Music Theories
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This document summarizes several theories about music video conventions: 1. Andrew Goodwin proposed seven common elements of music videos, including demonstrating genre characteristics, relating lyrics and visuals, and relating music and visuals. 2. David Buckingham argued that genres are constantly changing and shouldn't be predetermined, as any factor could be genre relevant depending on interpretation. 3. Nicholas Abercrombie believed that television producers exploit genre conventions in music videos to make economic sense and turn a profit.
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History of music videos
The document traces the evolution of music videos from early synchronized sound films in the 1920s-1930s to modern music videos that emerged with the launch of MTV in 1981. Key developments include early "soundies" in the 1930s, promotional films for artists in the 1960s-1970s that set the template for modern music videos, and the rise of the music video industry in the 1980s as new technologies made high production videos economically viable. The document examines how various films and videos helped establish music videos as a new art form and promotional tool for the music industry.
Goodwin's theory intro and tasks
Andrew Goodwin published a book in 1992 called "Dancing in the Distraction Factory" that came up with codes and conventions for music videos. He identified 7 key features of music videos: 1) They demonstrate genre characteristics through elements like dance routines, signing, or scantily clad women. 2) The visuals have a relationship to the lyrics, often illustrating them. 3) The visuals have a relationship to the music, often amplifying or contradicting it. 4) Record labels demand close-ups of artists. 5) Artists develop recurring visual motifs. 6) Videos frequently reference the notion of voyeuristic looking. 7) They include intertextual references to pop culture.
Question 2
The combination of the main product and ancillary texts is effective at creating brand identity. The artist is recognizable through similar imagery and font used across the album artwork, music video, and other ancillary pieces. This helps audiences connect the album cover to the video and vice versa. The simplistic yet striking ancillary designs that feature the artist are inviting and communicate the British hip-hop genre by drawing on its conventions. They also appeal to the target teenage audience and intrigue them to learn more about the artist through the juxtaposition of images on the front and back album covers.
Proposal
The proposal is for a music video for the indie artist King Krule's song "Easy easy". The video will feature one actor and fast cuts that follow him around various streets in London, with the cuts keeping time with the lyrics and beat of the song. The video aims to keep it simple but unique by filming in a variety of locations. The target audience is indie fans, mostly teenagers but also older audiences as the song discusses issues from King Krule's childhood to late teens.
History of music videos
The document traces the evolution of music videos from early examples in the 1920s-1930s that were shown in theaters due to the lack of television, to Tony Bennett's 1956 video which is considered the first to air on television. It then discusses pivotal moments like the Beatles' involvement in "A Hard Day's Night" in 1964 and their innovative video for "Penny Lane" in 1967. Subsequent entries highlight the development of performance and narrative elements in the 1970s, experimental videos in the early 1970s, and the launch of MTV in 1981 which helped promote and market music videos globally. More recent videos discussed incorporate different visual styles and animation.
Music Video presentation
The document discusses the history and evolution of music videos from their origins in the 1920s to promote artists and songs to modern highly produced videos. It notes some of the first music videos created in the late 19th century and highlights influential videos by Michael Jackson and Beyoncé that achieved widespread popularity due to their unique visuals and dance choreography. The document also outlines some common cinematography and editing techniques used in successful modern music videos.
Evaluation question 1
This document discusses how the media product applies, challenges, and develops conventions of real music videos. It analyzes conventions for locations, costumes, relationships between lyrics and visuals, narratives, and cinematography in indie rock music videos. The media product uses conventions like natural locations and saturated cinematography but challenges conventions by not including live performances and having a narrative of a boy who doesn't know he is dead. The goal is to be creative while still engaging the target indie rock audience.
Music video history
Music videos began in the 1920s but became more widely used starting in the 1950s and 1960s as a way to promote music recordings on television and in movie theaters. In the 1980s, the launch of MTV made music videos hugely popular and influential, allowing artists like Michael Jackson to create short films for their songs. Today, music videos are commonly used to promote songs on digital platforms like YouTube and help launch the careers of new artists.
Recommended
History of music videos
The document traces the evolution of music videos from early synchronized sound films in the 1920s-1930s to modern music videos that emerged with the launch of MTV in 1981. Key developments include early "soundies" in the 1930s, promotional films for artists in the 1960s-1970s that set the template for modern music videos, and the rise of the music video industry in the 1980s as new technologies made high production videos economically viable. The document examines how various films and videos helped establish music videos as a new art form and promotional tool for the music industry.
Goodwin's theory intro and tasks
Andrew Goodwin published a book in 1992 called "Dancing in the Distraction Factory" that came up with codes and conventions for music videos. He identified 7 key features of music videos: 1) They demonstrate genre characteristics through elements like dance routines, signing, or scantily clad women. 2) The visuals have a relationship to the lyrics, often illustrating them. 3) The visuals have a relationship to the music, often amplifying or contradicting it. 4) Record labels demand close-ups of artists. 5) Artists develop recurring visual motifs. 6) Videos frequently reference the notion of voyeuristic looking. 7) They include intertextual references to pop culture.
Question 2
The combination of the main product and ancillary texts is effective at creating brand identity. The artist is recognizable through similar imagery and font used across the album artwork, music video, and other ancillary pieces. This helps audiences connect the album cover to the video and vice versa. The simplistic yet striking ancillary designs that feature the artist are inviting and communicate the British hip-hop genre by drawing on its conventions. They also appeal to the target teenage audience and intrigue them to learn more about the artist through the juxtaposition of images on the front and back album covers.
Proposal
The proposal is for a music video for the indie artist King Krule's song "Easy easy". The video will feature one actor and fast cuts that follow him around various streets in London, with the cuts keeping time with the lyrics and beat of the song. The video aims to keep it simple but unique by filming in a variety of locations. The target audience is indie fans, mostly teenagers but also older audiences as the song discusses issues from King Krule's childhood to late teens.
History of music videos
The document traces the evolution of music videos from early examples in the 1920s-1930s that were shown in theaters due to the lack of television, to Tony Bennett's 1956 video which is considered the first to air on television. It then discusses pivotal moments like the Beatles' involvement in "A Hard Day's Night" in 1964 and their innovative video for "Penny Lane" in 1967. Subsequent entries highlight the development of performance and narrative elements in the 1970s, experimental videos in the early 1970s, and the launch of MTV in 1981 which helped promote and market music videos globally. More recent videos discussed incorporate different visual styles and animation.
Music Video presentation
The document discusses the history and evolution of music videos from their origins in the 1920s to promote artists and songs to modern highly produced videos. It notes some of the first music videos created in the late 19th century and highlights influential videos by Michael Jackson and Beyoncé that achieved widespread popularity due to their unique visuals and dance choreography. The document also outlines some common cinematography and editing techniques used in successful modern music videos.
Evaluation question 1
This document discusses how the media product applies, challenges, and develops conventions of real music videos. It analyzes conventions for locations, costumes, relationships between lyrics and visuals, narratives, and cinematography in indie rock music videos. The media product uses conventions like natural locations and saturated cinematography but challenges conventions by not including live performances and having a narrative of a boy who doesn't know he is dead. The goal is to be creative while still engaging the target indie rock audience.
Music video history
Music videos began in the 1920s but became more widely used starting in the 1950s and 1960s as a way to promote music recordings on television and in movie theaters. In the 1980s, the launch of MTV made music videos hugely popular and influential, allowing artists like Michael Jackson to create short films for their songs. Today, music videos are commonly used to promote songs on digital platforms like YouTube and help launch the careers of new artists.
History of the Pop Video
The history of the pop music video began in 1921 with the short film "St Louis Blues" directed by Dudley Murphy, which featured Bing Crosby lip syncing. In the 1940s, stars like Bing Crosby, Frank Sinatra, and Elvis Presley appeared in early music videos. The Beatles revolutionized the music video in the 1960s with color videos like "Paperback Writer" that featured varied shots and fast editing. Their 1967 video "Strawberry Fields Forever" was notable for including special effects like reverse footage. MTV was launched in 1981 as a channel dedicated to music videos and helped popularize the format. Modern videos now use computers and special effects to produce genres like rap and R&B
The History of Music Videos
Music videos are short films that relate imagery to a song, originally used for artistic and promotional purposes. Modern music videos are a form of advertising used to market and sell music. They utilize various styles including animation, live action, documentaries, and abstract approaches. The first music videos were animated shorts from the 1930s that featured musicians performing their songs. In the 1960s and 70s, bands like The Beatles began creating promotional videos to advertise their music without touring. The launch of MTV in 1981 mainstreamized the music video as a central part of music marketing and promotion.
Conventions of a music video
Andrew Goodwin identified several conventions of music videos in his 1992 book "Dancing in the Distraction Factory" including that they demonstrate genre characteristics through techniques like stage performances for rock bands and dance routines for boy bands. Music videos also establish relationships between the music, lyrics, and visuals to both illustrate and potentially amplify or contradict the song. Additionally, record labels require close-ups of artists and artists may develop signature visual styles across their work, which also commonly make references to films, TV, and popular culture.
Goodwins theory
The document discusses Andrew Goodwin's six key features of music videos: 1) A relationship between lyrics and visuals, 2) A relationship between music and visuals, 3) Demonstrating genre characteristics, 4) Close ups of the artist per record label demands, 5) References to looking/voyeurism, and 6) Intertextual references. It provides examples from the music video for "International Love" to illustrate the first four features.
Andrew goodwin
Andrew Goodwin identified several key features of music videos in his 1992 book "Dancing in the Distraction Factory". These included relationships between lyrics/music and visuals that can illustrate, amplify, or contradict; genres like performances or narratives; close-ups of artists required by record companies for branding; the development of star iconography; the concept of voyeurism showing things normally unseen; and the use of intertextuality through references to other media.
History of music videos (2)
Originally, music videos were used to advertise music by filming artists performing songs. In the 1960s, the term "rock video" was coined as artists like the Big Bopper had their performances filmed for television. Music videos during this time period were typically shot of artists on tour or on location and loosely related to the song lyrics. The invention of video technology in the 1970s and 1980s led to more sophisticated music videos with heavy editing effects. In 1984, MTV was founded and provided a platform for artists like Michael Jackson to promote their music and careers through music videos.
Research into a music video director.
Dave Meyers is an American music video director born in 1972 in Berkeley, California. He has directed hundreds of music videos and commercials over the past 15 years, establishing himself as one of the industry's most prolific directors. Chris Cunningham is a British video artist born in 1970 who is primarily known for directing avant-garde music videos for electronic artists such as Aphex Twin and Autechre, particularly the videos for Aphex Twin's songs "Come to Daddy" and "Windowlicker."
Presentation research and planning.[1].ppt christianah222
The document summarizes the student's research and planning for their media studies advanced portfolio project. They will create a dubstep music video as their main project, with additional projects being a CD cover design and advertisement. Through researching popular music videos, the student learned common techniques used like cuts, camera angles, themes and lighting. For the dubstep genre specifically, the student found techniques like close-up shots, low key lighting and fades were commonly used. Their music video will incorporate these elements along with locations around London to appeal to their target audience of males and females aged 16-25.
A2 The history of music video
Music videos are short films that integrate a song with imagery, typically for promotional purposes. While the concept originated in the early 20th century, music videos rose to prominence in the 1980s with the launch of MTV, which based its format around the medium. Music videos now use a wide variety of styles, techniques, and concepts, from narrative stories to abstract visuals to filmed live performances. Their primary function remains marketing and promoting music recordings.
A2 Codes and Conventions of Music Video
Music videos are short films that integrate a song with visual imagery, typically lasting 2-5 minutes. There are different types of concepts for music videos including thematic, which uses visuals related to the song's theme, and symbolic. Common codes and conventions include the video's style (performance, concept, narrative), camera work, editing techniques, sound effects, and mise-en-scene elements. Pop music videos tend to be avant-garde with bold designs while rock videos often express rebellion and independent thinking through their visuals and storylines.
album art
This document discusses how controversial album covers can create more attention and awareness for artists. It provides examples of iconic album covers that challenged norms, including Nirvana's Nevermind which featured a naked baby underwater. This cover was banned by Facebook but generated controversy that promoted the band's music. Another example is The Beatles' Yesterday and Today cover showing fake dead babies and raw meat, which went against their clean image but still helped them become recognized for their music over their promotional materials. In conclusion, challenging conventions with provocative album covers can be a positive way for artists to stand out and engage audiences.
Research into the music video industry
Music videos are generally made to promote artists and their songs. They can be performance-based, showing the artist singing, or narrative, telling a story through actors. The production process involves developing an idea, storyboards, scripts, casting, filming, and editing. Music videos promote recognition of the artist and song, provide context for the lyrics, and entertain fans. Famous directors like Spike Jonze and David Fincher work with top artists and put unique styles on popular music videos. Budgets typically range from $200,000 to $500,000, though Michael Jackson's "Scream" video cost $7 million. Audiences now mainly access music videos through artists' YouTube channels or streaming on sites like YouTube,
Research presentation
Pixie Productions is creating promotional materials for a new album, including a music video, digipak cover, and magazine advertisement. Research showed their target audience is mainly 12-18 year old females who enjoy pop music. Audience research found that people preferred music videos with narratives, liked The Saturdays as their favorite pop group, and thought indoor locations and Pixie Lott's style were best suited for the video.
What is music video
A music video is an art form that allows for creative opportunities according to media theorist P. Fraser. Music videos typically feature the artist to promote them through music channels and the internet. They usually have conventions that identify them as music videos and are visually memorable to encourage repeated viewing.
Theorist A. Goodwin stated that music videos are fundamentally a promotional tool for new artist releases. This led to increased popularity of MTV in the 1980s as a channel for music videos. Goodwin's theory outlined six main conventions of music videos including relating the visuals to lyrics, selling the artist through close-ups, and voyeurism of the artist's everyday life.
Proposal
The proposal is for a music video for the song "All About Tonight" by Pixie Lott. It will include both a narrative and dance performance elements filmed in various indoor and outdoor locations. The producer aims to include typical pop music video codes and conventions to appeal to a wide target audience of pop fans. Three dancers have been secured to perform choreography in the video.
Lesson 1 analysing using goodwin
The document outlines requirements for two questions on a music video analysis assignment. Question 1 asks students to analyze their own music videos by describing skills development and discussing at least two productions. Question 2 requires students to evaluate their work in relation to concepts of genre, narrative, representation, audience or media language. The document also discusses Andrew Goodwin's six key aspects of music videos, which include genre characteristics, relationships between visuals/lyrics and visuals/music, star power, notions of looking, and intertextual references.
digipack
The document discusses the process of designing alternative album artwork, including the front, inside, and back covers. It explores the styles and conventions of alternative album covers, such as minimalist and illustrated designs featuring a central piece of art. The designers aimed to create a cohesive design across the covers with a quirky bear illustration as the theme. Research on existing alternative albums informed the design process to result in a cover that reflects the genre while including typical elements like track listings and barcodes.
Music video - why we make them
This document provides an overview of a unit on music video production. Students will learn about the different reasons music videos are made, the music video production process, and plan, film, and edit their own music video. By the end of the unit, students will have produced written reports and a final edited video. They will explore how music videos are used to promote artists, albums, and singles through advertising the artist's brand and products.
Dancing in distraction
Music video conventions are important to study to understand their elements. Critics view music videos in various ways such as cinematic genres, advertisements, new forms of television, visual art, or signs of consumer culture. Goodwin's book "Dancing In Distraction Factory" explains the difficulty of defining music videos as critics have varying opinions. It also shows how artists like Michael Jackson and Madonna reinvented their public image through controversial music videos that went against societal norms. Creating controversy brought more attention to artists and their videos, growing their success. This text provided useful insights into different perceptions of music videos.
Music Theories
There are several theories about music video conventions put forth by Andrew Goodwin, David Buckingham, and Nicholas Abercrombie. Andrew Goodwin proposed seven common elements of music videos, including demonstrating genre characteristics through performances, relationships between lyrics/music and visuals, frequent close-ups of artists, references to voyeurism, and intertextual references. David Buckingham argued that genres are constantly negotiated and changing, so videos shouldn't be presumed to fit predetermined genres. Nicholas Abercrombie believed that television producers exploit genre conventions in music videos for economic reasons.
Treatment sheet
This treatment sheet outlines a concept, narrative, and production elements for a music video for the song "A Car, A Torch, A Death" by Twenty One Pilots. The concept involves a dancer named Beth whose torch, representing her grief over a lost loved one, gradually dims throughout the video. The narrative follows Lola dealing with the recent death of her twin sister by dancing, though she finds no relief. Key locations include an empty parking lot, dance studio, and graveyard. Beth will perform dancing, acting, and limited lip syncing. Props include a photograph, torch, lighting wires, and flowers. Costuming involves black dancewear to symbolize mourning.
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History of the Pop Video
The history of the pop music video began in 1921 with the short film "St Louis Blues" directed by Dudley Murphy, which featured Bing Crosby lip syncing. In the 1940s, stars like Bing Crosby, Frank Sinatra, and Elvis Presley appeared in early music videos. The Beatles revolutionized the music video in the 1960s with color videos like "Paperback Writer" that featured varied shots and fast editing. Their 1967 video "Strawberry Fields Forever" was notable for including special effects like reverse footage. MTV was launched in 1981 as a channel dedicated to music videos and helped popularize the format. Modern videos now use computers and special effects to produce genres like rap and R&B
The History of Music Videos
Music videos are short films that relate imagery to a song, originally used for artistic and promotional purposes. Modern music videos are a form of advertising used to market and sell music. They utilize various styles including animation, live action, documentaries, and abstract approaches. The first music videos were animated shorts from the 1930s that featured musicians performing their songs. In the 1960s and 70s, bands like The Beatles began creating promotional videos to advertise their music without touring. The launch of MTV in 1981 mainstreamized the music video as a central part of music marketing and promotion.
Conventions of a music video
Andrew Goodwin identified several conventions of music videos in his 1992 book "Dancing in the Distraction Factory" including that they demonstrate genre characteristics through techniques like stage performances for rock bands and dance routines for boy bands. Music videos also establish relationships between the music, lyrics, and visuals to both illustrate and potentially amplify or contradict the song. Additionally, record labels require close-ups of artists and artists may develop signature visual styles across their work, which also commonly make references to films, TV, and popular culture.
Goodwins theory
The document discusses Andrew Goodwin's six key features of music videos: 1) A relationship between lyrics and visuals, 2) A relationship between music and visuals, 3) Demonstrating genre characteristics, 4) Close ups of the artist per record label demands, 5) References to looking/voyeurism, and 6) Intertextual references. It provides examples from the music video for "International Love" to illustrate the first four features.
Andrew goodwin
Andrew Goodwin identified several key features of music videos in his 1992 book "Dancing in the Distraction Factory". These included relationships between lyrics/music and visuals that can illustrate, amplify, or contradict; genres like performances or narratives; close-ups of artists required by record companies for branding; the development of star iconography; the concept of voyeurism showing things normally unseen; and the use of intertextuality through references to other media.
History of music videos (2)
Originally, music videos were used to advertise music by filming artists performing songs. In the 1960s, the term "rock video" was coined as artists like the Big Bopper had their performances filmed for television. Music videos during this time period were typically shot of artists on tour or on location and loosely related to the song lyrics. The invention of video technology in the 1970s and 1980s led to more sophisticated music videos with heavy editing effects. In 1984, MTV was founded and provided a platform for artists like Michael Jackson to promote their music and careers through music videos.
Research into a music video director.
Dave Meyers is an American music video director born in 1972 in Berkeley, California. He has directed hundreds of music videos and commercials over the past 15 years, establishing himself as one of the industry's most prolific directors. Chris Cunningham is a British video artist born in 1970 who is primarily known for directing avant-garde music videos for electronic artists such as Aphex Twin and Autechre, particularly the videos for Aphex Twin's songs "Come to Daddy" and "Windowlicker."
Presentation research and planning.[1].ppt christianah222
The document summarizes the student's research and planning for their media studies advanced portfolio project. They will create a dubstep music video as their main project, with additional projects being a CD cover design and advertisement. Through researching popular music videos, the student learned common techniques used like cuts, camera angles, themes and lighting. For the dubstep genre specifically, the student found techniques like close-up shots, low key lighting and fades were commonly used. Their music video will incorporate these elements along with locations around London to appeal to their target audience of males and females aged 16-25.
A2 The history of music video
Music videos are short films that integrate a song with imagery, typically for promotional purposes. While the concept originated in the early 20th century, music videos rose to prominence in the 1980s with the launch of MTV, which based its format around the medium. Music videos now use a wide variety of styles, techniques, and concepts, from narrative stories to abstract visuals to filmed live performances. Their primary function remains marketing and promoting music recordings.
A2 Codes and Conventions of Music Video
Music videos are short films that integrate a song with visual imagery, typically lasting 2-5 minutes. There are different types of concepts for music videos including thematic, which uses visuals related to the song's theme, and symbolic. Common codes and conventions include the video's style (performance, concept, narrative), camera work, editing techniques, sound effects, and mise-en-scene elements. Pop music videos tend to be avant-garde with bold designs while rock videos often express rebellion and independent thinking through their visuals and storylines.
album art
This document discusses how controversial album covers can create more attention and awareness for artists. It provides examples of iconic album covers that challenged norms, including Nirvana's Nevermind which featured a naked baby underwater. This cover was banned by Facebook but generated controversy that promoted the band's music. Another example is The Beatles' Yesterday and Today cover showing fake dead babies and raw meat, which went against their clean image but still helped them become recognized for their music over their promotional materials. In conclusion, challenging conventions with provocative album covers can be a positive way for artists to stand out and engage audiences.
Research into the music video industry
Music videos are generally made to promote artists and their songs. They can be performance-based, showing the artist singing, or narrative, telling a story through actors. The production process involves developing an idea, storyboards, scripts, casting, filming, and editing. Music videos promote recognition of the artist and song, provide context for the lyrics, and entertain fans. Famous directors like Spike Jonze and David Fincher work with top artists and put unique styles on popular music videos. Budgets typically range from $200,000 to $500,000, though Michael Jackson's "Scream" video cost $7 million. Audiences now mainly access music videos through artists' YouTube channels or streaming on sites like YouTube,
Research presentation
Pixie Productions is creating promotional materials for a new album, including a music video, digipak cover, and magazine advertisement. Research showed their target audience is mainly 12-18 year old females who enjoy pop music. Audience research found that people preferred music videos with narratives, liked The Saturdays as their favorite pop group, and thought indoor locations and Pixie Lott's style were best suited for the video.
What is music video
A music video is an art form that allows for creative opportunities according to media theorist P. Fraser. Music videos typically feature the artist to promote them through music channels and the internet. They usually have conventions that identify them as music videos and are visually memorable to encourage repeated viewing.
Theorist A. Goodwin stated that music videos are fundamentally a promotional tool for new artist releases. This led to increased popularity of MTV in the 1980s as a channel for music videos. Goodwin's theory outlined six main conventions of music videos including relating the visuals to lyrics, selling the artist through close-ups, and voyeurism of the artist's everyday life.
Proposal
The proposal is for a music video for the song "All About Tonight" by Pixie Lott. It will include both a narrative and dance performance elements filmed in various indoor and outdoor locations. The producer aims to include typical pop music video codes and conventions to appeal to a wide target audience of pop fans. Three dancers have been secured to perform choreography in the video.
Lesson 1 analysing using goodwin
The document outlines requirements for two questions on a music video analysis assignment. Question 1 asks students to analyze their own music videos by describing skills development and discussing at least two productions. Question 2 requires students to evaluate their work in relation to concepts of genre, narrative, representation, audience or media language. The document also discusses Andrew Goodwin's six key aspects of music videos, which include genre characteristics, relationships between visuals/lyrics and visuals/music, star power, notions of looking, and intertextual references.
digipack
The document discusses the process of designing alternative album artwork, including the front, inside, and back covers. It explores the styles and conventions of alternative album covers, such as minimalist and illustrated designs featuring a central piece of art. The designers aimed to create a cohesive design across the covers with a quirky bear illustration as the theme. Research on existing alternative albums informed the design process to result in a cover that reflects the genre while including typical elements like track listings and barcodes.
Music video - why we make them
This document provides an overview of a unit on music video production. Students will learn about the different reasons music videos are made, the music video production process, and plan, film, and edit their own music video. By the end of the unit, students will have produced written reports and a final edited video. They will explore how music videos are used to promote artists, albums, and singles through advertising the artist's brand and products.
Dancing in distraction
Music video conventions are important to study to understand their elements. Critics view music videos in various ways such as cinematic genres, advertisements, new forms of television, visual art, or signs of consumer culture. Goodwin's book "Dancing In Distraction Factory" explains the difficulty of defining music videos as critics have varying opinions. It also shows how artists like Michael Jackson and Madonna reinvented their public image through controversial music videos that went against societal norms. Creating controversy brought more attention to artists and their videos, growing their success. This text provided useful insights into different perceptions of music videos.
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Presentation research and planning.[1].ppt christianah222
Presentation research and planning.[1].ppt christianah222
Presentation research and planning.[1].ppt christianah222
Presentation research and planning.[1].ppt christianah222
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Music Theories
There are several theories about music video conventions put forth by Andrew Goodwin, David Buckingham, and Nicholas Abercrombie. Andrew Goodwin proposed seven common elements of music videos, including demonstrating genre characteristics through performances, relationships between lyrics/music and visuals, frequent close-ups of artists, references to voyeurism, and intertextual references. David Buckingham argued that genres are constantly negotiated and changing, so videos shouldn't be presumed to fit predetermined genres. Nicholas Abercrombie believed that television producers exploit genre conventions in music videos for economic reasons.
Treatment sheet
This treatment sheet outlines a concept, narrative, and production elements for a music video for the song "A Car, A Torch, A Death" by Twenty One Pilots. The concept involves a dancer named Beth whose torch, representing her grief over a lost loved one, gradually dims throughout the video. The narrative follows Lola dealing with the recent death of her twin sister by dancing, though she finds no relief. Key locations include an empty parking lot, dance studio, and graveyard. Beth will perform dancing, acting, and limited lip syncing. Props include a photograph, torch, lighting wires, and flowers. Costuming involves black dancewear to symbolize mourning.
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Treatment sheet
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The document outlines ideas for content to include in a rock music magazine. It discusses including advertising for upcoming shows, meet and greet photos from readers, promoting band merchandise companies, and running polls. It also lists several potential article ideas for a double-page spread, including pieces about ticket touts, a concert review with photos, and profiling a super fan of a band. The document provides details and outlines for developing three of these article ideas in more depth.
Initial Ideas - Final Product
The document discusses potential bands and songs for a final music project based on the rock genre. It begins by listing various rock subgenres and representative bands. It then focuses on the band Twenty One Pilots, providing details about their discography and style. The author decides to base the project on an early self-titled Twenty One Pilots album. They analyze three potential songs - "Implicit Demand for Proof", "A Car, A Torch, A Death", and "Addict with a Pen" - and provide their interpretations of the lyrics and meanings.
Twenty One Pilots
The video uses various camera shots and techniques to capture Twenty One Pilots' performance of "Can't Help Falling In Love With You". It begins with a medium close-up of Tyler Joseph in a vehicle. Later, medium long shots show Tyler walking and performing alongside fans. Throughout the video, techniques like panning, shallow focus, zooming and handheld camerawork are employed to keep the viewer engaged as the location changes between the vehicle, on stage and with fans. In total, 32 different shots are used to tell the story of the song in a simple, moving way.
Colour choices
The document discusses factors to consider when choosing a colour scheme for a brand identity and music products related to the band Twenty One Pilots. It summarizes interviews with fans of the band who were asked about their favorite albums, colors they associate with the band, iconic aspects of the band, the mood of their music, and their music genre. Based on the fan responses, the document considers colors like black, red, blue and white that fans commonly associate with the band. It also notes the dark and emotional mood of their music.
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Similar to Music Theories
Andrew goodwin theory
Music videos are essentially advertisements that aim to anchor meaning for songs in viewers' minds. According to Andrew Goodwin, music videos demonstrate genre characteristics through elements like dance routines, ignore common narrative structures, and draw on intertextual references. Goodwin identifies six key features of music videos: they represent lyrics and tone of music visually, cater to record label demands like close-ups of artists, reference looking through devices, and feature recurring visual motifs for artists.
Music video conventions
This document discusses the definition and conventions of music videos. It identifies three main styles of music videos: performance-based, narrative-based, and concept-based. Promotional music videos are made primarily to promote an artist's music, while artistic videos can be more experimental. Theories suggest that successful music videos typically demonstrate genre characteristics, link lyrics/music to visuals, include close-ups of the artist, develop recurring iconography, reference the act of looking at the viewer, and include intertextual references.
Andrew goodwin’s theory applied to music videos
Andrew Goodwin published a book called Dancing in the Distraction Factory that analyzed music videos and developed a music theory. His theory proposed that there are relationships between the lyrics and visuals, between the music and visuals, and that record labels demand frequent close-ups of artists, especially female artists shown in a provocative manner. Goodwin also noted that genres have recognizable iconography for artists, references to looking at the audience, and intertextual references within music videos.
Evaluation media a2 final
The document provides an evaluation of a media production project. It summarizes the ways the media product did or did not use conventions of real music videos, including genre characteristics, relationships between lyrics/music and visuals, close-ups of artists, and treatment of female bodies. It also discusses how consistent the look and persona were between the music video and album materials. New media technologies like YouTube, Final Cut Pro, and Photoshop were used for research, planning, construction, and feedback. Audience feedback was gathered through an online Prezi presentation. The evaluation demonstrates how the project challenged some conventions while maintaining consistency across its main product and ancillary texts.
Goodwin and Music Video
Goodwin published a book in 1992 called "Dancing in the Distraction Factory" where he came up with codes and conventions for music videos. He identified 7 key features of music videos: 1) They demonstrate genre characteristics, 2) There is a relationship between lyrics and visuals, 3) There is a relationship between music and visuals, 4) They include close-ups of the artist, 5) Artists develop recurring visual motifs, 6) They frequently reference the notion of looking, and 7) Often include intertextual references to popular culture. Goodwin's theory provided a framework to analyze how elements are commonly used in music videos.
Andrew goodwin's theory
Andrew Goodwin identifies 6 key aspects of analyzing music videos: 1) The relationship between the music and lyrics, 2) How the visuals represent the lyrics, 3) The relationship between the tone of the music and visuals, 4) Focus on the artist, 5) Intertextual references in other media, and 6) Addressing genre characteristics. He argues that an effective music video clearly connects the music and visuals through themes, atmosphere, and focus on the artist to engage the audience.
Evaluation question 1
The document analyzes how a student's music video uses, develops, or challenges conventions of real music videos based on Andrew Goodwin's six key conventions.
[1] The student examines each convention - such as demonstrating genre characteristics through a stage performance, relating lyrics to visuals, and relating music to visual tone.
[2] For each convention, the student determines whether their video used, developed, or challenged the convention. Their video is found to have used conventions such as relating lyrics and music to visuals, but developed conventions such as demonstrating their genre through a unique stage location.
[3] In conclusion, the student determines that their video used and developed Goodwin's conventions effectively without challenging any
Andrew goodwin's theory
Andrew Goodwin identifies 6 key aspects of music videos:
1) Music videos demonstrate genre through iconography.
2) Lyrics are represented through visual images.
3) The tone and atmosphere of the visuals reflect the music.
4) Music videos often feature close-ups of the artist to promote them.
5) There is a voyeuristic treatment of the female body at times.
6) Music videos sometimes reference other media like films or TV.
Theorists popwerpoint
Carlsson and Goodwin proposed theories on music video types and purposes. Carlsson identified four types: standard clips that blend singing with images and experimental film techniques; performance clips focused on live singing; narrative clips that tell a visual story; and art clips with no singing or narrative. Goodwin explained that music videos are made to sell songs, artists, record labels, merchandise, and lifestyles. The document discusses applying these theories to structure a realistic, successful music video that promotes the band's image and music.
The goodwin seven
Andrew Goodwin is considered the first postmodern theorist of music videos. He identified seven codes and conventions that are commonly seen in music videos. The "Goodwin Seven" include: 1) Demonstrating genre characteristics; 2) Having a relationship between lyrics and visuals; 3) Having a relationship between music and visuals; 4) Including close-ups of the artist as demanded by the record label; 5) Developing recurring motifs or visual styles; 6) Referencing the notion of "looking" through screens or voyeuristic treatment of the body; 7) Including intertextual references to films, television and popular culture. These seven elements provide a framework for analyzing and understanding music videos.
Music video Initial Research
The document discusses different purposes and types of music videos. It describes that music videos can aim to entertain, promote, or tell a narrative. The document also summarizes Frith's three typologies of music videos: performance videos focus on performing, narrative videos tell a story, and conceptual videos have an abstract idea. Examples are given of each type, such as the Arctic Monkeys' "Teddy Picker" exemplifying a performance video through its footage of the band. The document further outlines Goodwin's seven conventions that most music videos conform to, such as relating the lyrics or music to the visuals.
Definition of music video
A music video is a short film that accompanies and promotes a piece of music. Music videos come in a variety of styles from live performances to animation and conceptual approaches. Researchers have identified common elements of music videos including a relationship between the lyrics/music and visuals, reference to genres through style and iconography, close-ups of artists, and intertextual references. Key genres identified are performance-based, documentary-style, effects-driven, dance-focused, and blended performance/visual approaches. Basic video structures include performance, narrative, and conceptual styles.
Evaluation question 1
The document analyzes how a student's media project uses, develops, or challenges conventions of real media products based on Andrew Goodwin's six key conventions of music videos.
The student's music video develops conventions by including a stage performance, which is common in metal genre videos. It uses conventions by having a clear relationship between lyrics and visuals, and between music and visuals. It also uses conventions through an intertextual reference to another music video.
The student's digipak and magazine advertisement further use conventions to maintain consistency across the media project.
In conclusion, the student's media product as a whole effectively uses and develops Goodwin's conventions to create a consistent and professional end product, without
Types of Music Videos
This document discusses the construction of music videos and Andrew Goodwin's music video theory. It outlines the main types of music videos as narrative-based, concept-based, or performance-based. Music videos are primarily made for promotional or artistic purposes. Andrew Goodwin's theory notes that music videos often display genre characteristics, include references to voyeurism, have a relationship between music and visuals, are influenced by record label demands, and feature recurring visual styles and intertextual references by artists. In conclusion, planning a music video requires deciding on its basis and purpose.
Andrew goodwin - theory
Andrew Goodwin identified 6 key features and 5 ways to analyze music videos. The 6 features are: 1) Demonstrating genre characteristics 2) Having a relationship between lyrics and visuals 3) A relationship between music and visuals 4) Meeting record label demands 5) Frequently using the "male gaze" and voyeurism of the female body 6) Making intertextual references to other media. The 5 ways to analyze are: 1) Examining thought beats and the structure, voice, and mode of address of the song 2) Considering narrative, performance, and believability 3) Analyzing the development of a star's meta narrative 4) Looking at the relationship between music and visuals 5) As
3 types of music videos
There are three main types of music videos: performance videos that show the band performing the song, narrative videos that tell a story throughout the video, and conceptual videos based on a single theme or idea. A researcher identified six features of music videos including demonstrating genre characteristics through music and visuals, having a relationship between lyrics and images, reflecting the tone of the music through visuals, including close-ups of artists as demanded by record labels, frequently referencing the notion of looking especially of the female body, and making intertextual references to other works. The researcher also identified six stages of analyzing music videos including examining the music itself, the artist's voice, the message the artist aims to portray, narratives and performances, the star
Music video lecture 2019 no media
The document provides guidance on analyzing music videos from critical and contextual perspectives. It discusses examining how meaning is constructed through techniques like camerawork, editing, interpretation of the song, intertextuality, and genre conventions. The document also explores how music videos are used by artists and labels for purposes like branding, identity, and sales. Key points of analysis include the target audience, visual and technical codes, and how elements are deliberately planned.
Task 7 theory lesson
This document provides tasks and theory related to analyzing music videos and genres for a media studies course. It includes tasks to analyze codes and conventions in different music video genres, examine narrative and performance approaches in sample videos, explore representation of social groups in various genres, and conduct a close analysis of a music video using relevant theory. The document also discusses theories related to genre from scholars like Robert Stam, Rick Altman, and Andrew Goodwin. Students are asked to apply these theories to their own video productions and examine how genres may be defined, conventions established, and meanings negotiated between text and audiences.
Goodwins theory media
Andrew Goodwin identified several key features of music videos in his 1992 book "Dancing in the Distraction Factory". These include demonstrating genre characteristics through elements like dance routines, stage performances, and imagery. Music videos also typically show a relationship between the lyrics and visuals, as well as between the music and visuals. Additionally, record labels often demand close-ups of artists, and artists may develop recurring visual motifs. Frequently, music videos reference looking and feature voyeuristic treatment of the female body. They also commonly include references to other parts of popular culture.
Goodwin - Voice over script
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
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一.毕业证【q微741003700】成绩单、使馆认证、教育部认证、雅思托福成绩单、学生卡等！
二.真实使馆公证(即留学回国人员证明,不成功不收费)
三.真实教育部学历学位认证（教育部存档！教育部留服网站永久可查）
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如果您处于以下几种情况：
◇在校期间，因各种原因未能顺利毕业……拿不到官方毕业证【q/微741003700】
◇面对父母的压力，希望尽快拿到；
◇不清楚认证流程以及材料该如何准备；
◇回国时间很长，忘记办理；
◇回国马上就要找工作，办给用人单位看；
◇企事业单位必须要求办理的
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3:国家专业人才认证中心颁发入库证书
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7:个人信誉贷款加10分
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Music Theories
- 2. There are several individuals who have thought of their own theories with regard to Conventions of MusicVideos.The ones I have conducted some research into are: - Andrew Goodwin - David Buckingham - Nicholas Abercrombie
- 3. Andrew Goodwin Andrew devised these SevenTheories based on what he thinks a Generic MusicVideo will feature, regardless of Genre or Style ofVideo. 1. Music videos demonstrate Genre Characteristics. (E.g. Stage Performance in MetalVideos, Dance Routines for Boy/Girl Bands and Aspiration in Hip Hop). 2.There is a relationship between Lyrics andVisuals.The lyrics are represented with Images. (Either Illustrative,Amplifying and Contradicting). 3.There is a relationship between Music andVisuals.TheTone and Atmosphere of theVisuals reflects that of the music. (Either Illustrative, Amplifying and Contradicting). 4.The demands of the Record Label will include the need for lots of Close-Ups of the Artist, and the Artist my develop Motifs which recur across their work. (AVisual Style). 5.There is Frequent Reference to Notion of Looking. (Screens within Screens, Mirrors, Stages etc.) and particularlyVoyeuristicTreatment of the Female Body. 6.There are often Intertextual References. (To Films,TV Programs, Other MusicVideos etc.) 7. A MusicVideo can either be Performance, Concept or Narrative Based, but someVideos do incorporate more than one of the three areas listed.
- 4. David Buckingham “genre is not simply given by the culture, rather, it is in a constant process of Negotiation and Change”. What Buckingham is saying here, is that there shouldn’t be a predetermined presumption made for a MusicVideo based on the artist’s recognizable Genre, due to the fact the Genres are changing slightly every day, and now any key factor can be seen as Genre Relevant in some way, shape or form. Eg: Pop Bands are starting to be captured playing instruments such as Guitar and Drums. Buckingham believes that it is all down to interpretation, and it should be left at that.
- 5. Nicholas Abercrombie “Television producers set out to exploit Genre Conventions.. It makes Economic Sense”. Basically, Abercrombie believes that genre Conventions in MusicVideos are exploited, all in an effort to turn in a profit.