The music video for Nickelback's "Savin' Me" follows several conventions of rock music videos according to Andrew Goodwin's music video theory. It features shots of the band performing in a dark setting and tells a story that relates to the lyrics. The video also includes many close-ups of the lead singer as demanded by the record label. Nickelback uses consistent motifs across their videos, including plain clothing. Additionally, the video references the film "In Time" through its depiction of timers counting down above people's heads.
Music videos demonstrate genre characteristics. (e.g. stage performance in metal videos, dance routine for boy/girl band, aspiration in Hip Hop).
Goodwin’s theory states that each genre has certain characteristics that define it. The ‘Otis’ music video by Jay-Z and Kanye West follows several hip hop conventions including performances by the artists, the use of attractive scantily-clad women, low camera angles to give the artists power, and imagery showing wealth like expensive cars and watches to inspire aspiration. There are also strong relationships between the lyrics and visuals, with images amplifying and illustrating the words being rapped through gestures, lip syncing, and cuts that enhance the beat
This document provides an analysis of Andrew Goodwin's theory for deconstructing music videos using six key aspects as an analytical framework. It summarizes Goodwin's six aspects, which include examining the relationship between the lyrics and visuals, the music and visuals, genre characteristics, the artist's image, elements of voyeurism, and intertextual references. It then applies Goodwin's theory to analyze Kanye West's "Gold Digger" music video. The analysis finds that the video demonstrates Goodwin's aspects, with illustrations of the lyrics, amplification of the music through editing, genre-related styles, close-ups of the artists, voyeuristic treatment of women's bodies, and references to an old film
Music video analysis (using andrew goodwin,rayansolanki
The music video for Calvin Harris' song "How Deep Is Your Love" features model Gigi Hadid in various scenic locations. There is not a strong relationship between the lyrics and visuals except for some shots that relate to lyrics about the ocean and nirvana. While the tone of the music matches some party scenes, the relationship is not consistent throughout. The video focuses on close-ups of Gigi and uses her attractiveness and changing scenic backdrops to engage viewers. It also treats Gigi's body in a voyeuristic way through shots of people gazing at her and close-ups of her figure in wet clothing.
Music video analysis (using andrew goodwin,rayansolanki
The music video for Calvin Harris' "How Deep Is Your Love" features model Gigi Hadid in various scenic locations. There is not a strong relationship between the lyrics and visuals, as the lyrics discuss love depth but the visuals show Gigi in abstract places without context. Likewise, the relationship between music and visuals is limited, though some scenes match the deep bassline. The video focuses on close-ups of Gigi to emphasize her attractiveness without an artist to highlight. It also treats Gigi's body in a voyeuristic way to draw viewers' attention. Overall, the video utilizes Gigi to engage viewers visually without deep connections to the song's meaning or genre conventions.
The document provides an analysis of the music video for "Lean On" by Major Lazer. It finds some relationships between the lyrics and visuals but also instances where they do not match. It notes that the video cuts to the beat of the music. The artist is portrayed sexually to appeal to younger audiences, and girls in the video are dressed provocatively and dance in a sexualized manner. While there are no references to other works, the video is similar to Major Lazer's other videos in its focus on dance and use of girls. The video is deemed more conceptual than narrative-based due to its random dancing without a story.
The document provides an analysis of several music videos. It summarizes each video in 1-2 paragraphs, describing elements like genre, themes, imagery, and how the video relates to the song. Key points analyzed include how the videos represent the artists' images and messages, use of costumes, lighting, locations, and references to other works. The document examines videos for songs by KSI, Fame on Fire, and Yellow Claw featuring themes of isolation, partying, and not conforming to others' expectations.
There are several rules that music videos typically follow:
1) The music video style reflects the genre of music. For the alternative rock song "Amsterdam" by Nothing But Thieves, the video features the band performing in an abandoned factory alongside dancers.
2) The visuals in a music video relate to the song lyrics, whether illustrating, amplifying or contradicting them. In "Amsterdam", scenes of the dancers emphasize lyrics about craziness and living under the same sun.
3) The visuals also relate to the music itself, using elements like tempo. In "No More Sad Songs" by Little Mix, the climax of the music is reflected in an intensification of the visuals
The music video is primarily performance based with some narrative elements. It begins by introducing each band member through medium shots that establish their instruments. Throughout, there are shots of the full band performing that demonstrate the genre's performance characteristics. Some narrative is provided by cuts between shots of transportation that relate to the lyrics about wanting to "get away from here." Overall, the video focuses on the band's performance to showcase their music.
Music videos demonstrate genre characteristics. (e.g. stage performance in metal videos, dance routine for boy/girl band, aspiration in Hip Hop).
Goodwin’s theory states that each genre has certain characteristics that define it. The ‘Otis’ music video by Jay-Z and Kanye West follows several hip hop conventions including performances by the artists, the use of attractive scantily-clad women, low camera angles to give the artists power, and imagery showing wealth like expensive cars and watches to inspire aspiration. There are also strong relationships between the lyrics and visuals, with images amplifying and illustrating the words being rapped through gestures, lip syncing, and cuts that enhance the beat
This document provides an analysis of Andrew Goodwin's theory for deconstructing music videos using six key aspects as an analytical framework. It summarizes Goodwin's six aspects, which include examining the relationship between the lyrics and visuals, the music and visuals, genre characteristics, the artist's image, elements of voyeurism, and intertextual references. It then applies Goodwin's theory to analyze Kanye West's "Gold Digger" music video. The analysis finds that the video demonstrates Goodwin's aspects, with illustrations of the lyrics, amplification of the music through editing, genre-related styles, close-ups of the artists, voyeuristic treatment of women's bodies, and references to an old film
Music video analysis (using andrew goodwin,rayansolanki
The music video for Calvin Harris' song "How Deep Is Your Love" features model Gigi Hadid in various scenic locations. There is not a strong relationship between the lyrics and visuals except for some shots that relate to lyrics about the ocean and nirvana. While the tone of the music matches some party scenes, the relationship is not consistent throughout. The video focuses on close-ups of Gigi and uses her attractiveness and changing scenic backdrops to engage viewers. It also treats Gigi's body in a voyeuristic way through shots of people gazing at her and close-ups of her figure in wet clothing.
Music video analysis (using andrew goodwin,rayansolanki
The music video for Calvin Harris' "How Deep Is Your Love" features model Gigi Hadid in various scenic locations. There is not a strong relationship between the lyrics and visuals, as the lyrics discuss love depth but the visuals show Gigi in abstract places without context. Likewise, the relationship between music and visuals is limited, though some scenes match the deep bassline. The video focuses on close-ups of Gigi to emphasize her attractiveness without an artist to highlight. It also treats Gigi's body in a voyeuristic way to draw viewers' attention. Overall, the video utilizes Gigi to engage viewers visually without deep connections to the song's meaning or genre conventions.
The document provides an analysis of the music video for "Lean On" by Major Lazer. It finds some relationships between the lyrics and visuals but also instances where they do not match. It notes that the video cuts to the beat of the music. The artist is portrayed sexually to appeal to younger audiences, and girls in the video are dressed provocatively and dance in a sexualized manner. While there are no references to other works, the video is similar to Major Lazer's other videos in its focus on dance and use of girls. The video is deemed more conceptual than narrative-based due to its random dancing without a story.
The document provides an analysis of several music videos. It summarizes each video in 1-2 paragraphs, describing elements like genre, themes, imagery, and how the video relates to the song. Key points analyzed include how the videos represent the artists' images and messages, use of costumes, lighting, locations, and references to other works. The document examines videos for songs by KSI, Fame on Fire, and Yellow Claw featuring themes of isolation, partying, and not conforming to others' expectations.
There are several rules that music videos typically follow:
1) The music video style reflects the genre of music. For the alternative rock song "Amsterdam" by Nothing But Thieves, the video features the band performing in an abandoned factory alongside dancers.
2) The visuals in a music video relate to the song lyrics, whether illustrating, amplifying or contradicting them. In "Amsterdam", scenes of the dancers emphasize lyrics about craziness and living under the same sun.
3) The visuals also relate to the music itself, using elements like tempo. In "No More Sad Songs" by Little Mix, the climax of the music is reflected in an intensification of the visuals
The music video is primarily performance based with some narrative elements. It begins by introducing each band member through medium shots that establish their instruments. Throughout, there are shots of the full band performing that demonstrate the genre's performance characteristics. Some narrative is provided by cuts between shots of transportation that relate to the lyrics about wanting to "get away from here." Overall, the video focuses on the band's performance to showcase their music.
Different music videos for different genreswhslaura
This document summarizes different music video styles based on genre. It discusses conventions for metal, rock, indie, pop, and rap music videos. For metal videos, it provides examples of Metallica and Dragonforce that use close-up shots and angles to connect with audiences. Rock videos like Guns N' Roses use black and white with close-ups. Indie videos like George Ezra and Bastille have abstract narratives. Pop videos like Justin Bieber and Shawn Mendes use choreography, lighting, and voyeurism. Rap videos by Eminem and Kanye West have sci-fi themes while Nicki Minaj and Iggy Azalea emphasize sexuality and the "male gaze."
This document discusses the indie pop music genre and provides examples of music videos that reflect its conventions or subvert them:
- Indie pop follows pop conventions but uses more diverse instrumentation like rock instruments or electronics. It originated in the UK and expanded in the US in the 1990s.
- Lana Del Rey's "Young and Beautiful" video focuses on her facial expressions against a plain black background, emphasizing the male gaze.
- Marina and the Diamonds's "Primadonna" video depicts her wishing for luxury through lavish costumes and settings that reflect the lyrics.
- Halsey's "New Americana" video subverts conventions by depicting an oppressed group rebelling against authority through
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 discusses 7 key areas of music video analysis according to Andrew Goodwin. It then analyzes 3 music videos based on these 7 areas.
The 7 areas are: 1) Genre characteristics are demonstrated in videos 2) Relationship between lyrics and visuals 3) Relationship between music and visuals 4) Record label demands for close-ups 5) References to looking/voyeurism 6) Recurring motifs in an artist's work 7) Intertextual references.
The 3 videos analyzed are "Twice" by Catfish and the Bottlemen, "How Good It Was" by The Courteeners, and "Light It Up" by Eliza and the Bear. All 3 videos primarily
The document discusses conventions in music videos according to genre. Some general conventions are that the artists are shown performing, the lyrics and visuals are related, and editing pace matches the music. Specific genres may show performances, dance routines, stage shows, narrative storylines, lip syncing, depictions of wealth, dancers, mysterious/edgy tones, dark colors and makeup, or versatile combinations depending on the genre being pop, R&B/hip hop, rock/metal, or indie. Genre conventions help music videos appeal to audiences and reflect the mood and themes of the songs.
This document analyzes the music video for Lady Gaga's "Poker Face" and Justin Timberlake's "Rock Your Body".
For "Poker Face", the setting is a modern mansion where characters are playing poker, reflecting the song title. Lady Gaga wears flashy costumes to stand out. Props like poker chips further connect to the song. There is no strong narrative; the focus is on Lady Gaga's sexual movements and kissing extras.
"Rock Your Body" takes place in a room with changing light walls. Justin Timberlake is the sole focus, wearing trendy white clothes. Few props are used to emphasize the music. Dancing is sexual but confident, reflecting the song
The video for Haim's "If I Could Change Your Mind" is mainly performance based, showing the band singing and dancing with their instruments under dim lighting throughout. While the lyrics don't directly relate to the visuals, the dark setting matches the deep meaning of the lyrics. Little Comet's "Joanna" video tells a narrative story through visuals that connect to the lyrics about one-night stands. The xx's "Crystalised" is also performance based with the band playing guitars and singing without a connecting narrative, using dark tones that reflect the song's mood.
The document discusses various techniques used in music videos that were researched and incorporated into the student's own music video project. These include linking the visuals to lyrics, syncing shots with the music, using conventions of the pop genre like effects and gazes, and challenging some conventions by using simpler clothing styles. The student aimed to tell a narrative story through their video and received feedback that their use of music-to-video synchronization was successful at engaging the audience.
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.
This summarizes a document analyzing several music videos based on music video theory. It discusses Foster the People's "Call it What You Want" video, noting how it represents the band's indie genre through casual outfits and setting. Various shots link to lyrics, like a cracked wall representing breaking from ideas. It also shows an aspirational lifestyle but implies money doesn't buy happiness. For Arctic Monkeys' "One for the Road", the video introduces the song title through a woman's jacket and uses closeups and setting to represent the indie genre. Shots of a tractor link to the "one for the road" lyrics. Overall, the summary analyzes how the videos represent their genres and connect visually to the songs' lyrics
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 a textual analysis of 5 music videos summarizing their forms, conventions, representations, and target audiences. It analyzes videos by Shakira, Jay-Z featuring Alicia Keys, Beyoncé, Kanye West featuring Rihanna and Kid Cudi, and Wiley. For each video, it describes elements like date, director, genre, modes, mise-en-scene, editing, cinematography, representations constructed, label, distribution channels, and intended audience. It finds that the videos generally adhere to conventions of their genres through elements like fast-paced editing, close-ups of the artists, and fashionable costumes. Audience theories like the male gaze and feminism are discussed in
This document provides descriptions of different music genres and how they are typically represented in music videos. It discusses common elements of rock, pop, indie, techno, pop rock, hip hop, R&B, house, disco, punk rock, jazz, country and rap music videos such as narrative/performance focus, lighting, costumes, instrumentation and more. Each genre section includes an example music video.
The document provides an analysis of genre characteristics, lyrics and visuals, and music and visuals in the music videos for "The Man Who Can't Be Moved" by The Script and "Juliet" by Lawson. Some key points made:
- Both videos include conventions of live performance but incorporate elements of both pop and rock genres.
- Visuals in both videos closely connect to and illustrate the lyrics being sung.
- Lighting, costumes, and close-ups of instruments follow conventions more of the rock genre.
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.
This document provides guidance on analyzing music videos using Andrew Goodwin's theory and techniques. It discusses Goodwin's theory, which includes elements like genre characteristics, relationships between lyrics/music and visuals, demands of record labels, and intertextual references. It then analyzes the music video for "Thinking of You" by Katy Perry based on Goodwin's theory. Students are assigned to create a presentation applying Goodwin's theory to this video or to storyboard their own music video opening using techniques like camera angles, editing, lighting and composition. The deadline is Wednesday the 21st.
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.
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.
This document analyzes and summarizes several music videos using film theory concepts. It discusses characteristics commonly found in indie/alternative music videos like dim lighting, bands performing with instruments, and casual appearances. It also analyzes specific shots and scenes in the videos for Two Door Cinema Club - "What You Know", Arctic Monkeys - "When The Sun Goes Down", and The Vaccines - "If You Wanna" in relation to theories about the relationship between visuals and lyrics, star images, narrative/storytelling, and aesthetics.
The document analyzes genre characteristics, lyrics and visuals, music and visuals, close ups, and digipak/album designs of the music videos "The Man Who Can't Be Moved" by The Script and "Juliet" by Lawson. Some key points:
1) The videos incorporate conventions of both rock (dark colors, live performances) and pop (lead singer at front, inclusion of natural light).
2) Visuals strongly connect to lyrics through illustrative matching of scenes to words.
3) Close ups are used frequently on faces to convey emotion and build connection with viewers.
4) Digipaks and album covers/posters feature band images and information clearly while
O arquivo trata sobre manifestações características que aparecem sistemicamente e na cavidade oral em pacientes portadores de insuficiência renal crônica.
Different music videos for different genreswhslaura
This document summarizes different music video styles based on genre. It discusses conventions for metal, rock, indie, pop, and rap music videos. For metal videos, it provides examples of Metallica and Dragonforce that use close-up shots and angles to connect with audiences. Rock videos like Guns N' Roses use black and white with close-ups. Indie videos like George Ezra and Bastille have abstract narratives. Pop videos like Justin Bieber and Shawn Mendes use choreography, lighting, and voyeurism. Rap videos by Eminem and Kanye West have sci-fi themes while Nicki Minaj and Iggy Azalea emphasize sexuality and the "male gaze."
This document discusses the indie pop music genre and provides examples of music videos that reflect its conventions or subvert them:
- Indie pop follows pop conventions but uses more diverse instrumentation like rock instruments or electronics. It originated in the UK and expanded in the US in the 1990s.
- Lana Del Rey's "Young and Beautiful" video focuses on her facial expressions against a plain black background, emphasizing the male gaze.
- Marina and the Diamonds's "Primadonna" video depicts her wishing for luxury through lavish costumes and settings that reflect the lyrics.
- Halsey's "New Americana" video subverts conventions by depicting an oppressed group rebelling against authority through
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 discusses 7 key areas of music video analysis according to Andrew Goodwin. It then analyzes 3 music videos based on these 7 areas.
The 7 areas are: 1) Genre characteristics are demonstrated in videos 2) Relationship between lyrics and visuals 3) Relationship between music and visuals 4) Record label demands for close-ups 5) References to looking/voyeurism 6) Recurring motifs in an artist's work 7) Intertextual references.
The 3 videos analyzed are "Twice" by Catfish and the Bottlemen, "How Good It Was" by The Courteeners, and "Light It Up" by Eliza and the Bear. All 3 videos primarily
The document discusses conventions in music videos according to genre. Some general conventions are that the artists are shown performing, the lyrics and visuals are related, and editing pace matches the music. Specific genres may show performances, dance routines, stage shows, narrative storylines, lip syncing, depictions of wealth, dancers, mysterious/edgy tones, dark colors and makeup, or versatile combinations depending on the genre being pop, R&B/hip hop, rock/metal, or indie. Genre conventions help music videos appeal to audiences and reflect the mood and themes of the songs.
This document analyzes the music video for Lady Gaga's "Poker Face" and Justin Timberlake's "Rock Your Body".
For "Poker Face", the setting is a modern mansion where characters are playing poker, reflecting the song title. Lady Gaga wears flashy costumes to stand out. Props like poker chips further connect to the song. There is no strong narrative; the focus is on Lady Gaga's sexual movements and kissing extras.
"Rock Your Body" takes place in a room with changing light walls. Justin Timberlake is the sole focus, wearing trendy white clothes. Few props are used to emphasize the music. Dancing is sexual but confident, reflecting the song
The video for Haim's "If I Could Change Your Mind" is mainly performance based, showing the band singing and dancing with their instruments under dim lighting throughout. While the lyrics don't directly relate to the visuals, the dark setting matches the deep meaning of the lyrics. Little Comet's "Joanna" video tells a narrative story through visuals that connect to the lyrics about one-night stands. The xx's "Crystalised" is also performance based with the band playing guitars and singing without a connecting narrative, using dark tones that reflect the song's mood.
The document discusses various techniques used in music videos that were researched and incorporated into the student's own music video project. These include linking the visuals to lyrics, syncing shots with the music, using conventions of the pop genre like effects and gazes, and challenging some conventions by using simpler clothing styles. The student aimed to tell a narrative story through their video and received feedback that their use of music-to-video synchronization was successful at engaging the audience.
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.
This summarizes a document analyzing several music videos based on music video theory. It discusses Foster the People's "Call it What You Want" video, noting how it represents the band's indie genre through casual outfits and setting. Various shots link to lyrics, like a cracked wall representing breaking from ideas. It also shows an aspirational lifestyle but implies money doesn't buy happiness. For Arctic Monkeys' "One for the Road", the video introduces the song title through a woman's jacket and uses closeups and setting to represent the indie genre. Shots of a tractor link to the "one for the road" lyrics. Overall, the summary analyzes how the videos represent their genres and connect visually to the songs' lyrics
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 a textual analysis of 5 music videos summarizing their forms, conventions, representations, and target audiences. It analyzes videos by Shakira, Jay-Z featuring Alicia Keys, Beyoncé, Kanye West featuring Rihanna and Kid Cudi, and Wiley. For each video, it describes elements like date, director, genre, modes, mise-en-scene, editing, cinematography, representations constructed, label, distribution channels, and intended audience. It finds that the videos generally adhere to conventions of their genres through elements like fast-paced editing, close-ups of the artists, and fashionable costumes. Audience theories like the male gaze and feminism are discussed in
This document provides descriptions of different music genres and how they are typically represented in music videos. It discusses common elements of rock, pop, indie, techno, pop rock, hip hop, R&B, house, disco, punk rock, jazz, country and rap music videos such as narrative/performance focus, lighting, costumes, instrumentation and more. Each genre section includes an example music video.
The document provides an analysis of genre characteristics, lyrics and visuals, and music and visuals in the music videos for "The Man Who Can't Be Moved" by The Script and "Juliet" by Lawson. Some key points made:
- Both videos include conventions of live performance but incorporate elements of both pop and rock genres.
- Visuals in both videos closely connect to and illustrate the lyrics being sung.
- Lighting, costumes, and close-ups of instruments follow conventions more of the rock genre.
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.
This document provides guidance on analyzing music videos using Andrew Goodwin's theory and techniques. It discusses Goodwin's theory, which includes elements like genre characteristics, relationships between lyrics/music and visuals, demands of record labels, and intertextual references. It then analyzes the music video for "Thinking of You" by Katy Perry based on Goodwin's theory. Students are assigned to create a presentation applying Goodwin's theory to this video or to storyboard their own music video opening using techniques like camera angles, editing, lighting and composition. The deadline is Wednesday the 21st.
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.
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.
This document analyzes and summarizes several music videos using film theory concepts. It discusses characteristics commonly found in indie/alternative music videos like dim lighting, bands performing with instruments, and casual appearances. It also analyzes specific shots and scenes in the videos for Two Door Cinema Club - "What You Know", Arctic Monkeys - "When The Sun Goes Down", and The Vaccines - "If You Wanna" in relation to theories about the relationship between visuals and lyrics, star images, narrative/storytelling, and aesthetics.
The document analyzes genre characteristics, lyrics and visuals, music and visuals, close ups, and digipak/album designs of the music videos "The Man Who Can't Be Moved" by The Script and "Juliet" by Lawson. Some key points:
1) The videos incorporate conventions of both rock (dark colors, live performances) and pop (lead singer at front, inclusion of natural light).
2) Visuals strongly connect to lyrics through illustrative matching of scenes to words.
3) Close ups are used frequently on faces to convey emotion and build connection with viewers.
4) Digipaks and album covers/posters feature band images and information clearly while
O arquivo trata sobre manifestações características que aparecem sistemicamente e na cavidade oral em pacientes portadores de insuficiência renal crônica.
Con este ensayo pretendo hacer un análisis del libro titulado “Building Social Business” escrito por Muhammad Yunus. Este libro es fundamental para crear nuevas formas para desarrollar o transformar el mundo. Yunus es pionero del microcrédito, en su libro realiza un paseo detallado del desarrollo de empresas sociales como una práctica continua para el desarrollo del mundo. El ejemplo del autor, es inspirador e impactó positivamente a la sociedad logrando mejorar la calidad de vida de las personas.
A canção expressa o desejo do cantor de estar perto de Deus como um filho amado por seu pai. Ele canta que Deus já conhece todas as suas necessidades e o ama incondicionalmente. Sua maior motivação é servir a Deus e viver unicamente para Ele.
The document describes various parts of a lathe machine and cutting tools used. It explains how to set the tool height and lists main lathe parts like the tailstock, carriage, cross slide, top slide, feed shaft, lead screw, toolpost and tool holders. It discusses different cutting tool materials from carbon steel and high speed steel to carbides and diamond. It also outlines common lathe operations like parallel turning, facing, knurling and parting off. CNC lathes are mentioned as more efficient for mass production. Tool shapes depend on the operation, material and desired finish. Homework involves sketching and explaining solid, butt-brazed and tipped tools as well as specific tool shapes.
El documento resume la situación del desarrollo científico y tecnológico en Colombia. Explica que las actividades científicas y tecnológicas pueden influir en el proceso social y económico de un país, pero su enfoque también puede causar un uso no sostenible de los recursos naturales. Finalmente, señala que aunque Colombia mantiene cierta dinámica en ciencia, tecnología e innovación, su capacidad de innovación es deficiente y está lejos de los niveles deseados, especialmente en comparación con otros
Mantenimiento de artefactos tecnológicos pabloPablo Güiza
El mantenimiento de un artefacto tecnológico incluye el mantenimiento preventivo y el mantenimiento correctivo. El mantenimiento preventivo se realiza de forma periódica para detectar posibles problemas y corregirlos antes de que ocurran, mientras que el mantenimiento correctivo se lleva a cabo después de que ocurre un fallo para restablecer la funcionalidad. Ambos tipos de mantenimiento son importantes para prolongar la vida útil de los objetos tecnológicos y reducir costos.
Andrew Goodwin identifies 6 key features of music videos in his book Dancing in the Distraction Factory. These include demonstrating genre characteristics, establishing relationships between the lyrics/music and visuals, focusing on looking/gaze, including demands of record labels for close-ups of artists, and using intertextual references. The document also discusses 3 main types of music videos - performance, narrative, and conceptual - and provides examples of each. Overall, the document outlines common structural and stylistic elements often found in music videos according to Andrew Goodwin's research.
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
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.
RESEARCH: A2 Media Music Video Analysis (Alternative Genre)HollyRileyA2
I did not find any explicit intertextual references to other films, TV programs or music videos in the "We Are Young" music video by Fun. The video focuses on depicting the song's lyrics through a narrative of a chaotic party scene. While it utilizes some common music video techniques like close-ups, slow motion and performance shots, it does not directly reference or allude to any other existing media texts.
This document provides a proposal for a music video project. The proposal is to create a music video for the song "My Last Day" by the band Girl Kills Boy. The video will be around 3 minutes and 30 seconds and will also include designing a website homepage for the band and a DVD cover. The narrative of the video will involve a soldier being taken hostage in a foreign country and being forced to make a hostage video. While having a political message, the video will not show serious violence and will aim to get airtime on music channels. The target audience is identified as young adults aged 16 to 25.
The document provides an analysis of Andrew Goodwin's 7 features of music videos and then analyzes the music videos for three songs:
1) Kasabian - "eez-eh" is primarily a performance-based video that illustrates the music and amplifies its bold tone through bright colors. It includes few lyrics-image connections and close-ups.
2) Coldplay - "Adventure of a Lifetime" follows conventions of a boy-band video with a dance routine and performance. It amplifies lyrics through chimp lip-syncing and includes motifs to identify band members.
3) Jamie T - "Zombie" includes a stage performance but does not fully follow indie conventions. It creates a lyrics
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.
1. Goodwin suggested that music videos often link the genre of music to the genre of visuals. For example, a punk rock video may feature punk rock fashion and live performance elements.
2. Goodwin also noted there is usually a relationship between the visuals and lyrics of a music video. Visuals may illustrate, amplify, or contradict what is being sung.
3. According to Goodwin, the tone and atmosphere of a music video typically reflects the music itself.
1. Goodwin suggested that music videos often link the genre of music to the genre of visuals. For example, a punk rock video may feature punk rock fashion and live performance elements.
2. Goodwin also noted there is usually a relationship between the visuals and lyrics of a music video. Visuals may illustrate, amplify, or contradict what is being sung.
3. According to Goodwin, the tone and atmosphere of a music video typically reflects the music itself.
Goodwin's Theory proposes 8 principles for analyzing music videos: 1) Links between lyrics and visuals to reinforce the song's meaning, 2) Links between music and visuals to match the genre and tempo, and 3) Genre characteristics like close-ups for pop videos and narratives for indie rock. Examples like Amy Winehouse's "You Know I'm No Good" and Michael Jackson's "Thriller" illustrate these principles. The theory also covers intertextual references, portrayals of gender, voyeurism of an artist's lifestyle, record label demands, and whether a video focuses on performance, narrative, or concept. Applying Goodwin's Theory can help create music videos that effectively connect with audiences.
Goodwin's Theory proposes 8 principles for analyzing music videos: 1) Links between lyrics and visuals to reinforce the song's meaning, 2) Links between music and visuals to match the genre and tempo, and 3) Genre characteristics like close-ups for pop videos and narratives for indie rock. Examples like Amy Winehouse's "You Know I'm No Good" and Michael Jackson's "Thriller" illustrate these principles. The theory also covers intertextual references, portrayals of gender, voyeurism of an artist's lifestyle, record label demands, and whether a video focuses on performance, narrative, or concept. Applying Goodwin's Theory can help create music videos that effectively connect with audiences.
The Kaiser Chiefs music video for "Ruby" is an example of a generic indie music video. It contains both a performance element, showing the band playing their instruments, and a narrative element where a miniature city is built around the band as they perform. Close-ups of each band member are used to establish their roles and allow the audience to recognize them, helping promote their music. The video focuses equally on the performance and unrelated narrative elements.
The Goodwin Theory from 1992 analyzes key elements that must be present in music videos. It views the music video as symbolizing the Bible in how it contains genre characteristics, relationships between music/lyrics and visuals, demands for close-ups of artists, references to looking, and being performance, narrative or concept-based. Andrew Goodwin identified 7 key ideas for music videos, which are demonstrated in analyses of Demi Lovato's "Made in the USA" and Ne-Yo's "Forever Now". Both videos show relationships between music/lyrics and visuals, meet record label demands, and reference other works through techniques like those found in films.
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 music video for The Kooks' song "Shine On" uses various techniques to portray the band as authentic indie musicians and appeal to their target audience. It features close-ups of the band playing instruments to emphasize their musical abilities. Retro aesthetics like flowery wallpaper reference the origins of indie music. While including voyeuristic elements, it does not objectify women. The video also stands out by not including intertextual references or focusing on visual effects, reinforcing the band's anti-mainstream image and focus on their music.
The document analyzes and summarizes three music videos based on common characteristics of music videos. It discusses the relationship between lyrics and visuals, music and visuals, the focus on the artist, references to female bodies, recurring motifs, and intertextual references in the videos for songs by Justin Bieber featuring Diplo and Skrillex, Red Hot Chili Peppers, and The Weeknd. Key details analyzed include the amplification of lyrics and mood through the visuals, illustrations of the lyrics, close-ups of the artists, and references to other media in the videos.
The document provides an analysis of how the student's media product uses, develops, and challenges conventions of real music videos. It discusses the use of narrative through storytelling that relates to the song lyrics. Genre conventions of indie/rock music videos are explored through examples like location, clothing, and instrumentation. Representation of social class, age, and gender align with typical portrayals in indie music. Cinematography techniques, editing, mise-en-scene, and sound work to develop the narrative and reinforce the genre. Audience feedback confirmed the project achieved its goals of mirroring real music video forms and conventions.
The document summarizes Andrew Goodwin's key aspects of analyzing music videos, including genre characteristics, relationships between lyrics and visuals, music and visuals, demands of record labels, notions of looking, and intertextuality. Specific music video examples are provided to illustrate each aspect, such as One Direction demonstrating genre characteristics of a boy band, Coldplay's "The Scientist" matching its reversed video to the lyrics "go back in time", and Beyoncé's "Crazy in Love" portraying notions of looking through fragmented shots.
This document discusses key concepts in analyzing music videos and film trailers, including:
1) Relationships between lyrics/music and visuals that can amplify or contradict each other.
2) Examples from Travis Scott's music video that illustrate these relationships.
3) Common genre-related styles and icons present in hip hop videos, like those seen in the video.
The Kaiser Chiefs music video for "Ruby" is a typical indie music video that contains both a performance element and narrative element. It shows the full band performing and cuts between close-ups of each musician. Around them, a miniature city is being built as they play. While the narrative is unrelated to the song lyrics, it allows the audience to relate to the lyrics without being influenced by the band's specific interpretation. The video focuses on establishing each band member and their "indie" style through clothing and playing real instruments.
This slide is special for master students (MIBS & MIFB) in UUM. Also useful for readers who are interested in the topic of contemporary Islamic banking.
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2. Andrew Goodwin’s 7 key features of a music video
• Music videos demonstrate genre characteristics. (e.g. stage performance in metal
videos, dance routine for boy/girl band, aspiration in Hip Hop).
• There is a relationship between lyrics and visuals. The lyrics are represented with
images. (either illustrative, amplifying, contradicting).
• There is a relationship between music and visuals. The tone and atmosphere of
the visual reflects that of the music. (either illustrative, amplifying, contradicting).
• 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).
• There is frequently reference to notion of looking (screens within screens, mirrors,
stages, etc.) and particularly voyeuristic treatment of the female body.
• The artist may develop motifs or iconography that recur across their work (a visual
style)
• There are often intertextual reference (to films, T" programmes, other music
videos etc.).
3. Nickelback - Savin' Me
"Savin' Me" is a song written by the Canadian band
Nickelback and was released as a single in 2006. The
song is a rock song and features acoustic/drums in
the music.
Nickelback are well know for making rock songs and
they have a particular style which “Savin' Me“
follows. The music video for “Savin' Me“ is different
to other Nickelback music videos because it include
very little of the band themselves and focus mainly
on telling a story apposed to the bad themselves.
4. Music videos demonstrate genre characteristics. (e.g. stage performance in metal videos,
dance routine for boy/girl band, aspiration in Hip Hop).
Goodwin’s theory states that each genre of music has it own characteristics for their music videos,
meaning that all pop music videos will contain certain things and all country music videos will contain
others. “Savin' Me” is a rock video and thus contains certain conventions that all rock music videos
contain.
The first convention that “Savin' Me” follows as a rock video is that the artist/band is featured
preforming throughout the video. In “Savin' Me” you can see Nickelback preforming several times
however in all of the clips only the main singer is preforming and the other members of the band are
simply standing/sitting with blank expressions on their faces often staring into blank spaces.
The second convention it follows is that the set of the video is dark or has lots of shadows, “Savin'
Me” follows this convention as the shots of the band are filmed in a dark, dirty and derelict looking
apartment which suits the style of the lyrics, it is also appealing to the target audience of the music.
5. Another common convention for this type of music video is a long or extended instrumental section
which breaks up the lyrics but still keeps the song interesting for the listener. Nickelback’s “Savin’ Me”
includes an instrumental which allows the person watching the video to understand the story better
because they are not having to concentrate on the lyrics of the song.
In rock songs the music videos are often either of the band preforming the song live for an audience or
of a story that the video tells which is often tied into the lyrics of the song. Nickelback often have a story
behind their videos and “Savin’ Me” is no different telling a short yet interesting story which keeps the
watcher or listener interested for the duration of the song.
Another convention that rock music videos
generally follow is the band is normally in dull
clothing which doesn’t draw too much attention to
them, meaning you focus mainly on their faces and
not their outfit. In “Savin’ Me” the main singer is
wearing a plain brown jumper and has lots of
close-ups on his face.
6. There is a relationship between lyrics and visuals. The lyrics are represented with images.
(either illustrative, amplifying, contradicting).
The lyrics of “Savin’ Me” are represented by the music video which go with them. The song itself is
about a man realising how he could die at any time and how he wouldn't go to haven because he
hasn’t lived his life as a good person, he is trying to ask god to help him live a good life so he can
go to heaven when he dies.
The video tells a slightly different
story however it links in to the story
in a few ways. The Video tells the
story of a man who’s life is saved
and he realises that he could die and
time and then starts seeing timers
above peoples heads that are
counting down, he then realises that
these timers represent how long
someone has left to live and notices
that a woman who was about to get
into her cars timers was dropping
rapidly so he pulls her away and
saves her life passing the ability to
see the timers on to her.
I think theses stories
are connected
because they both
show how a man
nearly dies and
changes his actions
because of it, the
male characters in
both stories also
realise that they
could die at any
minute and change
because of it.
7. I think theses stories are
connected because they both
show how a man nearly dies
and changes his actions
because of it, the male
characters in both stories also
realise that they could die at
any minute and change
because of it.
The music video for “Savin’ Me”
has a direct relationship to the
music or song itself, the
atmosphere reflect the music’s
darker tone. The music video
includes lots of shots which are
dull and often only grey and
white with other dull colours
and often features dark or
shaded areas of the city to
emphasise this.
8. 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).
“Savin’ Me” features several close ups on the lead singer of Nickelback Chad Kroeger, this is due
to demands of the record label wanting to have the band and specifically Chad as the main singer
to help sell the band and make more money.
Nickelback also has several motifs which they use in most of their music videos. Usually the band
are in simple bland clothing, often a simple plain t-shirt which isn’t a bright colour and black or blue
jeans. Another thing that is often seen in Nickelback music videos is a close up of Chad Kroeger
singing the chorus of that song.
9. There is frequently reference to notion of looking (screens within screens, mirrors, stages,
etc.) and particularly voyeuristic treatment of the female body.
The music video for “Savin’ Me” features several shots which look like they have been taken from
CCTV cameras, this refers to Goodwin's 5th theory, which explains that music videos often
reference the notion of looking. Several of these shots are used at the begging to establish the
setting of the video which is a dull city with little colour.
The camera shots that look like they have been taken from CCTV cameras makes us feel we are
watching it live and thus feel closer to the band, song and story that the video is telling which helps
to sell the album and make more money.
10. The artist may develop motifs or iconography that recur
across their work (a visual style)
Nickelback also has several motifs which they use in most of
their music videos. Usually the band are in simple bland
clothing, often a simple plain t-shirt which isn’t a bright
colour and black or blue jeans. Another thing that is often
seen in Nickelback music videos is a close up of Chad
Kroeger singing the chorus of that song.
11. There are often intertextual reference (to films, T" programmes, other music videos etc.).
The music video for “Savin’ Me” has several intertextual
references including the film “In time” Which tells the story of a
world where time is currency, one you run out of time you die, you
can earn time by working but have to spend time on things like
food, water and other essentials. Everyone looks as if they are 25
because of anti aging technology which means that people can
live for longer and more youthful. This obviously ties in with the
theme of the “Savin’ Me” theme due to the fact that in both we re
given a set amount of time to live however people can extend that
by saving people in “Savin’ Me” and by working in InTime. I the
movie InTime the people all have a digital clock style count down
clock which is very similar to the timers people have in the video
“Savin’ Me” which leads me to believe it is directly referencing the
movie.
The two
different
countdown
timers in Savin’
Me and InTime.
12. Panic! At The Disco - lying is the most fun
“Lying is the most fun" is a song written by the
American band Panic At The Disco. It was released as
part of the album “A Fever You Can't Sweat Out”
which came out in 2005. The song is an Indi-rock
song.
Panic At The Disco are well know for making several
songs and they have a tendency to have narrative
based music videos which make there songs feel like
they have meaning to them.
13. Music videos demonstrate genre characteristics. (e.g. stage performance in metal videos, dance routine
for boy/girl band, aspiration in Hip Hop).
Goodwin's theory tells us that each genre of music has specific conventions, as we are using a song from the
indie genre I will be analysing these conventions within the video.
One of the main conventions is for indie bands to be preforming live on stage or to have a narrative if the band is
preforming live then it shows us that the band is new and quirky which relates to the genre. However if a narrative
is used then it shows us that the song is designed to tell a story and is a great way to make it stand out from other
songs.
Another convention used in the indie genre is that the people featuring in the video are wearing clothing that
makes them stand out from the crowd, this doesn’t necessarily mean that they are wearing bright clothing however
it does mean that they are wearing clothing you wouldn't expect to see in everyday life.
Indie music videos often contain random things which are designed to make people re-watch the video after they
have seen it once, this is deliberately done as it keeps people interested throughout the video.
14. There is a relationship between lyrics and visuals. The lyrics are represented with images.
(either illustrative, amplifying, contradicting).
The lyrics of “lying is the most fun” are related to the visuals of the music video in several ways,
they tell the story of a man whose girlfriend cheated on him, he's asking if it was worth it to cheat
on him because he believes she'll never have someone better than him and if the person he
cheated on him was worth losing him over.
The video tells the story of a couple and how she saves him by taking him into her tank and then
how she finds him dead after he discovers she cheated, then she kills herself because she cant
deal with what she has done, then the paramedics arrive and save them both and free them
together and then we see them kissing and come back to life.
15. 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).
The music video of “Lying is the most fun” doesn’t follow this convention as Goodwin thought it should as there are
no close up shots of the artist in the video. In fact the video for “Lying is the most fun” takes this a step further and
doesn’t actually include the artist at all, this could be don’t deliberately as it could be seen as a counter convention
to make the video stand put from others in the same genre which could attract audiences from other genres.
The video does however contains many close-up’s of actors who are in the video, this could be deliberate so they
don’t go against the convention completely as this is a risk which could cause them several issues. I think the
actors have been chosen to be in the close up shots because they represent the story easily whilst keeping the
focus on the story and not the music.
16. There is frequently reference to notion of looking (screens within screens, mirrors, stages, etc.) and
particularly voyeuristic treatment of the female body.
The music video for the song “Lying is the most fun” references the notion of looking in several ways, the main
being water and reflections in water. The music video includes several people who's heads are trapped in fish
tanks, this shows interesting reflections in some cases. Water is also used near the beginning of the video
when it is spilt on the ground and shows the reflection of the woman's legs approaching (see below).
I think the video follows this convention as it makes the video more interesting and re-watchable. I also think
the female body is used in this shot to attract male viewers as the legs are suggestive and attractive especially
as the woman bends over to pick up the fish in the pool.
17. The artist may develop motifs or iconography that recur across their work (a visual
style)
Panic! At the disco are well known for having interesting music videos as well as having a
variety of music genres. The videos from Panic! At the disco usually have several random
things, for example the video for “Build god, then we’ll talk” contains lots of random elements
which are comedic but also creepy and make the watcher uneasy or laugh.
Panic! At the disco also have a motif of not appearing in there videos or if they do they are
almost always characters in a story they are trying to tell, this could be because they do not like
performance based videos or it could be a stylistic choice to make the watcher feel that each
time they see them in a different situation they see a new side to them which keeps them
interesting and fresh.
18. There are often intertextual reference (to films, T" programmes, other music videos etc.).
Panic! At the disco are well known for having interesting music videos as well as having a variety of
music genres. It's about a man whose girlfriend cheated on him, he's asking if it was worth it to
cheat on him because he believes she'll never have someone better than him and if the person he
cheated on him was worth losing him over.
Natalie Portman says the words "Lying is the most fun a girl can have without taking her clothes off,
but it's better if you do." in the movie "Closer” this is the full title of the song, Panic! At the disco
could have chosen this in order to make a reference to the movie. The movie includes the
characters all sleeping with other members of the cast cheating on each other which is what the
story of both the song and the lyrics are.
19. Artic monkeys - Fluorescent Adolescent
“Fluorescent Adolescent " is a song written by the
British band from Sheffield the Arctic monkeys. It
was released as single in 2007. The song is an Indi-
rock song.
20. Music videos demonstrate genre characteristics. (e.g. stage performance in metal videos, dance routine
for boy/girl band, aspiration in Hip Hop).
Goodwin's theory tells us that each genre of music has specific conventions, as we are using a song from the
indie genre I will be analysing these conventions within the video for the song florescent adolescent.
The main conventions for indie bands is for the band themselves to be preforming live on stage rather than a
studio recoding or to have a narrative if the band is preforming live then it shows us that the band is modern and
quirky which relates to the genre. However if a narrative is used then it shows us that the song is designed to tell a
story and is a great way to make it stand out from other songs whilst keeping within the conventions of that genre.
Another convention used in the indie genre is that the people featuring in the video are wearing clothing that
makes them stand out from the crowd, this doesn’t necessarily mean that they are wearing bright clothing however
it does mean that they are wearing clothing or in this case makeup you wouldn't expect to see in everyday life.
The clowns in the video for the song “florescent adolescent” shows us that the music video has been designed to
be re-watchable and interesting whilst.