This music video is for Justin Bieber's song "Sorry". It features a group of female dancers performing an upbeat dance routine. The video was directed by Parris Goebel and choreographed to match the tropical house style of the song. It uses bright lighting and colorful costumes to create an energetic atmosphere for the dancing. Through continuity editing, the video syncs the dance moves to the rhythm and lyrics of the song. However, unlike many artist videos, it does not feature close-ups of Bieber himself.
Andrew Goodwin identifies 5 key aspects of music videos that should be analyzed:
1) Thought beats - how the visuals represent the sound and structure of the song.
2) Narrative and performance - how the story and artist's performance engage the audience and increase authenticity.
3) Star image - how the video develops the artist's persona over multiple videos.
4) Relation of visuals to song - how the visuals illustrate, repeat, or ignore the lyrics and genre.
5) Technical aspects - how camera work, editing, lighting, and effects enhance the mood and emphasize moments in the song.
Andrew Goodwin's theory outlines 5 key aspects of music videos:
1) Thought Beats - seeing the sound through elements like choruses, verses, and the singer's voice.
2) Narrative and performance - music videos need a coherent narrative and performance to work properly.
3) The star image - how the artist presents themselves visually to build their persona and brand.
4) Relation of visuals to song - visuals can illustrate, amplify, or create disjuncture from the song's meaning.
5) Technical aspects - including sound, editing, mise-en-scene, and camera work.
Andrew Goodwin identifies key features that distinguish music videos:
1) Visuals can illustrate, amplify, or contradict the lyrics and music.
2) Music genres have characteristic video styles and iconography.
3) Videos often feature voyeurism, especially in the treatment of women, and close-ups of the main artist.
4) Videos may reference other videos or media through intertextuality.
Media defining a music video andrew goodwinKatie Rickett
The document summarizes Andrew Goodwin's analysis of key aspects of music videos from his 1992 book "Dancing in the Distraction Factory". Goodwin identified five aspects for analyzing music videos: 1) relating the lyrics and visuals through the "thought through beat", 2) using narrative and performance, 3) technical elements like camerawork and editing, 4) the relationship between the song and visuals, and 5) promoting the star image. He believed these elements were important for engaging audiences and promoting songs through music videos.
Music videos conventionally last 3-4 minutes and combine live performances with narrative elements and graphics. They promote artists and songs through images that represent the meaning of lyrics. Common structures include performances, scenes of artists interacting in real-life situations, and narratives that mirror or contradict the song's message. Music videos aim to captivate viewers through techniques like direct address to the camera and imagery that emphasizes spectacle, themes, and the star's image. Technical elements like camerawork, editing, and lighting are crucial for engagingly translating the song's structure and meaning through compelling visuals.
The document discusses several theories about music videos: Sven Carlsson proposed that most performance music videos restrict artists' movement; Michael Shore argued that many videos contain clichéd imagery and elements of male fantasy; Andrew Goodwin identified five key aspects of successful music videos including illustrating lyrics, the star image, and technical elements like editing. The document also discusses how visuals can be used to illustrate, contrast with, or amplify the meaning of songs in music videos.
Andrew Goodwin identified 6 key features and 5 ways to analyze music videos in his 1992 book Dancing in the Distraction Factory. The 6 features are that videos demonstrate genre characteristics, show relationships between lyrics/visuals and music/visuals, include close-ups of artists to promote their image, reference looking/the male gaze, and include intertextual references. The 5 analysis methods are examining the music, voice, and address; narratives and performances; star images; relationships of visuals to songs; and technical aspects like camerawork, editing, and lighting.
Andrew Goodwin identified several key aspects of music videos. There is an emphasis on promoting the artist through close-ups and screen time to develop their star image. Narratives in music videos typically ignore common storytelling and focus more on performance to advertise the song. Visuals can either relate directly to the song lyrics, amplify their meaning, or be completely disjointed. Technical elements like lighting, editing, and camera work are also important to engage the audience and make the video look professional. Additionally, the structure of the song and artist's style must be considered to blend visuals and audio seamlessly.
Andrew Goodwin identifies 5 key aspects of music videos that should be analyzed:
1) Thought beats - how the visuals represent the sound and structure of the song.
2) Narrative and performance - how the story and artist's performance engage the audience and increase authenticity.
3) Star image - how the video develops the artist's persona over multiple videos.
4) Relation of visuals to song - how the visuals illustrate, repeat, or ignore the lyrics and genre.
5) Technical aspects - how camera work, editing, lighting, and effects enhance the mood and emphasize moments in the song.
Andrew Goodwin's theory outlines 5 key aspects of music videos:
1) Thought Beats - seeing the sound through elements like choruses, verses, and the singer's voice.
2) Narrative and performance - music videos need a coherent narrative and performance to work properly.
3) The star image - how the artist presents themselves visually to build their persona and brand.
4) Relation of visuals to song - visuals can illustrate, amplify, or create disjuncture from the song's meaning.
5) Technical aspects - including sound, editing, mise-en-scene, and camera work.
Andrew Goodwin identifies key features that distinguish music videos:
1) Visuals can illustrate, amplify, or contradict the lyrics and music.
2) Music genres have characteristic video styles and iconography.
3) Videos often feature voyeurism, especially in the treatment of women, and close-ups of the main artist.
4) Videos may reference other videos or media through intertextuality.
Media defining a music video andrew goodwinKatie Rickett
The document summarizes Andrew Goodwin's analysis of key aspects of music videos from his 1992 book "Dancing in the Distraction Factory". Goodwin identified five aspects for analyzing music videos: 1) relating the lyrics and visuals through the "thought through beat", 2) using narrative and performance, 3) technical elements like camerawork and editing, 4) the relationship between the song and visuals, and 5) promoting the star image. He believed these elements were important for engaging audiences and promoting songs through music videos.
Music videos conventionally last 3-4 minutes and combine live performances with narrative elements and graphics. They promote artists and songs through images that represent the meaning of lyrics. Common structures include performances, scenes of artists interacting in real-life situations, and narratives that mirror or contradict the song's message. Music videos aim to captivate viewers through techniques like direct address to the camera and imagery that emphasizes spectacle, themes, and the star's image. Technical elements like camerawork, editing, and lighting are crucial for engagingly translating the song's structure and meaning through compelling visuals.
The document discusses several theories about music videos: Sven Carlsson proposed that most performance music videos restrict artists' movement; Michael Shore argued that many videos contain clichéd imagery and elements of male fantasy; Andrew Goodwin identified five key aspects of successful music videos including illustrating lyrics, the star image, and technical elements like editing. The document also discusses how visuals can be used to illustrate, contrast with, or amplify the meaning of songs in music videos.
Andrew Goodwin identified 6 key features and 5 ways to analyze music videos in his 1992 book Dancing in the Distraction Factory. The 6 features are that videos demonstrate genre characteristics, show relationships between lyrics/visuals and music/visuals, include close-ups of artists to promote their image, reference looking/the male gaze, and include intertextual references. The 5 analysis methods are examining the music, voice, and address; narratives and performances; star images; relationships of visuals to songs; and technical aspects like camerawork, editing, and lighting.
Andrew Goodwin identified several key aspects of music videos. There is an emphasis on promoting the artist through close-ups and screen time to develop their star image. Narratives in music videos typically ignore common storytelling and focus more on performance to advertise the song. Visuals can either relate directly to the song lyrics, amplify their meaning, or be completely disjointed. Technical elements like lighting, editing, and camera work are also important to engage the audience and make the video look professional. Additionally, the structure of the song and artist's style must be considered to blend visuals and audio seamlessly.
This document analyzes two indie rock music videos based on Andrew Goodwin's 7 key areas of music video analysis. For the video "Twice" by Catfish and the Bottlemen, the summary is that it demonstrates genre characteristics of an indie rock performance video, with no direct visual representation of lyrics but some possible indirect references. The music and visuals have a reflective relationship. For the video "How Good It Was" by The Courteeners, the summary is that it also demonstrates indie rock performance characteristics with some direct visual representation of lyrics through a background projection. The music and fast-paced visuals have a reflective relationship, and motifs recur across the band's videos.
This document outlines Andrew Goodwin's theory of 5 elements that are commonly seen in successful music videos. The elements include: 1) shots changing on the beat of the music to connect visually with the song; 2) a narrative that relates to the lyrics; 3) an identifying trademark of the artist; 4) close-ups of the artist; and 5) technical aspects like editing, lighting, and costumes that create mood. Following these elements can help ensure a music video fits with professional standards and appeals to audiences. Examples are provided of how different artists incorporate some of these elements in their own music videos.
Andrew Goodwin's theory states that there are five key aspects to an effective music video: 1) Thoughtful analysis of the song's beat and lyrics, 2) A relationship between the visuals and song, 3) A narrative and performance of the song by the artist, 4) Emphasizing the star image of the protagonist through camera shots, 5) Technical elements like lighting, editing, and effects that enhance the video. Goodwin believed visuals should illustrate, amplify, or sometimes contradict the lyrics and that the artist's involvement improves engagement. Technical aspects like mise-en-scene are also important to produce a professional, entertaining video.
1) Goodwin's theory states that there are five key aspects to an effective music video: the relationship between the song and visuals, the narrative and performance, the technical aspects, star image, and thought through beat.
2) The visuals should either illustrate, amplify, or create disjuncture with the lyrics. Illustration directly explains the meaning, amplification repeats imagery, and disjuncture ignores the meaning.
3) An effective music video involves the artist performing and acting as the protagonist to make the narrative and performance of the song seem more realistic and engage audiences.
Andrew Goodwin identified five key aspects of music videos that audiences should pay attention to: the star image, narrative/performance, relation to the song's visuals, technical aspects, and "thought beats." He also noted that music videos are used to promote songs by illustrating, amplifying, or disjuncturing the song's meanings. Technical elements like lighting, editing, and camera work are important for holding the video together and emphasizing parts of the song. Music videos also aim to develop the star's image over time through techniques like close-ups and intertextual references.
Andrew Goodwin created a theory identifying 7 key aspects that make a successful music video. These include: 1) A relationship between lyrics and visuals, 2) A narrative performance, 3) Star iconography with close-ups, 4) Voyeurism, 5) Intertextuality, 6) Technical elements, and 7) Genre conventions. Goodwin believed lyrics could illustrate, disjuncture from, amplify, or abstract from visuals. Narratives help audiences connect to artists. Iconography and close-ups make artists recognizable. Voyeurism uses intimacy and sexuality. Intertextuality references other works. Technical and genre aspects round out successful music videos.
Andrew Goodwin identified five key aspects of music videos that audiences should pay attention to: the star image, narrative/performance, relation to the song's visuals, technical elements, and "thought beats." He also noted that music videos are used to promote songs by illustrating lyrics, amplifying meanings, or disregarding the song's meaning. Technical elements like lighting, editing, and camera work are important for holding the video together and engaging the audience. Music videos also focus heavily on the artist's image through close-ups and sometimes feature voyeuristic portrayals of women to catch viewers' attention.
The Preatures are an Australian indie band from Sydney formed in 2010. They won a songwriting competition in 2013 for their song "Is This How You Feel?" from their album Blue Planet Eyes. The music video for "Is This How You Feel?" focuses on a live stage performance and features characteristics common to indie music videos, such as dark lighting, a monochromatic color palette, and an emphasis on the band's energetic performance style. The video uses editing, camerawork, lighting, and Isabella Manfredi's movements to visually represent and amplify the song's lyrics and musical tone.
The document analyzes the music video for the song "Carry Me" by the indie band Bombay Bicycle Club. It discusses several aspects of the video, including how it demonstrates genre characteristics of the indie genre through its unique animation style and lack of close-ups of the artist. It also examines relationships between the lyrics and visuals, music and visuals, use of motifs, notions of looking, and lack of intertextual references. Overall, the summary demonstrates how the video conveys the band's original style while also incorporating some common music video conventions.
Andrew Goodwin identifies 5 key aspects that audiences look for in music videos: thought beats, narrative and performance, star image, the relationship between visuals and song, and technical musical aspects. Specifically, thought beats involve interpreting the music and identifying the artist's unique voice and storytelling. Narrative and performance keep audiences interested by working together authentically. Star image is vital for an artist's recognition and development over time. Visuals can illustrate, amplify, or create disjuncture from the song's meaning. Technical elements like camerawork, editing, lighting, and synchronization with the music's rhythm are important for professional quality and appeal.
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.
There are 5 key aspects to analyze in music videos: 1) thought beats which sees the sound structure and artist's voice, 2) narrative and performance where videos should coherently repeat the essence of the song, 3) the star image and developing meta narrative, 4) the relation of visuals to illustrate, amplify, or create disjuncture from the song lyrics, and 5) technical aspects like camera work, editing, lighting, and cuts that hold the video together and emphasize the musical beats.
Andrew Goodwin identified 7 key characteristics typically found in music videos: 1) Demonstrating genre characteristics 2) Relationship between lyrics and visuals 3) Relationship between music and visuals 4) Close-ups of artists 5) References to looking/voyeurism 6) Recurring motifs 7) Intertextual references. The document discusses applying these characteristics, specifically matching genre, lyrics, and music, to their music video.
Steve Archer's theory is that music videos should have a strong relationship between narrative and performance. Cutting between these keeps audiences engaged. The document discusses balancing narrative and performance in their video, inspired by the original "The Mother We Share" video.
John Stewart's theory is that
Andrew Goodwin identified 5 key aspects of music videos: 1) Thought beats which analyze the structure of the song and artist's voice, 2) Narrative and performance where the artist acts out a role, 3) The star image which portrays the artist's unique style, 4) The relation of visuals to the song through illustrating, disjuncturing, or amplifying the lyrics, and 5) Technical aspects like lighting, effects, and editing that hold the video together. Goodwin believed music videos should involve the artist's performance to look realistic and promote the song through visual analysis of the lyrics.
Andrew Goodwin identified 5 key aspects of music videos: 1) Thought beats which analyze the structure and vocals of the song, 2) Narratives and performances where the artist acts out a role, 3) The star image and how the artist is portrayed, 4) The relation of visuals to the lyrics of the song through illustration, disjuncture, or amplification, and 5) Technical aspects like lighting, editing, and mise-en-scene that hold the video together and set the mood. Goodwin believed these elements were important for promoting the song and artist through their unique style and authentic portrayal in the music video.
Andew Goodwin's theory on Illustration, amplification and disjunctureJosh Hooper
Andrew Goodwin identified three ways that a music video can connect to the song: illustration, amplification, and disjuncture. Illustration directly illustrates the song lyrics visually. Amplification builds on the song's meanings through performance and narrative. Disjuncture intentionally ignores the song's content and genre to create new meanings, often using abstract imagery unrelated to the lyrics.
1. Andrew Goodwin's theory from his book 'Dancing in the Distraction Factory' breaks down music videos into 8 conventions: thought beats, narrative and performance, star image, relation of visuals to songs, technical codes, frequency reference to looking, demonstrating genre characteristics, and intertextuality.
2. The conventions include representing the artist's voice and brand, telling a story through lyrics, having the artist involved to feel authentic, using the artist as the center of attention to promote their image and products, relating visuals to lyrics through different archetypes, using technical elements like editing and lighting to set mood, employing voyeurism and direct address of the audience, demonstrating expectations of different music genres, and using
This document analyzes the music videos for Taylor Swift's "22" and Bridgit Mendler's "Ready or Not" in terms of mise-en-scène elements like location, costumes, props, makeup, and camera work. It finds that both videos feature beach locations, layered accessories, and props like sunglasses and confetti poppers to convey a youthful, fun theme. Natural makeup and outfits like loose skirts also help establish the pop genre and target audience. Through the use of multiple locations, costumes, angles and shots, the videos maintain an upbeat, fast-paced visual style to match the songs.
The conventions of a music video include featuring the artist or band. Shots are usually close ups, mid shots, and long shots to show emotion, scenery, and actions like playing instruments or dancing. The mise-en-scene varies by genre - rock videos often show live performances while R&B features dancing and crisp outfits. Music videos use editing techniques like jump cuts and dissolves. The purpose is to promote the artist's song and help audiences understand the song's meaning. There are three main types of music videos: concept-based use obscure ideas, performance-based feature the artist performing, and narrative-based tell a story.
The document discusses several characteristics of music videos based on Andrew Goodwin's rules for different music video genres. It provides examples from the music video for Nicki Minaj's "Super Bass" to illustrate the characteristics of an image genre video, such as a focus on the artist's appearance and inclusion of choreographed dance routines. It also analyzes relationships between the song's lyrics, music, and visual elements of the video.
Andrew Goodwin proposed a theory that defines the typical structure and components of music videos. He identified 7 key principles that are usually present in order for music videos to effectively convey their message and promote the artist. These include links between the lyrics and visuals, links between the music and visuals, genre characteristics, notions of looking and voyeurism, multiple close-ups of the artist, and intertextual references. Goodwin believed incorporating these principles allows record labels to successfully market and construct stars out of their artists.
This music video for Kyle's song "iSpy" features Kyle and Lil Yachty with their heads digitally placed on children's bodies. It has a fun, colorful style appropriate for a pop song. Though not literally relating to the lyrics, the video uses fast editing and dancers to link the visuals to the upbeat music. It focuses on the artists as demanded by music labels while also incorporating the male gaze through shots of scantily-clad women. Lil Yachty develops motifs like his bright red dreadlocks across multiple music videos.
This document analyzes two indie rock music videos based on Andrew Goodwin's 7 key areas of music video analysis. For the video "Twice" by Catfish and the Bottlemen, the summary is that it demonstrates genre characteristics of an indie rock performance video, with no direct visual representation of lyrics but some possible indirect references. The music and visuals have a reflective relationship. For the video "How Good It Was" by The Courteeners, the summary is that it also demonstrates indie rock performance characteristics with some direct visual representation of lyrics through a background projection. The music and fast-paced visuals have a reflective relationship, and motifs recur across the band's videos.
This document outlines Andrew Goodwin's theory of 5 elements that are commonly seen in successful music videos. The elements include: 1) shots changing on the beat of the music to connect visually with the song; 2) a narrative that relates to the lyrics; 3) an identifying trademark of the artist; 4) close-ups of the artist; and 5) technical aspects like editing, lighting, and costumes that create mood. Following these elements can help ensure a music video fits with professional standards and appeals to audiences. Examples are provided of how different artists incorporate some of these elements in their own music videos.
Andrew Goodwin's theory states that there are five key aspects to an effective music video: 1) Thoughtful analysis of the song's beat and lyrics, 2) A relationship between the visuals and song, 3) A narrative and performance of the song by the artist, 4) Emphasizing the star image of the protagonist through camera shots, 5) Technical elements like lighting, editing, and effects that enhance the video. Goodwin believed visuals should illustrate, amplify, or sometimes contradict the lyrics and that the artist's involvement improves engagement. Technical aspects like mise-en-scene are also important to produce a professional, entertaining video.
1) Goodwin's theory states that there are five key aspects to an effective music video: the relationship between the song and visuals, the narrative and performance, the technical aspects, star image, and thought through beat.
2) The visuals should either illustrate, amplify, or create disjuncture with the lyrics. Illustration directly explains the meaning, amplification repeats imagery, and disjuncture ignores the meaning.
3) An effective music video involves the artist performing and acting as the protagonist to make the narrative and performance of the song seem more realistic and engage audiences.
Andrew Goodwin identified five key aspects of music videos that audiences should pay attention to: the star image, narrative/performance, relation to the song's visuals, technical aspects, and "thought beats." He also noted that music videos are used to promote songs by illustrating, amplifying, or disjuncturing the song's meanings. Technical elements like lighting, editing, and camera work are important for holding the video together and emphasizing parts of the song. Music videos also aim to develop the star's image over time through techniques like close-ups and intertextual references.
Andrew Goodwin created a theory identifying 7 key aspects that make a successful music video. These include: 1) A relationship between lyrics and visuals, 2) A narrative performance, 3) Star iconography with close-ups, 4) Voyeurism, 5) Intertextuality, 6) Technical elements, and 7) Genre conventions. Goodwin believed lyrics could illustrate, disjuncture from, amplify, or abstract from visuals. Narratives help audiences connect to artists. Iconography and close-ups make artists recognizable. Voyeurism uses intimacy and sexuality. Intertextuality references other works. Technical and genre aspects round out successful music videos.
Andrew Goodwin identified five key aspects of music videos that audiences should pay attention to: the star image, narrative/performance, relation to the song's visuals, technical elements, and "thought beats." He also noted that music videos are used to promote songs by illustrating lyrics, amplifying meanings, or disregarding the song's meaning. Technical elements like lighting, editing, and camera work are important for holding the video together and engaging the audience. Music videos also focus heavily on the artist's image through close-ups and sometimes feature voyeuristic portrayals of women to catch viewers' attention.
The Preatures are an Australian indie band from Sydney formed in 2010. They won a songwriting competition in 2013 for their song "Is This How You Feel?" from their album Blue Planet Eyes. The music video for "Is This How You Feel?" focuses on a live stage performance and features characteristics common to indie music videos, such as dark lighting, a monochromatic color palette, and an emphasis on the band's energetic performance style. The video uses editing, camerawork, lighting, and Isabella Manfredi's movements to visually represent and amplify the song's lyrics and musical tone.
The document analyzes the music video for the song "Carry Me" by the indie band Bombay Bicycle Club. It discusses several aspects of the video, including how it demonstrates genre characteristics of the indie genre through its unique animation style and lack of close-ups of the artist. It also examines relationships between the lyrics and visuals, music and visuals, use of motifs, notions of looking, and lack of intertextual references. Overall, the summary demonstrates how the video conveys the band's original style while also incorporating some common music video conventions.
Andrew Goodwin identifies 5 key aspects that audiences look for in music videos: thought beats, narrative and performance, star image, the relationship between visuals and song, and technical musical aspects. Specifically, thought beats involve interpreting the music and identifying the artist's unique voice and storytelling. Narrative and performance keep audiences interested by working together authentically. Star image is vital for an artist's recognition and development over time. Visuals can illustrate, amplify, or create disjuncture from the song's meaning. Technical elements like camerawork, editing, lighting, and synchronization with the music's rhythm are important for professional quality and appeal.
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.
There are 5 key aspects to analyze in music videos: 1) thought beats which sees the sound structure and artist's voice, 2) narrative and performance where videos should coherently repeat the essence of the song, 3) the star image and developing meta narrative, 4) the relation of visuals to illustrate, amplify, or create disjuncture from the song lyrics, and 5) technical aspects like camera work, editing, lighting, and cuts that hold the video together and emphasize the musical beats.
Andrew Goodwin identified 7 key characteristics typically found in music videos: 1) Demonstrating genre characteristics 2) Relationship between lyrics and visuals 3) Relationship between music and visuals 4) Close-ups of artists 5) References to looking/voyeurism 6) Recurring motifs 7) Intertextual references. The document discusses applying these characteristics, specifically matching genre, lyrics, and music, to their music video.
Steve Archer's theory is that music videos should have a strong relationship between narrative and performance. Cutting between these keeps audiences engaged. The document discusses balancing narrative and performance in their video, inspired by the original "The Mother We Share" video.
John Stewart's theory is that
Andrew Goodwin identified 5 key aspects of music videos: 1) Thought beats which analyze the structure of the song and artist's voice, 2) Narrative and performance where the artist acts out a role, 3) The star image which portrays the artist's unique style, 4) The relation of visuals to the song through illustrating, disjuncturing, or amplifying the lyrics, and 5) Technical aspects like lighting, effects, and editing that hold the video together. Goodwin believed music videos should involve the artist's performance to look realistic and promote the song through visual analysis of the lyrics.
Andrew Goodwin identified 5 key aspects of music videos: 1) Thought beats which analyze the structure and vocals of the song, 2) Narratives and performances where the artist acts out a role, 3) The star image and how the artist is portrayed, 4) The relation of visuals to the lyrics of the song through illustration, disjuncture, or amplification, and 5) Technical aspects like lighting, editing, and mise-en-scene that hold the video together and set the mood. Goodwin believed these elements were important for promoting the song and artist through their unique style and authentic portrayal in the music video.
Andew Goodwin's theory on Illustration, amplification and disjunctureJosh Hooper
Andrew Goodwin identified three ways that a music video can connect to the song: illustration, amplification, and disjuncture. Illustration directly illustrates the song lyrics visually. Amplification builds on the song's meanings through performance and narrative. Disjuncture intentionally ignores the song's content and genre to create new meanings, often using abstract imagery unrelated to the lyrics.
1. Andrew Goodwin's theory from his book 'Dancing in the Distraction Factory' breaks down music videos into 8 conventions: thought beats, narrative and performance, star image, relation of visuals to songs, technical codes, frequency reference to looking, demonstrating genre characteristics, and intertextuality.
2. The conventions include representing the artist's voice and brand, telling a story through lyrics, having the artist involved to feel authentic, using the artist as the center of attention to promote their image and products, relating visuals to lyrics through different archetypes, using technical elements like editing and lighting to set mood, employing voyeurism and direct address of the audience, demonstrating expectations of different music genres, and using
This document analyzes the music videos for Taylor Swift's "22" and Bridgit Mendler's "Ready or Not" in terms of mise-en-scène elements like location, costumes, props, makeup, and camera work. It finds that both videos feature beach locations, layered accessories, and props like sunglasses and confetti poppers to convey a youthful, fun theme. Natural makeup and outfits like loose skirts also help establish the pop genre and target audience. Through the use of multiple locations, costumes, angles and shots, the videos maintain an upbeat, fast-paced visual style to match the songs.
The conventions of a music video include featuring the artist or band. Shots are usually close ups, mid shots, and long shots to show emotion, scenery, and actions like playing instruments or dancing. The mise-en-scene varies by genre - rock videos often show live performances while R&B features dancing and crisp outfits. Music videos use editing techniques like jump cuts and dissolves. The purpose is to promote the artist's song and help audiences understand the song's meaning. There are three main types of music videos: concept-based use obscure ideas, performance-based feature the artist performing, and narrative-based tell a story.
The document discusses several characteristics of music videos based on Andrew Goodwin's rules for different music video genres. It provides examples from the music video for Nicki Minaj's "Super Bass" to illustrate the characteristics of an image genre video, such as a focus on the artist's appearance and inclusion of choreographed dance routines. It also analyzes relationships between the song's lyrics, music, and visual elements of the video.
Andrew Goodwin proposed a theory that defines the typical structure and components of music videos. He identified 7 key principles that are usually present in order for music videos to effectively convey their message and promote the artist. These include links between the lyrics and visuals, links between the music and visuals, genre characteristics, notions of looking and voyeurism, multiple close-ups of the artist, and intertextual references. Goodwin believed incorporating these principles allows record labels to successfully market and construct stars out of their artists.
This music video for Kyle's song "iSpy" features Kyle and Lil Yachty with their heads digitally placed on children's bodies. It has a fun, colorful style appropriate for a pop song. Though not literally relating to the lyrics, the video uses fast editing and dancers to link the visuals to the upbeat music. It focuses on the artists as demanded by music labels while also incorporating the male gaze through shots of scantily-clad women. Lil Yachty develops motifs like his bright red dreadlocks across multiple music videos.
The document provides an analysis of the Bombay Bicycle Club music video for the song "Carry Me". It finds that the video fits into the illustration genre by including both a performance of the song and a simple narrative of a dancing couple. While being largely performance-based, the video creates a relationship between the lyrics and visuals through the depiction of the couple's struggling relationship. Throughout the video, the music and visuals are carefully matched to create a strong bond. Motifs like drum playing are repeated, and eye contact with the camera is used sparingly to reference the notion of looking while maintaining the band's original style. The video contains no intertextual references, staying true to the indie genre.
The document analyzes Andrew Goodwin's 7 key ideas about music video analysis. It discusses how music videos demonstrate genre characteristics through imagery, how the relationship between lyrics and visuals can be illustrative, amplifying or contradictory, and how the music and visuals typically have a reflective tone. It notes that record labels often demand close-ups of artists and that artists may develop recurring visual motifs. The document provides examples from the Pulp music video "Babies" and the Blur music video "The Universal" to illustrate these points.
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.
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
This music video for the song "Strong" by London Grammar features a narrative-driven story rather than focusing on the band as performers. It shows a man transforming himself into a human fireworks display for the enjoyment of his daughter. Though the artist is present, they are not the main subject. The slow, calm song is represented through longer shots and fewer cuts compared to faster songs. The video leaves room for interpretation but possibly illustrates the theme of parental sacrifice and love. Technical elements like lighting, effects and setting are used to create atmosphere and emphasize the relationship between the man and his daughter.
Andrew Goodwin’s Theory and Analysis of Music Videoschristieshee
This document outlines Andrew Goodwin's theory for analyzing music videos based on codes and conventions. It discusses several elements:
1) Seeing the sounds - how the visuals relate to the music through illustration, amplification, or contradiction. Faster songs use quick cuts while slower songs use longer shots.
2) Narrative and performance - videos need a storyline and performance element to engage viewers. Artists typically act as both performer and narrator.
3) Star image - videos promote the artist as the main subject and increase their profile through close-ups and screen time. Artists develop signature styles of representation.
4) Relation of visuals to song - videos can disjuncture, amplify, or illustrate
Post 4 - External Group Music Video Analysisvcolquhoun12
The document provides an analysis of the music video "We The Wild - You Lost My Mind" in 3 paragraphs. It summarizes that the video begins with a record being played, featuring small animated lines that represent the music. Throughout the video, these illustrations link to the lyrics being sung. The video primarily features the two male band members and creates a female gaze on them, with few other elements to make it interesting. It lacks live footage of the band that could make it more engaging.
Andrew Goodwin’s Theory & Analysis of Music Videoschristieshee
This document outlines Andrew Goodwin's theory for analyzing music videos based on codes and conventions. It discusses several elements:
1) Seeing the sounds - how the visuals in a video relate to the music through illustration, amplification, or contradiction. Faster songs typically use quicker cuts while slower songs use longer shots.
2) Narrative and performance - videos tell a story and feature artist performance to engage viewers. Artists are usually the main subject.
3) Star image - videos promote the artist and their development. Artists have signature styles of representation.
4) Relation of visuals to song - visuals can disjuncture, amplify, or illustrate the song's meaning.
5)
The music video for "In the Name of Love" by Martin Garrix and Bebe Rexha tells a simple love story through visuals that represent the lyrics. It shows two young characters initially separated but then finding each other by a pool, representing their discovery of love. The video uses fast editing, vivid colors, and performance shots of Bebe Rexha singing to portray the emotions of the pop love song. It draws inspiration from the film The Great Gatsby through its ornate mansion setting and flashy costumes.
This music video by Chris Brown features him dancing and lip syncing to his song alongside various dancers portraying different cultural dance styles. It switches between shots of the dancers and Chris Brown to match the beat of the song. The video aims to represent the R&B genre through dance but also includes some sci-fi elements at the beginning. It portrays a diverse group of young people enjoying the music and each other's company in a club setting.
The document provides a summary of 7 key ideas from Andrew Goodwin's analysis of music videos:
1) Music videos demonstrate genre characteristics like stage performances or dance routines.
2) There is typically a relationship between lyrics and visuals, with lyrics represented through images.
3) The music and visuals usually have a reflective relationship where one mirrors the tone of the other.
4) Record labels often demand close-ups of artists and artists may develop recurring visual motifs.
5) Videos frequently reference looking through screens/mirrors and treat female bodies voyeuristically.
6) Artists continue visual styles across multiple videos.
7) Videos commonly make intertextual references to other media like films or
The document outlines 7 key ideas about music videos:
1) Music videos demonstrate genre characteristics like stage performances for rock bands.
2) There is usually a relationship between lyrics and visuals where lyrics are represented through images.
3) The tone and atmosphere of visuals usually reflects the music through illustrating or amplifying it.
The music video for "Girls" by The 1975 both illustrates genre conventions of indie music videos but also subverts some expectations. It begins in black and white like their typical videos but incorporates bright colors. There are many close-ups of the lead singer per record label demands. The video portrays a narrative of being trapped by clingy girls through lyrics and visuals, though it is primarily a performance-based video of the band. Motifs like their logo and monochrome styles recur across their work. The editing and shots match the music's rhythm, creating an effective overall video.
The document analyzes Andrew Goodwin's 7 characteristics of music videos and applies them to Taylor Swift's music video for "Shake It Off". The summary analyzes how the video demonstrates genre characteristics of pop music like dance routines and bright colors. It also examines how the video represents lyrics visually through Taylor's dancing, and how the quick cuts and lip syncing match the upbeat tone of the music. Close ups of Taylor are used as demanded by record labels. The video does not contain voyeuristic imagery or recurring motifs across Taylor's work, as this song marked a transition to her purely pop style.
The document analyzes Andrew Goodwin's 7 characteristics of music videos and then provides examples from the music videos "Shake It Off" by Taylor Swift and "Deeper" by Ella Eyre. Some of the key characteristics discussed include the relationship between lyrics and visuals, the tone and atmosphere matching the music, close ups of the artist, and intertextual references. Both videos demonstrate genre characteristics of pop music such as dance routines and performances by the artist.
This document provides an analysis of Aiden Grimshaw's 2015 music video for his song "Virtually Married" according to Andrew Goodwin's 7 key areas for analyzing music videos. It finds that the video demonstrates several characteristics of its indie dance genre, including its color scheme, editing style, and visual aesthetic. It also establishes relationships between the lyrics and visuals, as well as between the music and visuals, with the tone and pacing of the video reflecting the song. As a relatively new artist, the video aims to develop motifs for Grimshaw through many close-ups and medium shots of him to establish his style. Finally, the analysis finds no clear intertextual references to other works in the video,
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.
Heart Touching Romantic Love Shayari In English with ImagesShort Good Quotes
Explore our beautiful collection of Romantic Love Shayari in English to express your love. These heartfelt shayaris are perfect for sharing with your loved one. Get the best words to show your love and care.
Fashionista Chic Couture Maze & Coloring Adventures is a coloring and activity book filled with many maze games and coloring activities designed to delight and engage young fashion enthusiasts. Each page offers a unique blend of fashion-themed mazes and stylish illustrations to color, inspiring creativity and problem-solving skills in children.
Boudoir photography, a genre that captures intimate and sensual images of individuals, has experienced significant transformation over the years, particularly in New York City (NYC). Known for its diversity and vibrant arts scene, NYC has been a hub for the evolution of various art forms, including boudoir photography. This article delves into the historical background, cultural significance, technological advancements, and the contemporary landscape of boudoir photography in NYC.
This document announces the winners of the 2024 Youth Poster Contest organized by MATFORCE. It lists the grand prize and age category winners for grades K-6, 7-12, and individual age groups from 5 years old to 18 years old.
This tutorial offers a step-by-step guide on how to effectively use Pinterest. It covers the basics such as account creation and navigation, as well as advanced techniques including creating eye-catching pins and optimizing your profile. The tutorial also explores collaboration and networking on the platform. With visual illustrations and clear instructions, this tutorial will equip you with the skills to navigate Pinterest confidently and achieve your goals.
2. Justin Bieber – Sorry
The song ‘sorry’ is by a Canadian singer and songwriter, Justin Bieber. Released
in October 2015 as the second single from his fourth studio album, Purpose.
Written by Julia Michaels, Justin Tranter, Sonny Moore, Michael Tucker and
Bieber; the song was produced by Skrillex and Blood. A dancehall-pop and
tropical house song, "Sorry" contains in its instrumentation "brassy horn bleats",
warm island rhythms and a dembow riddim beat. Lyrically, "Sorry" is a plea for a
chance to apologize to a lover, with Bieber asking forgiveness and a second
chance to redeem himself. The official music video for "Sorry" was released on
October 22, 2015, which features the New Zealand dancers of ReQuest Dance
Crew and The Royal Family dance crew, was directed and choreographed by
New Zealander Parris Goebel, who also appears as a dancer. The video was
initially intended to be a lyric video and was eventually kept as a dance video.
Describing it as "colourful, fun, and upbeat", Goebel said: “We wanted to just
bring more life to it. We were going for a vintage '90s vibe. Me and two of my
friends pretty much styled everyone. We all did our own makeup and were
spontaneous... Most of it was my wardrobe, actually. We just kind of put together
what we had." As of August 2017, the music video has received 2.7 billion views
on YouTube, making it the fourth most viewed video on the site, the 22nd to
reach 1 billion, the fourth fastest to reach 1 billion (behind Adele's "Hello").
3. Music videos demonstrate genre
characteristics.
Lighting.
In this music video the lighting is bright which allows all the dancers to be
seen clearly. The bright lighting reflects the energy of the upbeat song and
the dancing during the video. The lighting stays the same all the way
through the video to focus on the dancer rather than different lighting effects
which can be distracting for the audience. The bright lighting is enhanced
by the white background which makes it seem brighter. This type of lighting
is conventional for a pop/ dance performance music video.
Performance.
This music video is performance amplification based (which is
conventional for the pop/ chart music genre). However it is more
common for bands/ groups to have performance based videos where they
perform dance routine. Most songs of this genre are dance songs and
therefore link to performance based videos. The video shows a group of
all female dancers performing a dance routine to the song. The all female
dance group addresses a male audience and links to the male gaze. The
dance routine performance by the dancers is a lively and upbeat modern
dance associated with the pop genre of music.
4. Music videos demonstrate genre
characteristics 2.
Styling.
All the dancers in this video are wearing different outfits which can be
unconventional for a dance group as usually they are all dressed in the same way
with the lead artist/artists in a different outfit to make them stand out more than the
dancers in the background. However the artist (Justin Bieber) doesn’t feature in
this video therefore doesn’t have to standout over the dancers. The dancers are
wearing bright, colourful and unique outfits to make them stand out against the
white back drop. The costumes are casual outfits to make the dancers more
relatable to their audience of mainly young girls as well as fitting in with the current
trends as this genre of music heavily focuses on fashion and styling. The clothing
appears to fit with an 80s style of bright colours. The woman wear tight and short
outfits to appeal to the male gaze (Laura Mulvey's theory).The overall style of the
video fits the genre of music and song. The mise en scene other than the dancers
outfits is basic with nothing else in the video.
Editing/ camera work.
Continuity editing is used throughout the video to make it seem more realistic
and make the video an easy watch without confusing the audience. The video
has jump cuts which are in time with the music to emphases the beats in the
music but most of the time the shots are just cute to make it look smooth and
following.
5. There is a relationship between music
and visuals.
There is a clear relationship between the visuals and the music for this
music video. It is convention for the pop/dance/chart genre of music to
have a performance based video where a group of dancers preform a
routine as it best connections to the genre of music. The fun style of the
song match's the fun dance routine and outfits they are wearing. The
dance routine is in time with the song so there is a connection between
the music and the video which is convention for a music video and
makes it run smoothly when watching and listening to the video. A jump
cut is used for the main beats of the song in the chorus to emphasise
the beats as this is the most important and memorable part of the song.
This is unlike disjunctive videos were the video and music have no
relationship. The editing of the video connects with the fun and lively
tempo of the song as it is quick which means the visuals and song links
in all areas.
6. There is a relationship between lyrics and
visuals.
This music video is a performance based video so therefore the lyrics
and visuals of the dancers don’t have much of a connection. Lyric and
visual relationships are mainly seen in narrative music videos. It is
unconventional to see a dance group singing along to a song while
dancing in the music video shown by this video where the dancers only
repeat one word in the song. However the whole dance routine is in time
with the beats of the song and some parts of the video link to the lyrics.
The line “missing more than just your body” is linked to the
visuals as the dancers rub there bodies during this line.
The word “sorry” is repeated as part of the chorus where the
dancers also sing that one word.
In the middle of the song at the chorus five dancers stand in front of
the camera and song along to the lyrics and include hand actions; at
the line “missing more than just your body” one of the dancers
holds up her arm while anther dancer touches her arm to link to the
lyric.
7. The demands of the record label will include the need for lots of close ups of
the artist and the artist may develop motifs which recur across their work
(a visual style).
It is important fro close up shots to be used in music videos for the artist
to be recognised and for the audience to become familiar with them. This
music video is unconventional as it doesn’t feature the artist (Bieber) in
the video therefore there is no close up shots of the artist which may
develop a motif across their work. There are close up shots of the main
dancers in the video yet these aren’t as important as the dancers don’t
need to be recognised. There isn’t one main character in the video which
is also unconventional in music videos. Justin Bieber doesn’t have a
particular visual style which is carried through all his music videos as each
one is different to the last. ‘Cold water’ and ‘Love yourself’ are both
performance based videos which doesn’t feature the artist Justin Bieber in
the same way as ‘sorry’ doesn’t. Yet ‘what do you mean?’, ‘ I'm the one’
and ‘purpose’ do feature the
artist(s).
In the music videos that the artist, Justin Bieber, does feature in
such as “what do you mean?” or “I'm the one” they do include
close up images of the artists face and body mainly to create a motif.
After releasing four studio albums Justin Bieber is already a well
recognised artist therefore has already created a visual style in his
earlier work and now doesn’t need to feature in his nee music videos
8. There are often intertextual
reference.
After Justin Biebers very public relationship and black up with Selena
Gomez people believed that the song “sorry” was a apology to her;
However in an interview Bieber revealed the true meaning of the song
as he says after having a couple of run-ins with the law and general
bad behaviour he wanted to say sorry to everyone including the
media. The artist said his album purpose (which contained “sorry”)
was about him turning over a new leaf in his life.
At the start of the music video the dancers are seen holding up a
sign with the title of the song, “sorry” on it. This is similar to the
film love actually where a character is also seen holding up a sign
with writing on it (as shown in the image to the right).
The dancers outfits are branded such as Adidas, Kappa,
Timberland and Nike. The video promotes these brands as an
audience watching the video might want to buy the outfits after
watching the video.
9. There is frequently reference to notion of looking and particularly voyeuristic treatment of the
female body.
All the characters/dancers in the music video are females with some
of the actors wearing short shorts, crop tops and tight tops which
could be seen as sexual, however the video doesn’t particularly
contain voyeuristic treatment of the female body as the song is a pop
song targeted at a younger teenage audience. The lyrics do
reference a woman's body as its says “missing more than just your
body” where the dancers then touch there own bodies.
However some of Justin Bieber other music videos such as “I'm the
one” do reference and feature voyeuristic treatment of the female
body as shown in the images to the right. The video is conventional
in the way that the actors do make eye contact with the audience and
look straight at the camera to make the audience feel involved and
connected with the visuals.
10. The artist may develop motifs or iconography that recur across
their work (a visual style)
This artist doesn’t have an iconic motif that is developed across his work
as each music videos he creates is different for a different type and genre
of song. Bieber works with a lot of other artist such as, Major Lazer, DJ
Khaled and Nicki Minaj so therefore the videos for the songs that he is
featured on aren’t created to develop his own style as they have to be for
the other artists as well. Bieber is usually the featured artist on the song
and therefore the video focuses on the main artist in the music video
visuals. However Justin Bieber does have a character he has to maintain
across all of his work.