Music video analysis
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The document analyzes a music video based on 5 criteria: 1. The relationship between the beats of the song and the structure of the music video. While the visuals tell a different love story than the lyrics. 2. The narrative and performance of the artists in the video. The story is not fully explained and requires interpretation from the audience. 3. How the artists are presented as the "stars" of the video, with one doing most of the lip syncing to tell the love story. 4. The relationship of the visuals to the genre of indie rock, through elements like black and white footage and guitar playing. Key meanings of the song are represented even if the story is not.
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Music Video Analysis
The document analyzes a music video based on 5 criteria:
1) The relationship between the beats of the song and the structure of the music video. While the visuals tell a different love story than the lyrics.
2) The narrative and performance of the artists in the video. The story is not fully explained and requires interpretation from the audience.
3) How the main artist serves as the "star" through lip syncing and being part of the love story, while the group of artists tell the overall narrative.
4) The visuals illustrate the indie rock genre through images of playing guitar and being in black and white, and amplify through repeated shots while not ignoring the key meanings of the song
Music video analysis
This music video tells a narrative story that relates to the song's lyrics about heartbreak. The visuals show a boy in various situations with a girl, until another boy interrupts and the girl chooses him instead. Throughout the video, the music and visuals are closely linked, with cuts matching the song's flow. While there are no performances by the band shown, there are close-ups of the people in the narrative story. The video also uses the notion of looking at times, with shots of the boy and girl looking directly at the camera.
Applying Andrew Goodwin’s theory
This document analyzes Shinedown's music video for "Bully" using Andrew Goodwin's six key features of music videos. It finds that the video amplifies the lyrics through editing and visuals depicting bullying. Scenes illustrate specific lyrics of being hung and pushed to the dirt. The music and visuals are edited to amplify each other. Close-up shots of the lead singer engage the audience but also convey fear and hurt relating to the anti-bullying theme. The video lacks voyeurism and intertextual references, which is common for rock music videos.
Analysis of The 1975's Robbers
The 1975 - Robbers music video uses handheld camera shots and natural lighting to give it a realistic, indie rock style. It features the lead singer Matt Healy with a female protagonist in various outdoor settings as their relationship becomes increasingly reckless. While the narrative gets dramatic, the slow editing and pace suits the slow song. The video emphasizes Healy's star image as the frontman through its focus on him, but also appeals to a wider audience with its inclusion of a romantic narrative.
Laura mul..
Laura Mulvey created the theory of the male gaze, which says that music videos must be viewed from the perspective of a heterosexual male. Videos that attract the male gaze usually feature female artists portrayed in seductive ways to attract male attention. However, this reduces women to objects and influences how girls see themselves. Mulvey also notes that women can be portrayed as innocent in some music videos. The document discusses applying these theories to analyze portrayals of gender in music videos.
Analysis of Panic! At The Disco's Nine In The Afternoon
The video for "Nine in the Afternoon" by Panic! At the Disco features each band member waking up in a differently colored bedroom before entering unrelated settings, such as being ambushed by women in old dresses. Though the video's events don't relate to the lyrics, clocks are set to 9 AM and it remains daytime, referencing the song's title. The video has a disjunctive, bizarre style that sells the album's unconventional title and reflects the upbeat, energetic music through happy imagery like a Beatles-inspired parade.
Music Video Analysis
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.
A2 Media - Similar Product Analysis
The document analyzes and summarizes the music video for Selena Gomez's song "The Heart Wants What It Wants". It discusses several aspects of the video including the camera shots, narrative, mise-en-scene, and how it relates to music video analysis theories. Specifically, it notes that the video uses many close-up shots of Gomez singing to focus on her emotions. It also has a narrative element showing Gomez's character torn between acting happy in public but hurting privately after a breakup. The black-and-white and low-key lighting style reflects the sad mood of the song.
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Music Video Analysis
The document analyzes a music video based on 5 criteria:
1) The relationship between the beats of the song and the structure of the music video. While the visuals tell a different love story than the lyrics.
2) The narrative and performance of the artists in the video. The story is not fully explained and requires interpretation from the audience.
3) How the main artist serves as the "star" through lip syncing and being part of the love story, while the group of artists tell the overall narrative.
4) The visuals illustrate the indie rock genre through images of playing guitar and being in black and white, and amplify through repeated shots while not ignoring the key meanings of the song
Music video analysis
This music video tells a narrative story that relates to the song's lyrics about heartbreak. The visuals show a boy in various situations with a girl, until another boy interrupts and the girl chooses him instead. Throughout the video, the music and visuals are closely linked, with cuts matching the song's flow. While there are no performances by the band shown, there are close-ups of the people in the narrative story. The video also uses the notion of looking at times, with shots of the boy and girl looking directly at the camera.
Applying Andrew Goodwin’s theory
This document analyzes Shinedown's music video for "Bully" using Andrew Goodwin's six key features of music videos. It finds that the video amplifies the lyrics through editing and visuals depicting bullying. Scenes illustrate specific lyrics of being hung and pushed to the dirt. The music and visuals are edited to amplify each other. Close-up shots of the lead singer engage the audience but also convey fear and hurt relating to the anti-bullying theme. The video lacks voyeurism and intertextual references, which is common for rock music videos.
Analysis of The 1975's Robbers
The 1975 - Robbers music video uses handheld camera shots and natural lighting to give it a realistic, indie rock style. It features the lead singer Matt Healy with a female protagonist in various outdoor settings as their relationship becomes increasingly reckless. While the narrative gets dramatic, the slow editing and pace suits the slow song. The video emphasizes Healy's star image as the frontman through its focus on him, but also appeals to a wider audience with its inclusion of a romantic narrative.
Laura mul..
Laura Mulvey created the theory of the male gaze, which says that music videos must be viewed from the perspective of a heterosexual male. Videos that attract the male gaze usually feature female artists portrayed in seductive ways to attract male attention. However, this reduces women to objects and influences how girls see themselves. Mulvey also notes that women can be portrayed as innocent in some music videos. The document discusses applying these theories to analyze portrayals of gender in music videos.
Analysis of Panic! At The Disco's Nine In The Afternoon
The video for "Nine in the Afternoon" by Panic! At the Disco features each band member waking up in a differently colored bedroom before entering unrelated settings, such as being ambushed by women in old dresses. Though the video's events don't relate to the lyrics, clocks are set to 9 AM and it remains daytime, referencing the song's title. The video has a disjunctive, bizarre style that sells the album's unconventional title and reflects the upbeat, energetic music through happy imagery like a Beatles-inspired parade.
Music Video Analysis
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.
A2 Media - Similar Product Analysis
The document analyzes and summarizes the music video for Selena Gomez's song "The Heart Wants What It Wants". It discusses several aspects of the video including the camera shots, narrative, mise-en-scene, and how it relates to music video analysis theories. Specifically, it notes that the video uses many close-up shots of Gomez singing to focus on her emotions. It also has a narrative element showing Gomez's character torn between acting happy in public but hurting privately after a breakup. The black-and-white and low-key lighting style reflects the sad mood of the song.
Conventions
The document discusses conventions in music video genres, particularly indie music videos. It analyzes several indie music videos in terms of their props, costumes, editing style, shots, narrative structure and how they relate to the lyrics. Many conventions discussed are common across indie music videos, such as fast editing to match the beat, clear titles, and close-ups of band members. However, some elements analyzed are considered unconventional for the genre, such as black and white footage or costumes and themes more relevant to other genres. The document examines how different elements in the videos do or do not follow typical conventions for indie music videos.
You Me At Six Music Video Analysis
The music video for "No One Does It Better" by You Me At Six focuses on a narrative involving couples rather than prominently featuring the band members. Shots of the band are often out of focus or use mid and close-up shots rather than focusing on their full images. This narrative-based approach concentrates on the music rather than promoting the band's image, which is a convention of indie rock genres in contrast to pop music videos.
Andrew Goodwin's Theory
The document discusses Andrew Goodwin's 6 features of music videos and analyzes how the music video for "Glad You Came" by The Wanted illustrates these features, such as showing relationships between the lyrics and visuals through scenes that match what is being sung and having visuals and editing that amplify the tone of the music. The video also demonstrates genre characteristics of a typical boy band through shots of the group and close-ups of individual members, as well as some treatment of women that promotes voyeurism. Intertextual references in the opening credits help establish the band's brand identity across their videos.
Music Video Theorists
The document discusses several key aspects of music videos identified by Andrew Goodwin, including thought beats, narrative and performance, star images, technical aspects, and the relationship between visuals and song. It explains Goodwin's three steps for identifying thought beats: examining song structure and music, listening to the artist's voice, and understanding the artist's role as storyteller. The document also discusses the importance of narrative, star image, technical elements, and Roland Barthes' codes for analyzing narrative texts. Finally, it summarizes Vladimir Propp's eight character types commonly found in narratives.
Types & Styles of music videos
This document discusses different types and styles of music videos. The main types are narrative-based, which tell a story related to the song's lyrics; performance-based, which primarily feature the artist performing; and concept-based, which are based on a specific theme or concept. Some common styles are animation, interpretive, impressionist, intertextual, surrealist, and allusion. Examples are provided for each type and style.
Pop Genre research - A2 Media
Music videos accompany songs and tell visual stories. The first music video aired on MTV in 1980. Music videos can be categorized based on their style, such as performance videos that primarily feature the artist performing, or narrative videos that tell a story. They use various camera shots and editing techniques to engage audiences. Elements like lighting, costumes, locations, and colors create moods and represent characters. Sound is also carefully crafted, using both diegetic sounds from the environment and non-diegetic versions of the song.
Fireflies Analysis
This document provides a framework for analyzing music videos using 7 key ideas identified by Andrew Goodwin. It then applies this framework to analyze the music video for the song "Fireflies" by Owl City. The summary analyzes how the video illustrates the genre characteristics of electronic pop music. It also discusses how the visuals in the video directly relate to and amplify the lyrics being sung, such as words appearing on a children's toy. Overall, the video takes an illustrative approach to representing the lyrics and music.
Conventions of a music video
The document discusses conventions used in music videos. It explains that camera shots like long shots, close-ups, and mid shots are used to focus on artists and establish the mood. Mise-en-scene, or the visual elements of a video, reflect the song's emotions and message through settings and costumes. Genres also influence conventions - love videos depict relationships through bright colors and fashion, while indie videos emphasize authenticity with live performances. Edits switch between locations, artists, and scenes to tell the story and match the music. Lighting and sound also reflect the genre through bright versus dark tones and fast versus slow pacing.
The fratellis chelsea dagger
The music video for "Chelsea Dagger" by The Fratellis has several characteristics common to indie rock music videos. It is performance-based, with long shots of the full band playing their instruments on stage. It also includes a brief narrative section showing burlesque dancers, referencing the lead singer's wife's career. Low-key lighting, minimal sets and edits, and a retro color palette contribute to its low-budget, indie aesthetic. Gender roles are traditional, with the camera focused mostly on the all-male band but also sexualizing the featured women. Technical elements like camera movements and shots are used to depict lyrics and enhance the storytelling.
Theorists & Theories
The document discusses several key theories related to music videos:
- Andrew Goodwin analyzed 5 aspects audiences look for in music videos: narrative & performance, thought beats, relationship between visuals and song, technical aspects, and star image.
- Claude Levi-Strauss' theory of binary opposites explains how understanding words is based on their antonyms.
- Laura Mulvey's theory of the "male gaze" argues that audiences view characters and narratives from a heterosexual male perspective, objectifying women.
- Examples are given of how these theories have been applied in analyzing specific music videos.
Theorists & Theories
The document discusses several key theories related to music videos:
- Andrew Goodwin analyzed 5 aspects audiences look for in music videos: narrative & performance, thought beats, relationship between visuals and song, technical aspects, and star image.
- Claude Levi-Strauss' theory of binary opposites explains how understanding words is based on their antonyms.
- Laura Mulvey's theory of the "male gaze" argues that audiences view characters from a heterosexual male perspective, objectifying women and making them passive while men are active.
- Examples are given of how these theories have been applied or exemplified in various music videos.
Andrew Goodwin’s Theory
1. Andrew Goodwin identified 5 key aspects of music videos that audiences should look for: thought beats, narrative and performance, the star image, the relation of visuals to song, and technical aspects.
2. Goodwin recognized that there is often a relationship between the music video's visuals and the song's lyrics, either illustrating, amplifying, or contradicting them. Visuals are also commonly edited to the song's beats or changes in pace.
3. Different music genres have distinguishing styles and icons used in their music videos to represent the genre, and artists often repeat trademark actions to make their songs recognizable.
Media Studies - Music Videos
This music video for Emeli Sande's song "Heaven" uses contrasts in media language to represent the conflict between temptation and redemption expressed in the lyrics. Scenes of social realism depicting the negative consequences of temptation are juxtaposed with ethereal scenes signifying transcendence and the possibility of redemption. The video represents a diverse range of people and celebrates street life while also conveying the message that giving in to temptation can have sad consequences. It uses techniques like performance, narrative, gritty imagery, and uplifting music and lighting to communicate these themes.
Conventions in a music video
The document discusses several conventions of music videos. It begins by outlining the main purposes of music videos as promoting singles, albums, and artists. It then describes the basic structure of most music videos as being 3-4 minutes and combining live performances, narratives, and computer graphics. Common themes in music videos depend on the genre of music. The document also discusses how music videos often tell short stories and can feature direct address of the viewer or use of the "male gaze" and "female as object". It identifies five key aspects audiences look for in music videos.
Types of music videos
Performance music videos focus on showing the artist performing on stage. They mainly feature rock and pop artists promoting themselves and their identity to fans. Performance videos are generally cheaper to produce than narrative or conceptual videos since they do not require elaborate sets or locations, just a suitable place to film the performance. However, performance videos can sometimes lack creativity or become boring compared to other styles.
Kings of leon video analysis
This document provides an analysis of the Kings of Leon music video for "Sex on Fire" using various music video and film theories:
1) The video demonstrates characteristics of the indie/alternative genre through its low-budget production, the band's ragged appearance, and lyrics about sex, drugs and alcohol.
2) While the lyrics are understandable, the visuals are disjunctured and don't relate to the lyrics, showing one band member eating chicken for no reason.
3) The sad music matches the sad lyrics and visuals that fade in and out with the beat.
4) There are many close-ups of the band, especially the singer, to build recognition for future releases.
Goodwin’s Theory
This document discusses Goodwin's theory and how it applies to analyzing the music video for "Invincible" by Griminal. Some key points:
1) The lyrics and visuals in the video strongly reinforce each other, with the visuals emphasizing what is described in the lyrics.
2) The video exhibits characteristics of grime and R&B genres, such as depicting the artist as sexy and smooth.
3) The narrative is linear, showing a relationship between two teenagers in a simple progression from one point to the next.
4) Analyzing music videos through Goodwin's theoretical framework provides insights that can help create more effective videos by strategically incorporating different elements.
Different Types And Styles Of Music Videos
Music videos are typically 3-5 minute promotional videos for songs that feature imagery and themes related to the song's genre. There are several common styles of music videos including performance-based videos that feature artists performing, narrative-based videos that tell a story synced to the song, and conceptual/art videos that use abstract imagery and multiple meanings to create moods and feelings. Other styles include animated, interpretive, impressionist, intertextual, pastiche, and parody videos.
Codes and Conventions of Music Videos
There are two main types of techniques used in music videos - technical and symbolic. Technical techniques involve filming and editing choices, while symbolic techniques analyze meanings conveyed through colors, symbols, and imagery. Codes and conventions are used to create familiarity and connect with audiences. Different genres typically use certain conventions, like pop videos featuring bright colors and dance routines. Music video directors employ various camera shots, movements, and angles to suit the genre, artist, and song. Props and costumes are also carefully chosen to be appropriate for the style and meaning of the video and performance. Narrative videos tell a story fitting the song's lyrics, while performance videos mainly feature the artist singing on stage.
Michael jackson ‘beat it’
The music video for Michael Jackson's "Beat It" features both a narrative storyline and performance elements. The narrative shows a gang war breaking out in a diner that is prevented by Jackson's singing and dancing. Through its dark lighting, costumes, and use of long shots, the video draws on elements of the rock genre, but also includes singing, dancing, and a problem-solving narrative common to pop videos. The visuals correspond to but do not directly depict the lyrics, and the editing matches the increasing pace of the music.
Music video analysis
1. The music video analyzes Jeremy Loops' song "Down South" using 5 aspects: thought beats, narrative and performance, star image, ways to promote the song, and technical aspects.
2. It synchronizes the visuals with the music to create a summer vibe and connect the audience to Jeremy Loops' personality. Scenes of nature and horses accompany slower parts of the song.
3. The video uses narrative and performance shots to illustrate Jeremy Loops leaving his friends and family "Down South" to travel, emphasizing the song's lyrics and creating an atmosphere of love and warmth. Close-ups establish Jeremy Loops as the star.
Stage 1 research 2
The document summarizes and analyzes the music video for R. Kelly's song "Ignition". It notes that the video shows two different house party scenes, appropriate for the hip hop genre. It also finds a relationship between the lyrics "Beep Beep" and scenes of a car driving. The video frequently shows closeups of R. Kelly, demonstrating the record label's demand to highlight the artist. It presents voyeuristic treatment of scantily-clad women. The video is primarily a performance-based promotion of the artist and song, without a narrative story. Formal analysis cites Strauss' formal vs informal distinction and references Todorov's and Propp's narrative theories.
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Conventions
The document discusses conventions in music video genres, particularly indie music videos. It analyzes several indie music videos in terms of their props, costumes, editing style, shots, narrative structure and how they relate to the lyrics. Many conventions discussed are common across indie music videos, such as fast editing to match the beat, clear titles, and close-ups of band members. However, some elements analyzed are considered unconventional for the genre, such as black and white footage or costumes and themes more relevant to other genres. The document examines how different elements in the videos do or do not follow typical conventions for indie music videos.
You Me At Six Music Video Analysis
The music video for "No One Does It Better" by You Me At Six focuses on a narrative involving couples rather than prominently featuring the band members. Shots of the band are often out of focus or use mid and close-up shots rather than focusing on their full images. This narrative-based approach concentrates on the music rather than promoting the band's image, which is a convention of indie rock genres in contrast to pop music videos.
Andrew Goodwin's Theory
The document discusses Andrew Goodwin's 6 features of music videos and analyzes how the music video for "Glad You Came" by The Wanted illustrates these features, such as showing relationships between the lyrics and visuals through scenes that match what is being sung and having visuals and editing that amplify the tone of the music. The video also demonstrates genre characteristics of a typical boy band through shots of the group and close-ups of individual members, as well as some treatment of women that promotes voyeurism. Intertextual references in the opening credits help establish the band's brand identity across their videos.
Music Video Theorists
The document discusses several key aspects of music videos identified by Andrew Goodwin, including thought beats, narrative and performance, star images, technical aspects, and the relationship between visuals and song. It explains Goodwin's three steps for identifying thought beats: examining song structure and music, listening to the artist's voice, and understanding the artist's role as storyteller. The document also discusses the importance of narrative, star image, technical elements, and Roland Barthes' codes for analyzing narrative texts. Finally, it summarizes Vladimir Propp's eight character types commonly found in narratives.
Types & Styles of music videos
This document discusses different types and styles of music videos. The main types are narrative-based, which tell a story related to the song's lyrics; performance-based, which primarily feature the artist performing; and concept-based, which are based on a specific theme or concept. Some common styles are animation, interpretive, impressionist, intertextual, surrealist, and allusion. Examples are provided for each type and style.
Pop Genre research - A2 Media
Music videos accompany songs and tell visual stories. The first music video aired on MTV in 1980. Music videos can be categorized based on their style, such as performance videos that primarily feature the artist performing, or narrative videos that tell a story. They use various camera shots and editing techniques to engage audiences. Elements like lighting, costumes, locations, and colors create moods and represent characters. Sound is also carefully crafted, using both diegetic sounds from the environment and non-diegetic versions of the song.
Fireflies Analysis
This document provides a framework for analyzing music videos using 7 key ideas identified by Andrew Goodwin. It then applies this framework to analyze the music video for the song "Fireflies" by Owl City. The summary analyzes how the video illustrates the genre characteristics of electronic pop music. It also discusses how the visuals in the video directly relate to and amplify the lyrics being sung, such as words appearing on a children's toy. Overall, the video takes an illustrative approach to representing the lyrics and music.
Conventions of a music video
The document discusses conventions used in music videos. It explains that camera shots like long shots, close-ups, and mid shots are used to focus on artists and establish the mood. Mise-en-scene, or the visual elements of a video, reflect the song's emotions and message through settings and costumes. Genres also influence conventions - love videos depict relationships through bright colors and fashion, while indie videos emphasize authenticity with live performances. Edits switch between locations, artists, and scenes to tell the story and match the music. Lighting and sound also reflect the genre through bright versus dark tones and fast versus slow pacing.
The fratellis chelsea dagger
The music video for "Chelsea Dagger" by The Fratellis has several characteristics common to indie rock music videos. It is performance-based, with long shots of the full band playing their instruments on stage. It also includes a brief narrative section showing burlesque dancers, referencing the lead singer's wife's career. Low-key lighting, minimal sets and edits, and a retro color palette contribute to its low-budget, indie aesthetic. Gender roles are traditional, with the camera focused mostly on the all-male band but also sexualizing the featured women. Technical elements like camera movements and shots are used to depict lyrics and enhance the storytelling.
Theorists & Theories
The document discusses several key theories related to music videos:
- Andrew Goodwin analyzed 5 aspects audiences look for in music videos: narrative & performance, thought beats, relationship between visuals and song, technical aspects, and star image.
- Claude Levi-Strauss' theory of binary opposites explains how understanding words is based on their antonyms.
- Laura Mulvey's theory of the "male gaze" argues that audiences view characters and narratives from a heterosexual male perspective, objectifying women.
- Examples are given of how these theories have been applied in analyzing specific music videos.
Theorists & Theories
The document discusses several key theories related to music videos:
- Andrew Goodwin analyzed 5 aspects audiences look for in music videos: narrative & performance, thought beats, relationship between visuals and song, technical aspects, and star image.
- Claude Levi-Strauss' theory of binary opposites explains how understanding words is based on their antonyms.
- Laura Mulvey's theory of the "male gaze" argues that audiences view characters from a heterosexual male perspective, objectifying women and making them passive while men are active.
- Examples are given of how these theories have been applied or exemplified in various music videos.
Andrew Goodwin’s Theory
1. Andrew Goodwin identified 5 key aspects of music videos that audiences should look for: thought beats, narrative and performance, the star image, the relation of visuals to song, and technical aspects.
2. Goodwin recognized that there is often a relationship between the music video's visuals and the song's lyrics, either illustrating, amplifying, or contradicting them. Visuals are also commonly edited to the song's beats or changes in pace.
3. Different music genres have distinguishing styles and icons used in their music videos to represent the genre, and artists often repeat trademark actions to make their songs recognizable.
Media Studies - Music Videos
This music video for Emeli Sande's song "Heaven" uses contrasts in media language to represent the conflict between temptation and redemption expressed in the lyrics. Scenes of social realism depicting the negative consequences of temptation are juxtaposed with ethereal scenes signifying transcendence and the possibility of redemption. The video represents a diverse range of people and celebrates street life while also conveying the message that giving in to temptation can have sad consequences. It uses techniques like performance, narrative, gritty imagery, and uplifting music and lighting to communicate these themes.
Conventions in a music video
The document discusses several conventions of music videos. It begins by outlining the main purposes of music videos as promoting singles, albums, and artists. It then describes the basic structure of most music videos as being 3-4 minutes and combining live performances, narratives, and computer graphics. Common themes in music videos depend on the genre of music. The document also discusses how music videos often tell short stories and can feature direct address of the viewer or use of the "male gaze" and "female as object". It identifies five key aspects audiences look for in music videos.
Types of music videos
Performance music videos focus on showing the artist performing on stage. They mainly feature rock and pop artists promoting themselves and their identity to fans. Performance videos are generally cheaper to produce than narrative or conceptual videos since they do not require elaborate sets or locations, just a suitable place to film the performance. However, performance videos can sometimes lack creativity or become boring compared to other styles.
Kings of leon video analysis
This document provides an analysis of the Kings of Leon music video for "Sex on Fire" using various music video and film theories:
1) The video demonstrates characteristics of the indie/alternative genre through its low-budget production, the band's ragged appearance, and lyrics about sex, drugs and alcohol.
2) While the lyrics are understandable, the visuals are disjunctured and don't relate to the lyrics, showing one band member eating chicken for no reason.
3) The sad music matches the sad lyrics and visuals that fade in and out with the beat.
4) There are many close-ups of the band, especially the singer, to build recognition for future releases.
Goodwin’s Theory
This document discusses Goodwin's theory and how it applies to analyzing the music video for "Invincible" by Griminal. Some key points:
1) The lyrics and visuals in the video strongly reinforce each other, with the visuals emphasizing what is described in the lyrics.
2) The video exhibits characteristics of grime and R&B genres, such as depicting the artist as sexy and smooth.
3) The narrative is linear, showing a relationship between two teenagers in a simple progression from one point to the next.
4) Analyzing music videos through Goodwin's theoretical framework provides insights that can help create more effective videos by strategically incorporating different elements.
Different Types And Styles Of Music Videos
Music videos are typically 3-5 minute promotional videos for songs that feature imagery and themes related to the song's genre. There are several common styles of music videos including performance-based videos that feature artists performing, narrative-based videos that tell a story synced to the song, and conceptual/art videos that use abstract imagery and multiple meanings to create moods and feelings. Other styles include animated, interpretive, impressionist, intertextual, pastiche, and parody videos.
Codes and Conventions of Music Videos
There are two main types of techniques used in music videos - technical and symbolic. Technical techniques involve filming and editing choices, while symbolic techniques analyze meanings conveyed through colors, symbols, and imagery. Codes and conventions are used to create familiarity and connect with audiences. Different genres typically use certain conventions, like pop videos featuring bright colors and dance routines. Music video directors employ various camera shots, movements, and angles to suit the genre, artist, and song. Props and costumes are also carefully chosen to be appropriate for the style and meaning of the video and performance. Narrative videos tell a story fitting the song's lyrics, while performance videos mainly feature the artist singing on stage.
Michael jackson ‘beat it’
The music video for Michael Jackson's "Beat It" features both a narrative storyline and performance elements. The narrative shows a gang war breaking out in a diner that is prevented by Jackson's singing and dancing. Through its dark lighting, costumes, and use of long shots, the video draws on elements of the rock genre, but also includes singing, dancing, and a problem-solving narrative common to pop videos. The visuals correspond to but do not directly depict the lyrics, and the editing matches the increasing pace of the music.
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Similar to Music video analysis
Music video analysis
1. The music video analyzes Jeremy Loops' song "Down South" using 5 aspects: thought beats, narrative and performance, star image, ways to promote the song, and technical aspects.
2. It synchronizes the visuals with the music to create a summer vibe and connect the audience to Jeremy Loops' personality. Scenes of nature and horses accompany slower parts of the song.
3. The video uses narrative and performance shots to illustrate Jeremy Loops leaving his friends and family "Down South" to travel, emphasizing the song's lyrics and creating an atmosphere of love and warmth. Close-ups establish Jeremy Loops as the star.
Stage 1 research 2
The document summarizes and analyzes the music video for R. Kelly's song "Ignition". It notes that the video shows two different house party scenes, appropriate for the hip hop genre. It also finds a relationship between the lyrics "Beep Beep" and scenes of a car driving. The video frequently shows closeups of R. Kelly, demonstrating the record label's demand to highlight the artist. It presents voyeuristic treatment of scantily-clad women. The video is primarily a performance-based promotion of the artist and song, without a narrative story. Formal analysis cites Strauss' formal vs informal distinction and references Todorov's and Propp's narrative theories.
Music Video Analysis
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
Media - Goodwin Theory
The document outlines Goodwin's theory for analyzing music videos. It discusses five key aspects to examine: 1) The relationship between the lyrics, music, and visuals, 2) The narrative and performance, 3) Developing the star image, 4) Genre characteristics, and 5) Emphasis on the artist's appearance. Goodwin argues that an effective music video synchronizes the cuts and edits with the song's rhythm. It also establishes motifs to promote the artist's brand. Often the "male gaze" is used to appeal to male audiences through voyeurism and objectification of women.
Stage 1 research n1
The music video for Eminem's "Headlights" shows some characteristics of typical rap videos like drinking and smoking but does not focus heavily on money or guns. There are some connections between the lyrics and visuals, such as Eminem writing lyrics on a plane as shown. However, there is not a strong correlation between the music and visuals overall. Unlike typical demands, Eminem is only shown in one medium shot and the video focuses more on his mother than close ups of the artist. It does not contain voyeuristic treatment of women or frequent references to looking. It includes an intertextual reference to one of Eminem's older songs criticizing his mother to add authenticity to his apology in
The 1975 chocolate analysis
This document analyzes and summarizes Andrew Goodwin's music video theory based on the music video for "The 1975". Some key points made:
- The music video reinforces common indie/alternative genre tropes like a black and white filter, drug references in the lyrics/visuals, and sexual scenes.
- There is a medium-paced relationship between the music and visuals, though the visuals do not change pace when the music quickens.
- As the lead singer is the face of the band, the video focuses on close-ups of him to promote him as the artist.
- Women are frequently sexualized, reinforcing gender stereotypes about vulnerability and power.
Music Video Analysis
The document provides an overview of Andrew Goodwin's theory on characteristics found in music videos. It lists 7 main points: 1) Music videos demonstrate genre characteristics, 2) There is a relationship between lyrics and visuals where lyrics are represented through images, 3) The relationship between music and visuals where the visual tone reflects the music, 4) Record labels demand close ups of artists and artists develop recurring motifs, 5) Frequent references to looking through screens and mirrors and voyeuristic treatment of female bodies, 6) Artists develop recurring motifs that establish their visual style, 7) Intertextual references to other media like films and other music videos.
Music video analysis
The document provides an overview of Andrew Goodwin's theory on characteristics commonly found in music videos. It lists 7 key points: 1) Music videos demonstrate genre characteristics, 2) There is a relationship between lyrics and visuals, with lyrics typically being represented illustratively, amplifyingly, or contradictingly through images, 3) The tone and atmosphere of visuals typically reflects that of the music illustratively, amplifyingly, or contradictingly, 4) Record labels demand close-ups of artists, and artists may develop recurring visual motifs, 5) Videos frequently reference notions of looking and may treat the female body voyeuristically, 6) Artists often develop recurring visual motifs, and 7) Videos sometimes include intertextual references to
Music Video Analysis
Wolf Alice is a four-piece alternative rock band from London. Their music video for "You're a Germ" tells a horror narrative story through exaggerated facial expressions and amplified scenes that represent the lyrics. There are clear relationships between the lyrics, music, and visuals as events in the video heighten with the music and specific shots represent lyrics. Close-ups are used to focus on lead singer Ellie Rowsell and allow the audience to follow the story from different perspectives without directly addressing the camera like a conventional performance video.
Music video analysis – all cried out n
The music video takes a narrative genre, telling the story of a woman leaving her partner. She packs up his belongings and embarks on a trip with friends to recreate an explosion seen on TV, blowing up his things on a yacht. Various shots and imagery are used to illustrate the song's meaning and show the woman gaining power and freedom. Stylistic elements like costumes, locations, and camerawork emphasize themes of empowerment, criminality, and the characters' control over their lives.
Media summer assignment 2017
The document outlines Goodwin's Rules for analyzing music videos. It states that music videos typically demonstrate genre characteristics through elements like dance routines or stage performances. It also notes there should be a relationship between the lyrics, music, and visuals whether illustrative, amplifying, or contradicting. Additionally, it says record labels want close-ups of artists and artists may develop recurring motifs. It mentions music videos often reference looking and treat the female body in a voyeuristic way and contain intertextual references to other media.
Music Video Analysis
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
Music video analysis
The music video for HAIM's "Finally" features the three sisters performing in a forest setting with a hazy, vintage filter. It includes many close-ups of the lead singer and has no narrative, instead focusing solely on their performance. While there is no direct relationship between the lyrics, music, and natural visuals, the slow editing and shot transitions match the slow pace of the song. HAIM's music videos are known for their consistent hazy filter and vintage clothing styles.
Katy Perry's "Rise" depicts her overcoming challenges represented through lyrics and imagery, such as "circling vultures" and rising into the air. The upbeat pop song is reflected in the bright colors, lighting
Shannon media
This music video for "The Ghost of You" by My Chemical Romance uses several techniques from Andrew Goodwin's music video theory. It draws on conventions of the rock genre but subverts expectations by being narrative-driven rather than focused on performance. The video is set in 1940s-era America during war time and contrasts scenes of dancing with scenes of battle. It establishes characters and relationships through costumes, lyrics, and music tempo that link to the narrative. Close-ups of the band members also help develop their iconic styles.
Music Video Research
The document discusses several purposes and conventions of music videos. It explains that music videos are typically used to promote songs visually, entertain audiences, and increase marketing and sales opportunities for artists. Common conventions of music videos include illustrating, amplifying, or contradicting the lyrics of the song. Additional conventions are having a relationship between the music and visuals, developing unique styles for different music genres, focusing on close-ups of the main artist, and allowing artists to establish recognizable imagery. Music videos also frequently reference voyeurism, particularly in their portrayal of women, and include nods to other media through intertextuality.
Music video basics
This document discusses different types of music videos, including performance, conceptual, and narrative videos. It provides examples and analysis of specific music videos to illustrate each type. A performance video features the artist singing and/or playing their song, such as One Direction's "That's What Makes You Beautiful" which shows the band singing in different beachside locations while wearing the same costumes. Conceptual videos are built around an idea rather than featuring a narrative story, such as REM's "Everybody Hurts" which depicts various people in cars on a highway dealing with problems. Narrative videos tell a story with a beginning, middle, and end that may or may not relate to the song's lyrics, like Sia's "Titanium
Andrew Goodwin theory
The document discusses key components of music videos according to Andrew Goodwin. It lists 7 key ideas: 1) Music videos demonstrate genre characteristics through elements like performances. 2) There is a relationship between the lyrics and visuals. 3) A relationship also exists between the music and visuals. 4) Record labels influence close-ups of artists and developing motifs. 5) Videos often reference voyeurism and treating the female body. 6) Intertextual references to other works are common. 7) Videos are either primarily performance, narrative, or concept-based. It then analyzes the music videos for "Side to Side" by Ariana Grande and "Work From Home" by Fifth Harmony based on these components.
Music video analysis 2
This music video for Kyle's song "iSpy" features Kyle and Lil Yachty with their heads digitally placed on children's bodies. It has a fun, colorful style appropriate for a pop song. Though not literally relating to the lyrics, the video uses fast editing and dancers to link the visuals to the upbeat music. It focuses on the artists as demanded by music labels while also incorporating the male gaze through shots of scantily-clad women. Lil Yachty develops motifs like his bright red dreadlocks across multiple music videos.
Music video analysis oor
The document analyzes a music video for One Ok Rock's song "The Beginning" using Andrew Goodwin's music video theory. It discusses several key points:
1) The music video demonstrates several genre conventions of rock music videos, such as incorporating both a live performance and narrative elements, using darker colors for the live performance, and focusing on the lead singer.
2) There is a relationship between the lyrics and visuals, though the visuals do not always directly correspond to the current lyrics. The visuals help tell the story conveyed in the lyrics.
3) The editing is closely synced to the music, cutting between shots on each beat to create a relationship between the music and visuals.
Powerpoint pitch
The document provides information about creating a music video for the song "To Anyone" by the indie rock band Crystal Whites. It discusses comparing the song to similar music videos to determine themes. It also analyzes lyrics and discusses using band members in the video to make it feel realistic. Location ideas and influences from other young bands' videos are presented. Elements of the rock/indie music video genre like focusing on performance over narrative and using natural low-budget settings are also covered.
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Music video analysis
- 1. Olivia Platt GOODWINS 5 WAYS TO ANALYSISE A MUSIC VIDEO SIMILAR TO MY GENRE - 1. Through beats - Step 1 is used, there is a structure of the song and the music video together. The music video doesn’t really tell the same story as the song lyrics. The visuals show a different love story which doesn’t match the lyrical story. 2. Narrative and Performance - The music video has coherent repeatability. The performance of the artists and the narrative of the music video go together. The story is not really the complete narrative. We understand the story line but we (the audience) have to interpret a lot of it for ourselves and finish the story for it to make complete sense. 3. The Star Image - The ‘star’ of this music video is all of the artists as they are all telling the story. The main person whom could be classed as the ‘star’ does most of the lip syncing and is in the ‘love story’ of the song. They tell the love story whereas the collection of the 4 artists tell the narrative of the video. 4. Relation of Visuals to the Song - The music video does ‘illustrate’ as it shows images of them playing a guitarwhich fits with the ‘indie rock’ genre. They also have the whole music video in black and white which also shows similarconventions of the genre. - The music video does ‘Amplify’. There are similarand the same shots shown throughout of them driving with palm trees behind them. They have many shots of them sat down in a café/lounge which is repeated throughout. - However, it is not ‘disjuncture’. The key meanings of the song are not ignored. The story within the lyrics is ignored however the meanings are not. Therefore, disjuncture is not used. 5. Technical Aspects - There are a variety of shots throughout the music video. Many establishing shots and medium shots to show the artists and their expressions. The cuts are on the beat and match the song. The speed is slow as like the song is. - The colours are dull and black and white. The themes are dark although the sun is shining behind them the music video is presented as being dark. The location is assumed to be America by the roads. - The Mise-En-Scene is authentic which attains the professionalismof the music video and fits with the general theme of the song/music video.
- 2. Olivia Platt 4. There is frequently reference to notionof looking(screens within screens, mirrors, stages etc.) and particular voyeuristic treatment of the female body. - There is no frequent reference to notions of looking within screens or mirrors. All the shots show their faces in the camera only. There are scenes of kissing and of a female character. However, the women aren’t being objectified therefore I wouldn’t say it was the ‘male gaze’ GOODWINS 6 FEATURES OF A VIDEO ANAYLSIS OF A VIEDO IN A SIMILAR GENRE TO MY SONG. 3. Music videos demonstrate genre characteristics. - The video is in black and white which shows good genre characteristics. It is a rock band and there are many shots of performance with guitars and lip- sync. 5. 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 whole band are shown together in many of the shots. Over half of the shots show the band as a 4 together. There are some shots of each band member separately which are generally close up shots. 6. There is often intertextual reference (to films, tv programmes, other music videos etc.) - This feature doesn’t apply to this music video. It has no intertextual reference to anything other than their own brand and video. The brand logo is presented on a screen but that is all the reference that there is. 2. There is a relationship between lyrics and visuals. The lyrics are represented with images. - The music video is clearly representing a love story however, I wouldn’t say that they link together and there’s a relationship between the lyrics and the visuals. There is a slight relationship on the theme of the song being about winter but not a direct relationship between them. 1. There is a relationship between music and the visuals. The tone and the atmospheres of the visual reflects that of the music. - The tone and the atmosphere do match the music as it is a very calm song which is what the visuals represent. The cuts and edits are in sync with the beat and rhythms making that clear link between them.