protagonist's desire to recapture their youthful spirit and escape adult responsibilities.
Spike Jonze is a music video and film director known for his unique and creative visual styles. Some of his most notable music videos include "Oh So Quiet" by Bjork, "Sabotage" by Beastie Boys, and "Buddy Holly" by Weezer, where he used techniques like parody, intertextuality, and contrasting settings/tones to match the themes and meanings of the songs. While his typical videos are highly stylized, Jonze also showed his range by directing the more personal and documentary-style video for Kanye West's "Only One." Across his work, Jonze aims to have a clear connection between the visuals and lyrics of the songs he interprets.
The document analyzes conventions used in romantic film openings that the author observed in four films: Letters to Juliet, Honey, My Sister's Keeper, and Twilight. Key conventions included establishing shots, introductions of protagonists, music to set tone, and enigmas to intrigue audiences. The author then discusses how their group media product employs similar conventions like narration, music, costumes, locations and camera shots to develop genre expectations and challenge conventions.
The document analyzes film opening conventions and techniques used in romantic genre films that the author observed in their research. These include establishing shots, credits, introductions of main characters, music, lighting, narration, and enigmas. The author then discusses how they applied these conventions in their own media product opening, such as using melancholic music, natural lighting, narration by the female protagonist about her life, and locations where couples normally date. Overall, the document provides examples of techniques from romantic films and discusses how the author incorporated these genres conventions into their own media opening.
Advanced Production Evaluation Question 1thataussielad
The document discusses a music video project analyzing conventions in music video genres. It summarizes how the student's video incorporates conventions through costume, band member roles, and a two-thirds performance to one-third narrative structure. Narrative elements include resolving conflict depicted in lyrics and breaking the fourth wall. While not including an audience like some references, it focuses on the band's performance. The video and album packaging aim to portray the band as youthful, original, talented, and now reunited after facing challenges through cinematography, editing, and imagery.
The document analyzes six music videos using Goodwin's theory of six elements: illustration, amplifying, contradicting, iconography, voyeurism, and intertextuality. For each element, a different music video is discussed and analyzed in terms of how it uses that element. The summaries provide the music video analyzed and a brief description of how it fits the given element. For example, for illustration the video analyzed is "Riptide" by Vance Joy, which directly depicts the lyrics through short clips.
The document discusses several conventions of music videos, including narrative/performance, sound, camera techniques, editing, lighting/colors, and performance shot types. It analyzes the music videos for "Airplanes" by B.O.B. featuring Hayley Williams and "Love the Way You Lie" by Rihanna featuring Eminem. Key elements like locations, props, costumes, and editing are described and related to conveying mood. Performance shots focus on emotion through close-ups while maintaining a balance between male and female artists.
The document provides guidance for a music video assignment, including templates and requirements for different sections of pre-production planning. It suggests selecting a song, generating 3 ideas for interpreting it in different styles/techniques, and researching 5 example music videos.
The summary includes 3 potential ideas for songs ("Nothing Else Matters" by Metallica, songs by Foals and Alter Bridge) and techniques like varied shots, close-ups, lighting, and editing to the beat. It also outlines conventions like a narrative with resolution and focusing on one character. The final idea is to make a comedic video depicting a character playing "Nothing Else Matters" on Guitar Hero after being unable to go outside in the rain.
The document provides a detailed analysis of the cinematography, mise-en-scene, costumes, editing, and sound design used in the music video for "Demons" by Imagine Dragons. It examines how various shot types, lighting, settings, costumes, editing pacing and diegetic/non-diegetic sound are used to convey the song's theme that everyone has their own "demons" or struggles, and to match the emotion and tone of the music. Flashback sequences for different characters are introduced through extreme close-ups and establish each person's specific issue through the visual elements.
The document provides an analysis of the music video for "Misery" by the band The Maine. It summarizes the key aspects of the video, including:
1) The video challenges conventions of the rock genre by not including live performances and keeping the band members separated throughout.
2) The visuals in the video are closely related to the lyrics and music, with actions matching the beat. As the song progresses and lyrics mention darker themes, the visuals and music take a darker turn as well.
3) As the lead singer, John is the main focus of the narrative and there are many close-ups of him, developing his restraint as a motif. This meets record label demands for focusing on
This document discusses music and sound choices for a short film. It explains that sounds and music help build tension and emotions in media and must be balanced with visuals. Different genres use different sounds, like horror films using eerie ambience building to a scream. The document outlines music choices for different scenes - an opening using soul and Italian music, a meeting scene using tense Italian music associated with "The Godfather," and an upbeat modern soundtrack for a chase scene. It also discusses using ambient sounds and replacing dialogue to construct atmosphere and ensure clarity.
The document analyzes trailers for several films including Wonder Woman, 47 Metres Down, 22 Jump Street, Forrest Gump, and Interstellar. It discusses the techniques used in each trailer such as establishing shots, dialogue, montage editing, changes in music, and juxtaposition to introduce characters, convey the plot or tone, and encourage viewers to watch the full movie. Key events and emotional moments are highlighted through the use of close-ups and changes in pace.
This document summarizes how the media product uses and develops conventions of real music videos. It provides several examples of shots and techniques from the media product that are similar to conventions in other music videos. These include close-up shots of eyes to create tension, rising shots to introduce characters, representations of lyrics through visuals, and similarities in lighting, camera angles, and depictions of characters to other music videos in the dubstep genre. Overall, the document analyzes how the media product challenges conventions through the use of experimental shots and draws from techniques across other music video genres and examples.
The music video for Bastille's "Send Them Off" features intertextual references to their album marketing campaign. It continues the narrative established in previous videos and keeps fans engaged. The lyrics about demons are represented visually through a shadow following the main character and strange hallucinatory events. While Bastille are not the main focus, close-ups maintain the connection with audiences. Technical aspects like camera angles, effects, and fast cutting establish an unsettling tone and the character's vulnerable mental state.
Spike Jonze is a music video and film director who started his career making skateboarding videos and co-founding a magazine. He is known for directing inventive and parody-filled music videos that use techniques like slow motion, contrasting lighting, and intertextuality to visually represent the themes and meanings of songs. Some of his most famous music video works include "Oh So Quiet" by Bjork, "Sabotage" by Beastie Boys, and "Buddy Holly" by Weezer, all of which spoofed different film genres to match the tone and lyrics of the songs. While Jonze's style usually involves humor and parody, his video for Kanye West's "Only One" took
The music video begins with the band members depicted as cartoon superheroes. Scenes show them discovering their kidnapped enemy Mr. A in their secret lair. They mock and laugh at him for not being as powerful as they see themselves. Later scenes show the band testing plans to send Mr. A to the moon, linking to the childish theme. At the climax, the lead singer is shown unmasking Mr. A before the band chants and launches him into space, ending their enemy's reign. Visuals throughout link directly to the lyrics of the song about overcoming their nemesis.
The music video treatment is for the song "Figure.09" by Linkin Park. It will tell the story of a teenage protagonist who encounters a supernatural figure. Throughout the night, the figure stalks the man in his bedroom and around his neighborhood. The man tries to escape by running into a nearby woodland area. During the climax of the song, the man is able to overcome the figure's possession and banish it, though it remains unclear if the threat is truly gone. The video will feature gritty scenes of the band performing in a garage as well as locations showing the man's paranoia and encounters with the figure.
The document analyzes and summarizes several music videos. It discusses key elements and themes in the videos for "Little Talks" by Of Monsters and Men, "Witchcraft", "Crush", and "Watercolour" by Pendulum. These elements include surrealism, color contrasts, close-ups, live performances, and main characters. Based on their analysis of techniques used across the videos, the group decides to create their own music video for the song "Witchcraft" by Pendulum, as they feel knowledgeable about the band and genre. They plan to further research album covers and digital packages for inspiration to make an original video.
This document provides summaries of several music album covers and music videos:
- A summary of a music album cover analysis discusses computer generated graphics, prominent fonts, beach backgrounds, and colorful costumes representing different personalities.
- A summary of the music video for "The Pretender" by Foo Fighters describes its setting in an ice hockey rink with lighting representing violence and riot police confronting the band.
- A summary of the music video for "Fight for This Love" by Cheryl Cole depicts her wearing outfits like tiger print and military uniforms representing overcoming insecurity through fighting.
- A summary of the music video for "Where Is the Love" by Black Eyed Peas shows them questioning
The document provides an analysis of several music album covers and music videos, summarizing the visual elements, themes, and story being conveyed in each. Key details analyzed include backgrounds, costumes, camera shots, colors, symbols and how they relate to the music. The analyses provide insights into how the visuals help represent the music and engage the audience.
The document provides analysis of the video techniques used in 5 music videos:
1. Metallica - One uses blacked out band members, western stock footage, and an abandoned warehouse setting to reflect the dark tone of the song. Close-ups and angles emphasize the importance of the music and drumming. Stock footage is cut with the music.
2. Michael Jackson - Thriller uses horror film-inspired settings, costumes, and camera techniques to portray a movie-like feel. Close-ups show transformation and screaming details. Shots establish settings and conversation-like tracking.
3. Bring Me The Horizon - Sleepwalking uses locations and subtle, handheld shots to portray the fragile nature of sleepwalking. Cross
This document defines essential terminology related to sound and music in film. It provides concise definitions for over 50 key terms, including diegetic and non-diegetic sound, sound effects, Foley, voice-overs, soundtracks, and more. The definitions explain how these elements are used to enhance meaning, direct audience understanding, set atmosphere, and engage viewers in the story. Sound is shown to play an integral role in film by enriching images and narratives through both expressive and informative functions.
The music video treatment proposes a circular narrative that contrasts scenes of the protagonist as an overworked adult with scenes of them reconnecting with their inner child. It begins and ends with the protagonist at their desk job, with scenes in between of them as a carefree child at a park and as a mentally deteriorating adult drinking alone in a pub. The treatment aims to use juxtaposition of light vs dark locations and lively vs dreary imagery to illustrate the protagonist's desire to recapture their youthful spirit and escape adult responsibilities.
Spike Jonze is a music video and film director known for his unique and creative visual styles. Some of his most notable music videos include "Oh So Quiet" by Bjork, "Sabotage" by Beastie Boys, and "Buddy Holly" by Weezer, where he used techniques like parody, intertextuality, and contrasting settings/tones to match the themes and meanings of the songs. While his typical videos are highly stylized, Jonze also showed his range by directing the more personal and documentary-style video for Kanye West's "Only One." Across his work, Jonze aims to have a clear connection between the visuals and lyrics of the songs he interprets.
The document analyzes conventions used in romantic film openings that the author observed in four films: Letters to Juliet, Honey, My Sister's Keeper, and Twilight. Key conventions included establishing shots, introductions of protagonists, music to set tone, and enigmas to intrigue audiences. The author then discusses how their group media product employs similar conventions like narration, music, costumes, locations and camera shots to develop genre expectations and challenge conventions.
The document analyzes film opening conventions and techniques used in romantic genre films that the author observed in their research. These include establishing shots, credits, introductions of main characters, music, lighting, narration, and enigmas. The author then discusses how they applied these conventions in their own media product opening, such as using melancholic music, natural lighting, narration by the female protagonist about her life, and locations where couples normally date. Overall, the document provides examples of techniques from romantic films and discusses how the author incorporated these genres conventions into their own media opening.
Advanced Production Evaluation Question 1thataussielad
The document discusses a music video project analyzing conventions in music video genres. It summarizes how the student's video incorporates conventions through costume, band member roles, and a two-thirds performance to one-third narrative structure. Narrative elements include resolving conflict depicted in lyrics and breaking the fourth wall. While not including an audience like some references, it focuses on the band's performance. The video and album packaging aim to portray the band as youthful, original, talented, and now reunited after facing challenges through cinematography, editing, and imagery.
The document analyzes six music videos using Goodwin's theory of six elements: illustration, amplifying, contradicting, iconography, voyeurism, and intertextuality. For each element, a different music video is discussed and analyzed in terms of how it uses that element. The summaries provide the music video analyzed and a brief description of how it fits the given element. For example, for illustration the video analyzed is "Riptide" by Vance Joy, which directly depicts the lyrics through short clips.
This document provides an in-depth analysis of 4 music videos by Beyoncé in 3 or less sentences per video:
1. "No Angel" shows Beyoncé in a run-down setting with rebellious characters, using imagery to portray the song's theme through cinematography and mise-en-scene.
2. "Flawless" is a performance-based black-and-white video using effects like slow motion across shots in a rustic setting to portray concepts like feminism.
3. "Pretty Hurts" tells a narrative of a beauty pageant through shots of preparation and competition, portraying the mental and physical toll of obsession with beauty.
The video is mainly a performance-based video of the band The Hunna, with some narrative elements. There are teenage characters shown having fun at a party where the band performs. The video cuts rapidly between shots at 169 cuts in 3 minutes to match the fast-paced music. It focuses on the band's performance through close-ups and shots of their unique costumes to portray their indie genre and brand. The video represents the lyrics somewhat through some visuals of the characters, but its main purpose is to engage the audience with the music and performance.
The video is mainly based on the band's performance of the song, showing them playing at a party. It cuts between shots of the band and teenage partygoers enjoying themselves. There are around 169 cuts total and various camera angles are used, including close-ups of the singer's emotions and instruments being played. The lyrics are sometimes represented visually, like a shot of a girl biting her tongue to match that line. Close-ups of the band promote their style and merchandise to construct their indie image.
The document provides an analysis of four music videos by the band This Is Living: "This Is Living", "Where You Are", and "Back To Life". It summarizes the key elements of each video, including lighting/color schemes, camerawork, themes, and editing styles. Common themes across the videos include representing young people in a positive light and conveying messages of empowerment. While the videos have different aesthetics, they are all aimed at engaging young audiences.
The document analyzes three music videos:
1) "Bed of Roses" by Bon Jovi is a performance video that shows the band playing while telling a generic breakup story through gestures and expressions. Shots of the band performing fade into shots of the singer acting out the lyrics.
2) "Smokin' in the Boys Room" by Motley Crue is a concept video that reflects the band's 1980s anarchic image through slapstick humor and destruction. Jump cuts create an incoherent narrative.
3) "Leader of the Pack" by Twisted Sister covers a 1960s song through a narrative video with an actress enacting the lyrics, though humor and slapstick undermine the pathos
The document analyzes three music videos:
1) "Bed of Roses" by Bon Jovi is a performance video that shows the band playing while telling a generic breakup story through gestures and expressions. Shots of the band performing fade into shots of the singer acting out the lyrics.
2) "Smokin' in the Boys Room" by Motley Crue is a concept video that reflects the band's 1980s anarchic image through slapstick humor and a fast, incoherent narrative.
3) "Leader of the Pack" by Twisted Sister covers a 1960s song through a narrative video using an actress. It contrasts pathos from the lyrics with humor through slapstick scenes of a car
The Development of Music Videos Through Timeannie addicott
This document summarizes and compares three music videos from different eras: Bee Gees' "Stayin' Alive" from 1977, The Verve's "Bitter Sweet Symphony" from 1997, and Flo Rida's "Let It Roll" from a more recent time. It analyzes elements like camera work, editing, sound, mise-en-scene, and how they have evolved from more simplistic techniques in earlier videos to more advanced and creative approaches over time as technology has progressed.
The document provides analysis of the mise-en-scene, sound editing, and camera angles used in four music videos:
- Stormzy's "Scary" uses low-key lighting and candles to create a dark, scary theme fitting the song. Fast cuts are used when the beat speeds up.
- Calvin Harris' "Sweet Nothing" uses dark lighting to depict themes of abuse and violence. Ambient sounds are added to scenes to make them more realistic.
- Coldplay's "Paradise" features the main character in an elephant costume to narrate searching for paradise. Bright colors depict happiness.
- Techniques like continuity editing, eye line matching, and a variety of shots are
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.
The document provides an in-depth analysis of the cinematography, editing, mise-en-scene, sound, and ideology presented in the music video for the song "King City" by the band Swim Deep. Key points analyzed include the use of close-ups, shots, and camera angles to tell a narrative and establish settings. Distortion effects and non-diegetic sound are used. Costuming and locations are analyzed for what they convey about the band and themes. Representation of gender and ideology around friendship and drug use are also discussed.
Mv production assignment form 2019 theaTheaJennings2
The document provides guidance for a music video assignment, including templates for pre-production tasks like generating song ideas, researching other music videos, and developing a final concept. It instructs students to customize the templates with their own work, such as selecting a song, developing multiple video ideas, and summarizing their chosen concept. The templates are meant to guide students through the pre-production phase to develop their music video project.
The document summarizes and analyzes three music videos from different eras: Bee Gees' "Stayin' Alive" from 1977, The Verve's "Bitter Sweet Symphony" from 1997, and Flo Rida's "Let It Roll" from a more recent time. It discusses the evolution of music video styles over time in terms of camera work, editing, sound, and other elements. Key points include that earlier videos like "Stayin' Alive" were more performance-based with basic shots and editing due to technology limitations, while more recent videos like "Let It Roll" utilize many special effects, creative shots, and electronic sounds.
The Development of Music Videos Through Timeannie addicott
This document summarizes and compares three music videos from different eras: Bee Gees' "Stayin' Alive" from 1977, The Verve's "Bitter Sweet Symphony" from 1997, and Flo Rida's "Let It Roll" from a more recent time. It analyzes elements like camera work, editing, sound, mise-en-scene, and how they have advanced over time due to improving technology and changing artistic styles. For example, the earliest video relies on basic shots and effects while the latest takes full advantage of creative editing, special effects, and intertextual references. Across all three, the purpose is generally to promote the artist and song through performance or narrative.
The document summarizes the production of a music video by a student group. It describes the various shots and techniques used to emphasize the lead singer and make him the focal point of the band. It also discusses how the video challenges conventions by depicting a homosexual relationship rather than a heterosexual one. Audience feedback helped the group refine the video by improving syncing of visuals and audio and clarifying the narrative. Various technologies like digital cameras, iMovie, and the internet were used in the production.
This document summarizes and analyzes two music videos based on theories by Goodwin, Gow, and Lynch. For the song "Best Day of My Life" by American Authors, the summary notes that the video uses shots that relate to the lyrics, includes close-ups of the vocalist as demanded by record companies, and blends performance with narrative elements. For the song "Sweater Weather" by The Neighbourhood, the summary states that the video cuts between scenes in time with the music, uses close-ups of band members, and transitions smoothly between scenes using fades. Both videos draw relationships between the visuals and music to support Goodwin's theory.
The music video for "Times Like These" by Foo Fighters shows the band performing under a bridge as people throw items off the bridge. Towards the end, a house is dropped on the band but falls apart, revealing them unharmed. The video was directed by Marc Klasfeld and filmed in Victorville, California. It effectively conveys the genre of rock music through the band's black clothing, guitar music, and lip syncing to Dave Grohl's vocals. Its unconventional narrative and unique visual ideas contributed to its commercial success.
This document summarizes and analyzes the codes and conventions of music videos in different genres, including pop, indie rock, and hip hop. For the pop song "Counting Stars" by One Republic, the summary notes its dual narrative structure showing the band practicing in a basement while a church meeting occurs above, representing heaven and hell. For the indie rock song "Paradise" by Coldplay, the summary discusses its narrative of Chris Martin as an elephant searching for his family and its use of live performance footage. For the hip hop song "Azonto" by Fuse ODG, the summary highlights its various location shots and use of close-ups of the artist to promote him.
The document provides information about the American rock band The Fray and their hit song "How To Save a Life". It discusses the band's origins, musical style, and record label. It then analyzes the music video for "How To Save a Life", noting its simple storyline and themes of loss, grief, and sadness portrayed through various characters. Shots become more frequent and editing intensifies as the song builds, mirroring the escalating emotion. Neutral lighting and color, close-ups, and words on screen emphasize the mood of sadness and message of acceptance.
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A review of the growth of the Israel Genealogy Research Association Database Collection for the last 12 months. Our collection is now passed the 3 million mark and still growing. See which archives have contributed the most. See the different types of records we have, and which years have had records added. You can also see what we have for the future.
it describes the bony anatomy including the femoral head , acetabulum, labrum . also discusses the capsule , ligaments . muscle that act on the hip joint and the range of motion are outlined. factors affecting hip joint stability and weight transmission through the joint are summarized.
How to Fix the Import Error in the Odoo 17Celine George
An import error occurs when a program fails to import a module or library, disrupting its execution. In languages like Python, this issue arises when the specified module cannot be found or accessed, hindering the program's functionality. Resolving import errors is crucial for maintaining smooth software operation and uninterrupted development processes.
Strategies for Effective Upskilling is a presentation by Chinwendu Peace in a Your Skill Boost Masterclass organisation by the Excellence Foundation for South Sudan on 08th and 09th June 2024 from 1 PM to 3 PM on each day.
How to Add Chatter in the odoo 17 ERP ModuleCeline George
In Odoo, the chatter is like a chat tool that helps you work together on records. You can leave notes and track things, making it easier to talk with your team and partners. Inside chatter, all communication history, activity, and changes will be displayed.
Executive Directors Chat Leveraging AI for Diversity, Equity, and InclusionTechSoup
Let’s explore the intersection of technology and equity in the final session of our DEI series. Discover how AI tools, like ChatGPT, can be used to support and enhance your nonprofit's DEI initiatives. Participants will gain insights into practical AI applications and get tips for leveraging technology to advance their DEI goals.
This slide is special for master students (MIBS & MIFB) in UUM. Also useful for readers who are interested in the topic of contemporary Islamic banking.
This presentation was provided by Steph Pollock of The American Psychological Association’s Journals Program, and Damita Snow, of The American Society of Civil Engineers (ASCE), for the initial session of NISO's 2024 Training Series "DEIA in the Scholarly Landscape." Session One: 'Setting Expectations: a DEIA Primer,' was held June 6, 2024.
2. Genre
The song Heavydirtysoul is an alternative/indie single recorded by American alternative band Twenty
One Pilots. The video of the song is interpretative as it indirectly links to a lyric that implies that the
video takes place in the individuals head.
The music video recorded for the song fits into a few of Goodwin’s theories, the most predominant
being the second where the video amplifies the lyrics to the song, taking on board the idea of the first
lyric: ‘There’s an infestation in my minds imagination’. It seems as though the events of the music
video unfold within the main character/lead singer of the video’s head, where a shot from the
beginning of the video is repeated similarly at the end, as though nothing changed.
The video also has components of the first theory, where the video demonstrates elements of a stage
performance by having the drummer from the band play the drums in the middle of a road and later on
have the two members of the band performing in the same scene.
It is also evident that the third theory is employed where the camera mainly focuses on the lead singer
of the band, Tyler Joseph, as well as heavily featuring the second member of the band, drummer Josh
Dun. Additionally, a motif of the band is followed where the makeup that Joseph wears is a constant
theme throughout both the music videos from the current album and the band’s stage shows.
3. Cinematography
The cinematography helps to convey the meaning of the music video as follows.
At the beginning if the video there are two
separate rotating canted angled shots featuring
the two members of the band respectfully who
seem to be asleep, which makes the viewer
believe that something isn’t right.
There is then a wide shot showing the car, that
the lead singer is sitting in, driving with the sun
setting in the background. This is then
juxtaposed by a mid shot of the drummer
‘waking up’ with a light sky behind him, and a
crane shot that follows Joseph in the car,
focusing on the road behind him that is clearly
set during the daytime. Again, this shows that
something is not quite right, and could tie in to
a dream like state, where time changes.
The shot is then followed up by a wide shot
seemingly from the point of view of the car as it
drivers carelessly down the road. This links to
the feeling of lost control employed by the
video. It also fits the pace of the song.
A close-up of the bands logo on the drum kit
reinforces who the band are in the video and
aids with their promotion. Additionally, the fire
in the shot is a theme used throughout the video
and also adds to surrealism.
There is a slow pan from Joseph to a mid shot of
a hooded figure who appears to be driving the
car. This shot is then repeated where it is
revealed that there is no longer anyone in the
drivers seat. It is this figure’s disappearance
that triggers the whole car to later fall apart,
alluding to the fact that the figure that was
once controlling the car (and supposedly
Joseph’s character) has gone, and he can now
break free of the confines of the vehicle.
There are multiple low angled shots of Joseph
as he stands above the dismantled car. This
could connote the fact that he has defeated the
hooded figure who was controlling him and
conquered what he represents: insecurity and
fear.
Near the end of the video there is a tracking
shot that goes past the band playing and falls on
the car, burning in the background, and is then
complimented with a wide shot that lingers on
the burning remains of the vehicle. These shots
emphasise the point that the containment and
figure has been defeated.
A similar shot to that found at the very
beginning of the video is then shown at the end,
with Joseph's eyes closed as though the events
of the video unfolded inside his head and
nothing really happened.
4. Editing
The editing of the video appears slow to begin with, with long shots that establish the scene of the
video. The pace of the video then speeds up in the scene where the car begins to fall apart. There is
quick cutting between the parts of the car falling away and Dun playing the drums. The pace at which
it is cut matches the drum beat of the song that Dun is also playing along to in the shots. The pace
then slows down again as the video finalises.
At the end of the video, after the lingering wide shot of the car burning, there is a fade to black for
about a second before cutting to a shot similar to that shown at the beginning of the video. As
mentioned previously, this could imply that the events of the video didn’t really happen, that the main
character imagined them all or it’s used as a metaphor for how the character feels.
5. Mise-en-scene
Location:
The video is set on a highway road in the middle of winter. Contextually, the video was recorded on a highway in the state of
Ohio in America, which has significant importance to the band as it is where both the members grew up.
Lighting:
The lighting of the video appears quite dark inside the car Joseph is in, and a cold blue out on the road by Dun. This is then
contrasted at the end of the video with the warm orangey glow of the fire.
Props:
The car used throughout the video could symbolise being trapped and controlled, where the inevitable destroying of the car
represents release and escape. The drums give the video a performance style and also link into the fact that the main
instrument of the second member of the band are the drums, which gives the video an authenticity and a solid link to the band
as a whole.
Costume:
The costume that Joseph wears has both significance to himself and the meaning of the video. The clothes he wears are the
same as the ones that he wears when he performs in concerts and therefore feels most recognisable in. As well as this, he has
he hands and neck painted black, as a representation of the areas in which he feels most insecure, an emblem of the album the
song is a part of.
Movement of Characters:
Dun remains in the same place throughout the whole video as the car repeatedly almost runs him over while he plays the
drums, whereas although Joseph remains in the same spot for most of the video in the car, he does a lot of gestures with his
hands and performs very expressively, even when he escapes the vehicle and is in the same shot with Dun.
6. Meaning
Although it is unclear what the metaphorical meaning of the video actually is, it can be concluded that
the main aspect of the video is the hooded figure seen around the 1 minute 42 second mark. It is
thought to be the character named ‘Blurryface’, who was created by the band as a personified
manifestation of the lead singer’s insecurities. It can therefore be presumed that the fact that the
character is driving the car and Joseph is sitting in the back means that ‘Blurryface’ is in control
during the first half of the video. As the video progresses and the character seemingly disappears, the
destruction of the car, that appeared to keep Joseph contained, could allude to the fact that
‘Blurryface’ has been overcome and because of this, Joseph is no longer trapped and controlled and so
can finally escape the car.
However, there is constant reference to loops within the video, as the car repeatedly goes around and
nearly hits Dun. The shot at the end which mimics the one at the beginning could allude to the fact
that the occurrences of the video will happen again, and not, in fact, signify that it is all over. This
therefore means that the video can be left to the viewers discretion, causing them to think about what
they just watched.
Linking to the Audience Positioning Theory by Stuart Hall, there would be a negotiated reading of the
meaning of the video due to this ‘left to viewers own interpretation’ kind of ending. Some may argue
that the ending of the video signifies the end of the ‘Blurryface’ character, whereas others can infer
that the video implies a never ending loop.
7. Purpose
Music videos are primarily meant to be used as a marketing tool for the promotion and exposure of a
song for a particular artist or producer. They therefore help to sell the song by making it memorable
for the viewer. They can also give the viewer a more substantial meaning of the song through visuals,
or conversely leave the audience questioning what they originally thought the meaning of the song
was. Overall, the purpose of both the video and the song alike is to entertain the audience.
The Heavydirtysoul video also acts as a promotion for the first song on the Blurryface studio album by
the band. It was the last video produced from the album and is therefore the last attempt at mass
marketing the album. The music video was published on the video sharing platform YouTube on the
third of February 2017 and has since generated over 37 millions views. Due to this substantial amount
of views, and the fact that it is on YouTube, could entitle the video to revenue from monetisation,
another reason why a music video may be created – to earn money itself, on top of song sales.
Additionally, the short run time of the video means that it can be played on television to further
promote their music.
8. Predominantly, the music video appeals to a young androgynous audience of both teenagers and young
adults. This is due to the fact that the fans of the band averagely fit into this category.
The fact that motifs are used throughout the video, that both identify the band and would resonate
with this audience, evidence that the video is aimed at long time viewers of the band. The video is the
last one recorded from the album, therefore it can be said that it is the final music video in the
‘series’, henceforth it would most likely be directed towards the fans as a conclusion to the music
videos that came beforehand.
The androgyny comes from the fact that although the band are present in the video, they are not
there as a voyeuristic figure and instead are only there to pass on a message through the video,
making it personal to themselves. The fact that the video only focuses on the music and the potential
message they’re trying to convey sways it neither to a primarily masculine or feminine audience.
The abstract theme to the video could link the target audience to those from a C2 social grade as in
order to understand the video, a more educated guess is required. However, a secondary audience may
be the D to E social grading as the video is made as a way to promote the song and therefore to be
enjoyed and, simply, viewed.
Target Audience