The document analyzes the music video for Katy Perry's "Teenage Dream" using genre elements and conventions. It finds that the video features Katy Perry wearing little clothing to appeal to audiences as a sex object. It creates a party atmosphere to appeal to teenagers. Through props, colors, settings and more, it aims to depict a summer romance and convey a dreamy, fun atmosphere for teenagers using typical conventions. Overall, the analysis finds the video uses many repetitive elements that other pop music videos also use to appeal to teenage audiences.
Music video analysis katy perry, taylor swift, flo-ridaJodene Chisholm
The document provides an analysis of conventions presented in several pop music videos according to Steve Neal's theory of repetition in music videos. It summarizes the narratives, characters, settings, technical elements, and ideologies encoded in videos by Katy Perry, Taylor Swift, and Flo Rida. The genre seems to commonly feature stereotypical conventions like suggestive dress, partying scenes, and luxury props to appeal to teenage audiences according to Neal's theory of repetition across music videos.
The document discusses how the student's media product uses and develops conventions of real rock music videos. It examines the genres, conventions around mise-en-scene elements like costumes, lighting and editing that were adhered to. The music video included a narrative portion to convey the song's message and multiple shots of the band performing with their instruments to portray them as a real band. The video was uploaded to YouTube to distribute it, following standard practice for promoting music videos.
The music video for Mumford and Sons' "Winter Winds" uses visual imagery that directly correlates with and amplifies the lyrics of the song. Scenes of rain are shown when lyrics refer to being "washed" and scenes of feathers blowing in the wind match lyrics about feathers. The video also shows the band performing the song, as is common for folk/alternative genre videos. Throughout, the lighting is dark and moody, fitting the genre. The locations vary but are connected by the reoccurring motif of a car, linking the different scenes.
The document discusses how the creators of a country music video drew inspiration from other country music videos. They analyzed videos by Miranda Lambert, Ashley Monroe, Sam Smith, The 1975, and Blake Shelton to inform elements of shots, narrative, imagery, and tone in their own video. Key elements they incorporated included dissolve transitions between shots, casual clothing, natural imagery, a clear narrative, and sepia tones and slow motion to represent memories of the past. They also wanted to pay homage to early female country artists through a shot with dull lighting.
What is goodwin’s theory all about (1) (connor.southwell1)Connor Southwell
This document provides an analysis of the 1985 A-ha music video for "Take On Me" through the lens of music video theorist Andrew Goodwin's work. It discusses how the video conforms to several of Goodwin's theories, including having a relationship between the music and visuals, linking the lyrics and visuals, establishing the band's identity for the record label, using a narrative, and including intertextual references. The analysis also examines how the video relates to the genres of synthpop and new wave that were popular in the 1980s. Overall, the document demonstrates how "Take On Me" effectively uses music video conventions to promote the band and their hit song.
The document discusses Taylor Swift's 2014 music video for "Blank Space" and how it challenges media representations of her. The video portrays and exaggerates the media's portrayal of Swift as a "man-eating, psycho girlfriend" who casually dates men. Through its lyrics, visuals, and references, the video aims to critique this portrayal and present Swift determining to disprove it. Key aspects discussed include how the video uses genre conventions, visuals, and intertextual references to amplify the song's message and critique the media's fixation on Swift's love life.
The document provides an evaluation of a music video created for the artist XXYYXX. It summarizes how the music video develops conventions of the chillwave genre, such as having a loose narrative and shots that add to a disjointed, dazed feel. Audience research found the target was males aged 16-24. Various media technologies were used at different stages of production, including researching other music videos online, using a voice recorder for an interview, PowerPoint for planning, and Final Cut Pro for editing. Some challenges were faced with editing software and working within the constraints of available equipment.
The document provides an analysis of four music videos by the band This Is Living: "This Is Living", "Where You Are", and "Back To Life". It summarizes the key elements of each video, including lighting/color schemes, camerawork, themes, and editing styles. Common themes across the videos include representing young people in a positive light and conveying messages of empowerment. While the videos have different aesthetics, they are all aimed at engaging young audiences.
Music video analysis katy perry, taylor swift, flo-ridaJodene Chisholm
The document provides an analysis of conventions presented in several pop music videos according to Steve Neal's theory of repetition in music videos. It summarizes the narratives, characters, settings, technical elements, and ideologies encoded in videos by Katy Perry, Taylor Swift, and Flo Rida. The genre seems to commonly feature stereotypical conventions like suggestive dress, partying scenes, and luxury props to appeal to teenage audiences according to Neal's theory of repetition across music videos.
The document discusses how the student's media product uses and develops conventions of real rock music videos. It examines the genres, conventions around mise-en-scene elements like costumes, lighting and editing that were adhered to. The music video included a narrative portion to convey the song's message and multiple shots of the band performing with their instruments to portray them as a real band. The video was uploaded to YouTube to distribute it, following standard practice for promoting music videos.
The music video for Mumford and Sons' "Winter Winds" uses visual imagery that directly correlates with and amplifies the lyrics of the song. Scenes of rain are shown when lyrics refer to being "washed" and scenes of feathers blowing in the wind match lyrics about feathers. The video also shows the band performing the song, as is common for folk/alternative genre videos. Throughout, the lighting is dark and moody, fitting the genre. The locations vary but are connected by the reoccurring motif of a car, linking the different scenes.
The document discusses how the creators of a country music video drew inspiration from other country music videos. They analyzed videos by Miranda Lambert, Ashley Monroe, Sam Smith, The 1975, and Blake Shelton to inform elements of shots, narrative, imagery, and tone in their own video. Key elements they incorporated included dissolve transitions between shots, casual clothing, natural imagery, a clear narrative, and sepia tones and slow motion to represent memories of the past. They also wanted to pay homage to early female country artists through a shot with dull lighting.
What is goodwin’s theory all about (1) (connor.southwell1)Connor Southwell
This document provides an analysis of the 1985 A-ha music video for "Take On Me" through the lens of music video theorist Andrew Goodwin's work. It discusses how the video conforms to several of Goodwin's theories, including having a relationship between the music and visuals, linking the lyrics and visuals, establishing the band's identity for the record label, using a narrative, and including intertextual references. The analysis also examines how the video relates to the genres of synthpop and new wave that were popular in the 1980s. Overall, the document demonstrates how "Take On Me" effectively uses music video conventions to promote the band and their hit song.
The document discusses Taylor Swift's 2014 music video for "Blank Space" and how it challenges media representations of her. The video portrays and exaggerates the media's portrayal of Swift as a "man-eating, psycho girlfriend" who casually dates men. Through its lyrics, visuals, and references, the video aims to critique this portrayal and present Swift determining to disprove it. Key aspects discussed include how the video uses genre conventions, visuals, and intertextual references to amplify the song's message and critique the media's fixation on Swift's love life.
The document provides an evaluation of a music video created for the artist XXYYXX. It summarizes how the music video develops conventions of the chillwave genre, such as having a loose narrative and shots that add to a disjointed, dazed feel. Audience research found the target was males aged 16-24. Various media technologies were used at different stages of production, including researching other music videos online, using a voice recorder for an interview, PowerPoint for planning, and Final Cut Pro for editing. Some challenges were faced with editing software and working within the constraints of available equipment.
The document provides an analysis of four music videos by the band This Is Living: "This Is Living", "Where You Are", and "Back To Life". It summarizes the key elements of each video, including lighting/color schemes, camerawork, themes, and editing styles. Common themes across the videos include representing young people in a positive light and conveying messages of empowerment. While the videos have different aesthetics, they are all aimed at engaging young audiences.
Music video Analysis, Beating Heart-Ellie GouldingCharlottehull
The music video for Ellie Goulding's "Beating Heart" incorporates clips from the film Divergent and features Goulding alone in a forest. It draws on characteristics of multiple genres, including synthpop through its prominent synthesized instrumentation, indie through its natural outdoor setting, and pop through its focus on attractive characters and inclusion of a love story. Visual elements like close-ups, natural scenery, and Goulding's performance reflect the song's tone and lyrics. Intertextual references to films like The Hunger Games and Twilight are also present.
The video summarizes the music video for the song "Use Somebody" by Kings of Leon. It depicts the lead singer Caleb Followill writing the song about feeling lonely while touring. Scenes in the video show the band's busy lifestyle traveling for performances with little personal time. The black and white cinematography emphasizes themes of loneliness and isolation. Overall, the video uses common conventions of the indie rock genre to tell a narrative about the difficulties of maintaining relationships while living life on the road as a musician.
The document analyzes 6 music videos across different genres. It discusses relationships between lyrics and visuals, music and visuals, genre characteristics, and intertextuality. Key points include:
1) Music videos from alternative genres like Bastille may not directly amplify the meaning of songs through visuals in the same way pop videos do.
2) Rock videos typically feature bands performing throughout, while rap videos often depict aspirational lifestyles through clothing, money, and crime references.
3) Videos match pacing and cuts to beats and instruments in songs to enhance audience experience.
4) Intertextuality in Jay-Z and Justin Timberlake's "Holy Grail" references the biblical
The document discusses the evaluation of a music video created for an R&B/Funky House genre. It examines how the video uses, develops, and challenges conventions of the genre. It discusses the narrative, use of lighting, costumes, editing techniques, sound, camera angles and how they adhere to or develop typical conventions. Feedback is also discussed, noting the video was generally well-received by the target audience but could improve on eye contact from the artist. New media technologies like digital cameras, video cameras and computers were used in planning, research, and production.
The document discusses the use of new media technologies in the planning, research, and evaluation stages of creating a media product. During planning, the group used a digital camera to take photos of potential filming locations and test camera angles. They also used a video camera to practice filming and different camera shots. A computer was used for online research on possible genres, artists, and to design the DVD cover and promotional poster. Excel was used to analyze questionnaire results. YouTube, SlideShare, and Prezi were used to publish research findings. During production, a MacBook Pro was used to edit video footage and create the DVD cover and poster designs.
The document provides an evaluation of a music video created for a class assignment. It discusses how the video uses, develops, and challenges conventions of the R&B/Funky House music video genre. It examines elements like narrative, mise-en-scene, costume, editing, sound, camera work, and how effectively the video and accompanying promotional materials were combined. Feedback from audiences was also positive overall, though some noted the artist could improve eye contact. New media technologies like digital cameras, video cameras, and computers were used extensively in planning, research, and production.
1. The music video for Katy Perry's "California Gurls" illustrates the lyrics through images of Katy Perry that match descriptions in the lyrics. It also amplifies the lyrics through Katy's reactions.
2. The video changes between Katy Perry and Snoop Dogg's parts, matching gestures and facial expressions to the lyrics and tempo of the music.
3. As a pop music video, it includes common genre traits like dance scenes, close-ups of the artist, upbeat music to dance to, colorful locations and clothing, and sexualization of Katy Perry's appearance.
4. There are many close-ups of Katy Perry as the focus of attention, and her colorful
1. The music video for Katy Perry's "California Gurls" illustrates the lyrics through visuals such as Katy's tanned skin matching "sun kissed skin". It also amplifies the lyrics through Katy's reactions.
2. The video changes between Katy and Snoop Dogg's parts and Katy uses hand gestures to match lyrics while Snoop appears to talk along to slower music. Editing pace and dance moves match the tempo.
3. As a pop music video, it includes dance scenes, shots of Katy looking at the camera, high key lighting, bright locations and costumes, and changing styles of Katy's outfits and hair that help create her brand identity.
1) The music video for Katy Perry's "California Gurls" illustrates the lyrics through visuals such as Katy's tanned skin matching "sun kissed skin". It also amplifies the lyrics through Katy's reactions. There are also elements that reflect binary opposites as Katy defeats Snoop Dogg.
2) The video changes between Katy and Snoop, with Katy using gestures to match lyrics. Snoop appears to talk rather than sing when the beat slows.
3) As a pop video, it includes dance scenes, shots of Katy looking at the camera, high key lighting, and bright locations and clothing that appeal to young audiences.
This document summarizes the conventions of recent popular music videos and R&B music videos. For popular music videos, it notes that there is often a story line relating to the song lyrics, brighter lighting, dance sequences matching the decade, and a clear narrative portrayed through characters and lyrics. It also discusses higher production values with dynamic camera movement, faster editing, and experimental/creative techniques. For R&B music videos specifically, it outlines settings like clubs and studios, lighting, revealing outfits, product placement, storylines about love interests, and portrayals of wealth and lifestyle. The document provides examples of how these conventions are employed in specific artists' music videos.
The music video for Taylor Swift's "Love Story" tells the narrative of Swift's character falling in love with a man from a forbidden family. It uses techniques like jump cuts and close-ups to advance the story and elicit emotion from viewers. The video draws influences from Shakespeare's Romeo and Juliet with references to the famous lovers and a similar plot of forbidden love. It primarily uses a narrative structure to depict the story described in the song's lyrics.
The music video for "Girls" by The 1975 both illustrates genre conventions of indie music videos but also subverts some expectations. It begins in black and white like their typical videos but incorporates bright colors. There are many close-ups of the lead singer per record label demands. The video portrays a narrative of being trapped by clingy girls through lyrics and visuals, though it is primarily a performance-based video of the band. Motifs like their logo and monochrome styles recur across their work. The editing and shots match the music's rhythm, creating an effective overall video.
This document provides an analysis of intertextuality and references in Katy Perry's "California Girls" music video. It summarizes that the video takes significant inspiration from the set design of Willy Wonka's chocolate factory in Charlie and the Chocolate Factory, featuring trees and planets made of sweets. It also references the costumes and settings from fairy tales like Hansel and Gretel. The document analyzes how the video aims to create Katy Perry's brand identity and showcase her image as inspired by 1950s pin up girls through motifs, costumes, and sexuality.
The music video for Mika's song "Grace Kelly" is a performance video that shows Mika singing and playing instruments in a studio setting. The video mocks the music industry by having Mika conform to pop conventions like bright costumes ironically. While using some pop elements, the video challenges the industry's pressure on artists to change their style. It celebrates individual artistic expression.
This document analyzes James Bay's music video for "Let It Go" based on Andrew Goodwin's theory of key features and analysis techniques for music videos. The video contains elements of performance, narrative, and conceptual styles. It complies with conventions for indie/alternative videos like using low-budget locations and costumes. While it includes James Bay's performance, it lacks a stage/mic, combining performance with narrative. This makes the video more interesting and rewatchable by adding a story. The video effectively uses mise-en-scene and lighting to enhance the narrative and atmosphere. However, it challenges some conventions like not focusing on instruments and having fewer shots that match the beat due to the song's slower tempo. Overall
This document provides a summary of Dua Lipa's music video for her song "Be the One". It discusses several elements of the video including the lighting, performance style, editing, camera shots, Dua Lipa's styling and appearance, relationships between the lyrics and visuals, relationship between the music and visuals, demands of the record label, motifs that recur in her work, and references to notions of looking and treatment of the female body. Overall, the summary analyzes how the video demonstrates characteristics of the indie pop/dark pop genre and represents Dua Lipa's style and personality.
The document summarizes how the author analyzed various music videos from alternative rock bands like Arctic Monkeys, Radiohead, and Nirvana to inform their own music video. They looked at elements like lighting, camerawork, settings, and aesthetics to incorporate conventions of the genre. For their own video, they shot footage of an actress in similar styles but developed the narrative differently by focusing on her progressively damaging herself. They compared their video to the references to highlight both the conventions they followed and ways they challenged expectations.
Music video analysis katy perry, taylor swift, flo-ridaJodene Chisholm
The document analyzes genre elements and conventions presented in several pop music videos, including Katy Perry's "Teenage Dream", Taylor Swift's "I Knew You Were Trouble", and Flo Rida's "I Gotta Feeling". It finds that the videos employ many stereotypical conventions to appeal to target audiences, such as portraying the artists in ways that emphasize sex appeal or wealth. The narratives focus on themes of romance and partying. Technical elements like camera work, lighting, and editing also follow conventions to engage viewers. Overall, the document suggests the videos promote ideologies of relationships, fun, and luxury lifestyles according to Steve Neal's theory of repetition in music videos.
The document analyzes Katy Perry's 2010 music video for "Teenage Dream". It discusses how the video portrays Perry wearing revealing outfits to appeal to audiences. It shows a summer party atmosphere to relate to teenagers' interests in having fun and partying. The narrative follows the lyrics of feeling like a "teenage dream". Iconography like sunglasses and blowing hair symbolize freedom and summer. The setting of the beach creates a happy, fun environment. Pastel colors and lighting give the video a dreamy effect.
The document analyzes the music video for Katy Perry's song "Teenage Dream". It discusses how the video portrays Katy Perry wearing little clothing to appeal to audiences. It shows a party atmosphere to depict teenagers having fun in the summer season. The narrative follows the lyrics of the song, portraying the feelings of living a teenage dream. Iconography like sunglasses and blowing hair symbolize freedom and summer. The setting of the beach is meant to seem like a happy, fun place for teenagers. Through techniques like lighting, sound effects, and slow motion, the video emphasizes the feeling of fun in the summer.
The document analyzes existing music videos from Kate Nash and Eliza Doolittle to understand techniques commonly used in the indie pop genre. It finds that the videos use realistic settings, costumes, and props to make the storylines relatable to audiences. They also feature the artists singing directly to the camera to create engagement. While some use bright colors and humor, realism through everyday locations and natural lighting helps audiences connect to the music. All have a similar fast editing style without special effects.
Music video Analysis, Beating Heart-Ellie GouldingCharlottehull
The music video for Ellie Goulding's "Beating Heart" incorporates clips from the film Divergent and features Goulding alone in a forest. It draws on characteristics of multiple genres, including synthpop through its prominent synthesized instrumentation, indie through its natural outdoor setting, and pop through its focus on attractive characters and inclusion of a love story. Visual elements like close-ups, natural scenery, and Goulding's performance reflect the song's tone and lyrics. Intertextual references to films like The Hunger Games and Twilight are also present.
The video summarizes the music video for the song "Use Somebody" by Kings of Leon. It depicts the lead singer Caleb Followill writing the song about feeling lonely while touring. Scenes in the video show the band's busy lifestyle traveling for performances with little personal time. The black and white cinematography emphasizes themes of loneliness and isolation. Overall, the video uses common conventions of the indie rock genre to tell a narrative about the difficulties of maintaining relationships while living life on the road as a musician.
The document analyzes 6 music videos across different genres. It discusses relationships between lyrics and visuals, music and visuals, genre characteristics, and intertextuality. Key points include:
1) Music videos from alternative genres like Bastille may not directly amplify the meaning of songs through visuals in the same way pop videos do.
2) Rock videos typically feature bands performing throughout, while rap videos often depict aspirational lifestyles through clothing, money, and crime references.
3) Videos match pacing and cuts to beats and instruments in songs to enhance audience experience.
4) Intertextuality in Jay-Z and Justin Timberlake's "Holy Grail" references the biblical
The document discusses the evaluation of a music video created for an R&B/Funky House genre. It examines how the video uses, develops, and challenges conventions of the genre. It discusses the narrative, use of lighting, costumes, editing techniques, sound, camera angles and how they adhere to or develop typical conventions. Feedback is also discussed, noting the video was generally well-received by the target audience but could improve on eye contact from the artist. New media technologies like digital cameras, video cameras and computers were used in planning, research, and production.
The document discusses the use of new media technologies in the planning, research, and evaluation stages of creating a media product. During planning, the group used a digital camera to take photos of potential filming locations and test camera angles. They also used a video camera to practice filming and different camera shots. A computer was used for online research on possible genres, artists, and to design the DVD cover and promotional poster. Excel was used to analyze questionnaire results. YouTube, SlideShare, and Prezi were used to publish research findings. During production, a MacBook Pro was used to edit video footage and create the DVD cover and poster designs.
The document provides an evaluation of a music video created for a class assignment. It discusses how the video uses, develops, and challenges conventions of the R&B/Funky House music video genre. It examines elements like narrative, mise-en-scene, costume, editing, sound, camera work, and how effectively the video and accompanying promotional materials were combined. Feedback from audiences was also positive overall, though some noted the artist could improve eye contact. New media technologies like digital cameras, video cameras, and computers were used extensively in planning, research, and production.
1. The music video for Katy Perry's "California Gurls" illustrates the lyrics through images of Katy Perry that match descriptions in the lyrics. It also amplifies the lyrics through Katy's reactions.
2. The video changes between Katy Perry and Snoop Dogg's parts, matching gestures and facial expressions to the lyrics and tempo of the music.
3. As a pop music video, it includes common genre traits like dance scenes, close-ups of the artist, upbeat music to dance to, colorful locations and clothing, and sexualization of Katy Perry's appearance.
4. There are many close-ups of Katy Perry as the focus of attention, and her colorful
1. The music video for Katy Perry's "California Gurls" illustrates the lyrics through visuals such as Katy's tanned skin matching "sun kissed skin". It also amplifies the lyrics through Katy's reactions.
2. The video changes between Katy and Snoop Dogg's parts and Katy uses hand gestures to match lyrics while Snoop appears to talk along to slower music. Editing pace and dance moves match the tempo.
3. As a pop music video, it includes dance scenes, shots of Katy looking at the camera, high key lighting, bright locations and costumes, and changing styles of Katy's outfits and hair that help create her brand identity.
1) The music video for Katy Perry's "California Gurls" illustrates the lyrics through visuals such as Katy's tanned skin matching "sun kissed skin". It also amplifies the lyrics through Katy's reactions. There are also elements that reflect binary opposites as Katy defeats Snoop Dogg.
2) The video changes between Katy and Snoop, with Katy using gestures to match lyrics. Snoop appears to talk rather than sing when the beat slows.
3) As a pop video, it includes dance scenes, shots of Katy looking at the camera, high key lighting, and bright locations and clothing that appeal to young audiences.
This document summarizes the conventions of recent popular music videos and R&B music videos. For popular music videos, it notes that there is often a story line relating to the song lyrics, brighter lighting, dance sequences matching the decade, and a clear narrative portrayed through characters and lyrics. It also discusses higher production values with dynamic camera movement, faster editing, and experimental/creative techniques. For R&B music videos specifically, it outlines settings like clubs and studios, lighting, revealing outfits, product placement, storylines about love interests, and portrayals of wealth and lifestyle. The document provides examples of how these conventions are employed in specific artists' music videos.
The music video for Taylor Swift's "Love Story" tells the narrative of Swift's character falling in love with a man from a forbidden family. It uses techniques like jump cuts and close-ups to advance the story and elicit emotion from viewers. The video draws influences from Shakespeare's Romeo and Juliet with references to the famous lovers and a similar plot of forbidden love. It primarily uses a narrative structure to depict the story described in the song's lyrics.
The music video for "Girls" by The 1975 both illustrates genre conventions of indie music videos but also subverts some expectations. It begins in black and white like their typical videos but incorporates bright colors. There are many close-ups of the lead singer per record label demands. The video portrays a narrative of being trapped by clingy girls through lyrics and visuals, though it is primarily a performance-based video of the band. Motifs like their logo and monochrome styles recur across their work. The editing and shots match the music's rhythm, creating an effective overall video.
This document provides an analysis of intertextuality and references in Katy Perry's "California Girls" music video. It summarizes that the video takes significant inspiration from the set design of Willy Wonka's chocolate factory in Charlie and the Chocolate Factory, featuring trees and planets made of sweets. It also references the costumes and settings from fairy tales like Hansel and Gretel. The document analyzes how the video aims to create Katy Perry's brand identity and showcase her image as inspired by 1950s pin up girls through motifs, costumes, and sexuality.
The music video for Mika's song "Grace Kelly" is a performance video that shows Mika singing and playing instruments in a studio setting. The video mocks the music industry by having Mika conform to pop conventions like bright costumes ironically. While using some pop elements, the video challenges the industry's pressure on artists to change their style. It celebrates individual artistic expression.
This document analyzes James Bay's music video for "Let It Go" based on Andrew Goodwin's theory of key features and analysis techniques for music videos. The video contains elements of performance, narrative, and conceptual styles. It complies with conventions for indie/alternative videos like using low-budget locations and costumes. While it includes James Bay's performance, it lacks a stage/mic, combining performance with narrative. This makes the video more interesting and rewatchable by adding a story. The video effectively uses mise-en-scene and lighting to enhance the narrative and atmosphere. However, it challenges some conventions like not focusing on instruments and having fewer shots that match the beat due to the song's slower tempo. Overall
This document provides a summary of Dua Lipa's music video for her song "Be the One". It discusses several elements of the video including the lighting, performance style, editing, camera shots, Dua Lipa's styling and appearance, relationships between the lyrics and visuals, relationship between the music and visuals, demands of the record label, motifs that recur in her work, and references to notions of looking and treatment of the female body. Overall, the summary analyzes how the video demonstrates characteristics of the indie pop/dark pop genre and represents Dua Lipa's style and personality.
The document summarizes how the author analyzed various music videos from alternative rock bands like Arctic Monkeys, Radiohead, and Nirvana to inform their own music video. They looked at elements like lighting, camerawork, settings, and aesthetics to incorporate conventions of the genre. For their own video, they shot footage of an actress in similar styles but developed the narrative differently by focusing on her progressively damaging herself. They compared their video to the references to highlight both the conventions they followed and ways they challenged expectations.
Music video analysis katy perry, taylor swift, flo-ridaJodene Chisholm
The document analyzes genre elements and conventions presented in several pop music videos, including Katy Perry's "Teenage Dream", Taylor Swift's "I Knew You Were Trouble", and Flo Rida's "I Gotta Feeling". It finds that the videos employ many stereotypical conventions to appeal to target audiences, such as portraying the artists in ways that emphasize sex appeal or wealth. The narratives focus on themes of romance and partying. Technical elements like camera work, lighting, and editing also follow conventions to engage viewers. Overall, the document suggests the videos promote ideologies of relationships, fun, and luxury lifestyles according to Steve Neal's theory of repetition in music videos.
The document analyzes Katy Perry's 2010 music video for "Teenage Dream". It discusses how the video portrays Perry wearing revealing outfits to appeal to audiences. It shows a summer party atmosphere to relate to teenagers' interests in having fun and partying. The narrative follows the lyrics of feeling like a "teenage dream". Iconography like sunglasses and blowing hair symbolize freedom and summer. The setting of the beach creates a happy, fun environment. Pastel colors and lighting give the video a dreamy effect.
The document analyzes the music video for Katy Perry's song "Teenage Dream". It discusses how the video portrays Katy Perry wearing little clothing to appeal to audiences. It shows a party atmosphere to depict teenagers having fun in the summer season. The narrative follows the lyrics of the song, portraying the feelings of living a teenage dream. Iconography like sunglasses and blowing hair symbolize freedom and summer. The setting of the beach is meant to seem like a happy, fun place for teenagers. Through techniques like lighting, sound effects, and slow motion, the video emphasizes the feeling of fun in the summer.
The document analyzes existing music videos from Kate Nash and Eliza Doolittle to understand techniques commonly used in the indie pop genre. It finds that the videos use realistic settings, costumes, and props to make the storylines relatable to audiences. They also feature the artists singing directly to the camera to create engagement. While some use bright colors and humor, realism through everyday locations and natural lighting helps audiences connect to the music. All have a similar fast editing style without special effects.
This document analyzes and compares three pop music videos - Taylor Swift's "22", One Direction's "Live While We're Young", and an unnamed upcoming video from the author - in terms of their genre conventions. It notes that Taylor Swift's "22" video depicts a house party scene showing her having fun with friends without worrying about boys, featuring fashionable models and a retro color palette. It also discusses beach scenes being a common backdrop in pop videos. For One Direction's "Live While We're Young", the document highlights its use of bright colors, lights, outdoor scenery and inclusion of many people to emphasize the song's party theme.
The document summarizes the creation of a music video by the author for Lana Del Rey's song "Serial Killer". It discusses influences from other electro-pop artists like Melanie Martinez and Troye Sivan. The author analyzes existing music video conventions and genres. Ancillary materials like the album digipak and poster were also designed to promote the artist and music video while connecting different elements of the project.
The document analyzes Taylor Swift's 2012 music video for "I Knew You Were Trouble" in three sections. It first discusses how Swift appeals to teenage girls through her relatable outfits and portrayal of typical teenage relationship issues. It then explains that the narrative and music of the song and video match the lyrics about a troubled relationship. Finally, it analyzes various technical elements of the video like the summer settings, iconography like tattoos and fireworks, and cinematography techniques.
The document discusses research on music genre and music videos. It focuses on the pop music genre and analyzes several pop music videos, including "I Knew You Were Trouble" by Taylor Swift, "Good Feeling" by Flo Rida, and "Teenage Dream" by Katy Perry. Key elements discussed include character appeal to teenagers, narrative connections to song lyrics, settings that enhance themes, use of iconography and symbols, and techniques for mis-en-scene like camera work, lighting, and editing.
This document summarizes the key conventions used in several pop music videos and how they were applied to the student's own music video project. It discusses how Taylor Swift's "22" and Ciara's "Like a Boy" demonstrate conventions like changing scenery, outfit changes, and storytelling through shots. These informed the student's use of close-ups, lighting, clothing, and facial expressions to portray emotions. While borrowing conventions from both videos, the project also challenged conventions by blending elements for a dual target audience. Analysis of Rihanna and Ellie Goulding digipaks further revealed conventions for packaging and how the student developed their own to target older teens through visual storytelling.
This document discusses conventions used in music videos and how they were applied in creating a music video. It begins by analyzing conventions in Taylor Swift and Ciara music videos, noting elements like camera shots, costumes, settings, and how they relate the artist's target audience and lyrics. These conventions were then used and developed in the author's own music video, combining elements from both examples while challenging conventions to target both teenage and older audiences. The document also discusses how conventions from real album covers and advertisements were analyzed and applied to the design of packaging for the author's music.
This document discusses conventions used in music videos and how the author's music video project developed, used, and challenged conventions. Key points:
- The author analyzes conventions in Taylor Swift and Ciara music videos, such as camera shots, props, settings, and how they relate to the target audience.
- Their music video incorporates conventions from both, like close-ups and costumes, but challenges conventions by blending Pop and R&B genres and audiences.
- The author discusses how their CD digipak and print advertisement develop conventions from examples like Rihanna and Demi Lovato through colors, fonts, and imagery to target their audience.
This document discusses conventions used in music videos and how they were applied to the author's music video project. It begins by analyzing conventions in Taylor Swift and Ciara music videos, such as camera shots, props, settings, and how they relate to targeting different audiences. The author then discusses how they developed and challenged conventions in their own music video by incorporating elements from both Taylor Swift and Ciara's videos to target multiple audiences. The document also discusses conventions used in real music video advertisements and how the author applied and developed conventions in their own advertising materials for the project.
The document discusses conventions of music videos including editing clips to match the beat of the song, using visual effects, lip syncing/miming, different camera shots and movements, and various camera angles. It provides examples for each convention from specific music videos. The response discusses including conventions of lip syncing/miming, different camera shots and angles, and visual effects in their own music video while also learning about typical conventions from real music videos and genres.
Our media product challenges conventions of real music videos in several ways:
1) The costume and setting contradict expectations for the grime genre by portraying the protagonist as unsuccessful with women rather than dominant.
2) It breaks conventions by avoiding objectification of women typically seen in hip-hop/grime videos and instead shows women rejecting the protagonist.
3) The narrative uses a fragmented structure rather than a linear one, leaving the protagonist's fate uncertain rather than resolved.
This document discusses the conventions used in various pop music videos and how they were applied and developed in the author's own music video project.
The author analyzes the conventions in Taylor Swift and Ciara's music videos, such as the use of props, costumes, camera shots and storytelling to appeal to target audiences. They then discuss how they incorporated conventions from both videos, like costumes and facial expressions, while also challenging conventions to appeal to their older target audience.
The document also examines conventions in real pop album covers and advertisements, and how the author developed the visuals, colors, fonts and imagery in their own designs to represent the narrative of their music video while appealing to fans of pop music. In summary,
This document discusses the conventions used in various pop music videos and how they were applied and developed in the author's own music video project.
The author analyzes the conventions in Taylor Swift and Ciara music videos, such as changing outfits, scenery, props, camera shots, and narrative elements that appeal to target audiences. They then discuss how they incorporated conventions from both videos, like lighting and clothing from Swift and facial expressions from Ciara, while challenging conventions by blending elements for an older target audience.
The document also examines conventions in real album covers and advertisements, and how the author's group developed the conventions in their own cover and ads through colors, fonts, images and layouts that related to the music
This document summarizes the genre conventions represented in various music videos. It discusses how Taylor Swift's "Shake It Off" incorporates different genres through costumes and settings. It also analyzes Olly Murs' "Beautiful to Me" for its natural lighting and relatable storyline. The document provides overviews of several other music videos and how they fit conventions of genres like pop, rock, alternative, country, and rap.
This document discusses conventions commonly found in pop music videos. It notes that pop music videos often feature attractive boy bands or girl bands to appeal to teenage audiences. Love interests and relationships are also frequently depicted. In terms of production elements, pop music videos usually have upbeat sounds, high key lighting, fashionable clothing worn by artists, and glamorous locations like mansions and beaches. The document then analyzes clips from several pop music videos like Katy Perry's "Teenage Dream" and Taylor Swift's "Blank Space", pointing out how they employ conventions like lighting, locations, costumes, and narratives focused on relationships.
Pop music videos focus on the artist and use changing backgrounds, green screens, and post-production effects. They tend to have bright colors and many camera shots/close-ups. Indie/rock videos are often black-and-white with dark locations and fast pacing to match the music. They use minimal effects and makeup for an edgy look. Hip hop videos feature lavish street parties with gangster clothing and promote brands/wealth. Country videos portray past times with orange/rose tones, guitars, and horses to reference the genre's origins.
This document discusses planning for a music promotion video and related materials for an indie pop band. It outlines choosing a brief to create a video, album cover, and magazine ad. Research was done on genre conventions and target audience of teens to mid-twenties. Inspiration was drawn from videos by Kate Nash, Lily Allen, and Ladyhawke. Focus groups provided feedback on video elements, album covers, and purchasing habits.
Similar to Music video analysis katy perry, taylor swift, flo-rida (20)
This document contains a production diary for an A2 Media Studies advanced portfolio. It summarizes the student's progress on creating a music video over several months. It details researching music videos, developing a storyboard, filming footage, editing the video, gathering feedback, and completing evaluations to analyze and improve the project. The student worked sequentially on planning, shooting, editing, gathering responses, and reflecting on their work to create a final music video and fulfill the assignment requirements.
The document discusses the various media technologies used at different stages of creating a music video. Filming was done using an iPhone for its portability and quality, as well as a Panasonic camera. Adobe Photoshop and Premier were used for editing images and video footage. Websites like dafont and slideshare helped with fonts and file formats. A focus group on Facebook provided feedback via questions. Technological convergence allowed recording, editing and distributing the final video online through YouTube.
This document contains a production diary for an A2 Media Studies advanced portfolio. It follows the student's progress over several months as they plan, research, shoot and edit a music video for their main piece. It details their goals for each upcoming week and month. These include completing ancillary tasks, researching theories, developing a storyboard, filming footage, editing the video, gathering feedback, and finishing their evaluation questions to complete the assignment.
The document discusses the various media technologies used at different stages of creating a music video. Filming was done using an iPhone for its portability and ease of use over a larger video camera. Adobe Photoshop and websites like dafont.com were used to design ancillary products. Planning and storyboarding was done using MindGenius software. Editing of video footage was done in Adobe Premier to cut segments, add effects, and sync to the song. The completed video was distributed through social media by creating a focus group on Facebook to collect feedback.
The audience feedback on the music video provided useful insights for improvement. They felt the video needed to sync better to the lyrics and include more shots of individuals singing. They enjoyed the editing techniques like split screens and use of multiple settings. The video appealed to its target audience of teens and young adults due to the characters' ages and relatable scenarios. Viewers also identified conventions like DJ footage and split screens that aligned with the pop genre.
2 how effective is the combination of your main product and ancillary textsJodene Chisholm
The combination of the main product (album) and ancillary texts (advertisement, digipack) is effective because they use consistent conventions and style. The album cover features the artist's name in the center under an image of a woman punching the air, representing strength and power, appealing to the pop genre audience. White text stands out against the black background. Cohesive design carries through to the back cover and advertisement. Synergy is created between the products to present a unified house style that would be successful if real.
This music video questionnaire asks respondents for their demographic information like gender and age. It then asks about their music preferences and how/where they watch music videos. The questionnaire inquires about video style preferences such as performance vs narrative vs abstract and tone preferences like happy vs dark vs humorous. It also asks about important music video conventions and interest in hybrid genres. Finally, it inquires about recognition of specific music videos.
The document summarizes market research conducted to inform the production of a music video. A questionnaire was distributed to 20 individuals with a range of ages and genders. Most respondents were ages 17-21 and watched music videos on YouTube. The most popular music genres were indie, pop, and R&B. Most preferred an abstract style for the video and a happy narrative. The research will influence creative choices for the video, such as using a pop/rap hybrid genre, abstract style, happy narrative, and conventions like attractive artists, dancing, and costumes.
The document discusses the conventions used in creating a digipack and poster for a pop album. Dark colors were chosen for the digipack to give it a mysterious edge while still relating to the pop genre. The typeface was selected to appeal to pop audiences. The image on the cover features a girl in an elevator to represent power and quirkiness in a way that challenges stereotypes. Neal's theory of repetition in the music industry informed the positioning and style of the ancillary products to seem fashionable like other albums while also including differences such as the unconventional color scheme.
The poster summarizes Rihanna's album "Unapologetic" using typical conventions of her genre. It features the house style colors of black and gold, with black giving an edgy feel and gold relating to "bling". The large sans-serif text allows the album title to stand out among other texts of varying sizes and fonts, including a graffiti style for the main title and rounded letters appealing to her female audience. While Rihanna's name is prominently displayed, her picture is not needed due to her fame. The date released is also bolded to stick in viewers' minds.
The document discusses conventions used in album ancillary products like digipacks and posters. It summarizes how the creator applied Neale's theory of repetition and difference in media industries. Specifically, it used the colors black, white, and purple throughout; positioned the artist attractively; chose fonts and styles to appeal to its female target audience; and included small details like an earring to create certain impressions aligned with conventions. The summary ties it back to how these conventions repeat across the industry while also creating differences to suit each particular product.
Rihanna's album "Unapologetic" uses black and gold colors associated with her R&B genre. The text styles and sizes emphasize important information like her name and release date. A graffiti-style font appeals to younger audiences. Overall the poster design catches the eye and clearly communicates the key details about Rihanna and her new album.
The document provides layout guidelines for a music magazine targeted towards teenagers and young adults. It includes details on the masthead, cover lines, pull quotes, images, editor's welcome, and formal layout structure. Demographic information is also given, noting the target age range of 15-25 and a mainly female audience. The primary genres covered are listed as pop and R&B. Guidelines are provided for design elements like fonts, colors, and areas of visual emphasis.
Amy Clough is excited for her second music tour after her successful performance at the music awards earlier in the year. She loves being able to share her passion for music with fans through touring and performing, though it means she won't get to see family and friends as much. While on tour, Amy has had unusual fan experiences like one fan proposing on stage during a performance and another blending cheese and chocolate cake together and naming it the "Clough Special" after mentioning those were foods she enjoyed. Amy is looking forward to the tour and connecting with fans through the live shows.
The document compares and contrasts the front covers of two music magazines - NME and Kerrang.
[1] NME targets an indie/rock audience aged 16-24 with its use of the color red and an image of singer MIA. Kerrang targets a heavy metal audience with its darker color scheme and close-up image of rock singer Ville Valo.
[2] Both magazines use their mastheads, prominent placement of artists, and listings of other artists to draw readers' attention and encourage purchases. However, their designs and chosen artists match the different genres and styles of their intended audiences.
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Tom Cruise is a name that resonates with global audiences for his iconic roles in blockbuster films and his dynamic presence in Hollywood. But, beyond his illustrious career, Tom Cruise's personal life. especially his relationship with his daughter has been a subject of public fascination and media scrutiny. This article delves deep into the life of Tom Cruise daughter, Suri Cruise. Exploring her upbringing, the influence of her parents, and her current life.
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Introduction: The Fame Surrounding Tom Cruise Daughter
Suri Cruise, the daughter of Tom Cruise and Katie Holmes, has been in the public eye since her birth on April 18, 2006. Thanks to the media's relentless coverage, the world watched her grow up. As the daughter of one of Hollywood's most renowned actors. Suri has had a unique upbringing marked by privilege and scrutiny. This article aims to provide a comprehensive overview of Suri Cruise's life. Her relationship with her parents, and her journey so far.
Early Life of Tom Cruise Daughter
Birth and Immediate Fame
Suri Cruise was born in Santa Monica, California. and from the moment she came into the world, she was thrust into the limelight. Her parents, Tom Cruise and Katie Holmes. Were one of Hollywood's most talked-about couples at the time. The birth of their daughter was a anticipated event. and Suri's first public appearance in Vanity Fair magazine set the tone for her life in the public eye.
The Impact of Celebrity Parents
Having celebrity parents like Tom Cruise and Katie Holmes comes with its own set of challenges and privileges. Suri Cruise's early life marked by a whirlwind of media attention. paparazzi, and public interest. Despite the constant spotlight. Her parents tried to provide her with an upbringing that was as normal as possible.
The Influence of Tom Cruise and Katie Holmes
Tom Cruise's Parenting Style
Tom Cruise known for his dedication and passion in both his professional and personal life. As a father, Cruise has described as loving and protective. His involvement in the Church of Scientology, but, has been a point of contention and has influenced his relationship with Suri. Cruise's commitment to Scientology has reported to be a significant factor in his and Holmes' divorce and his limited public interactions with Suri.
Katie Holmes' Role in Suri's Life
Katie Holmes has been Suri's primary caregiver since her separation from Tom Cruise in 2012. Holmes has provided a stable and grounded environment for her daughter. She moved to New York City with Suri to start a new chapter in their lives away from the intense scrutiny of Hollywood.
Suri Cruise: Growing Up in the Spotlight
Media Attention and Public Interest
From stylish outfits to everyday activities. Suri Cruise has been a favorite subject for tabloids and entertainment news. The constant media attention has shaped her childhood. Despite this, Suri has managed to maintain a level of normalcy, thanks to her mother's efforts.
Morgan Freeman is Jimi Hendrix: Unveiling the Intriguing Hypothesisgreendigital
In celebrity mysteries and urban legends. Few narratives capture the imagination as the hypothesis that Morgan Freeman is Jimi Hendrix. This fascinating theory posits that the iconic actor and the legendary guitarist are, in fact, the same person. While this might seem like a far-fetched notion at first glance. a deeper exploration reveals a rich tapestry of coincidences, speculative connections. and a surprising alignment of life events fueling this captivating hypothesis.
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Introduction to the Hypothesis: Morgan Freeman is Jimi Hendrix
The idea that Morgan Freeman is Jimi Hendrix stems from a mix of historical anomalies, physical resemblances. and a penchant for myth-making that surrounds celebrities. While Jimi Hendrix's official death in 1970 is well-documented. some theorists suggest that Hendrix did not die but instead reinvented himself as Morgan Freeman. a man who would become one of Hollywood's most revered actors. This article aims to delve into the various aspects of this hypothesis. examining its origins, the supporting arguments. and the cultural impact of such a theory.
The Genesis of the Theory
Early Life Parallels
The hypothesis that Morgan Freeman is Jimi Hendrix begins by comparing their early lives. Jimi Hendrix, born Johnny Allen Hendrix in Seattle, Washington, on November 27, 1942. and Morgan Freeman, born on June 1, 1937, in Memphis, Tennessee, have lived very different lives. But, proponents of the theory suggest that the five-year age difference is negligible and point to Freeman's late start in his acting career as evidence of a life lived before under a different identity.
The Disappearance and Reappearance
Jimi Hendrix's death in 1970 at the age of 27 is a well-documented event. But, theorists argue that Hendrix's death staged. and he reemerged as Morgan Freeman. They highlight Freeman's rise to prominence in the early 1970s. coinciding with Hendrix's supposed death. Freeman's first significant acting role came in 1971 on the children's television show "The Electric Company," a mere year after Hendrix's passing.
Physical Resemblances
Facial Structure and Features
One of the most compelling arguments for the hypothesis that Morgan Freeman is Jimi Hendrix lies in the physical resemblance between the two men. Analyzing photographs, proponents point out similarities in facial structure. particularly the cheekbones and jawline. Both men have a distinctive gap between their front teeth. which is rare and often highlighted as a critical point of similarity.
Voice and Mannerisms
Supporters of the theory also draw attention to the similarities in their voices. Jimi Hendrix known for his smooth, distinctive speaking voice. which, according to some, resembles Morgan Freeman's iconic, deep, and soothing voice. Additionally, both men share certain mannerisms. such as their calm demeanor and eloquent speech patterns.
Artistic Parallels
Musical and Acting Talents
Jimi Hendrix was regarded as one of t
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Leonardo DiCaprio is synonymous with Hollywood stardom and acclaimed performances. has a unique connection with one of America's most beloved sports events—the Super Bowl. The "Leonardo DiCaprio Super Bowl" phenomenon combines the worlds of cinema and sports. drawing attention from fans of both domains. This article delves into the multifaceted relationship between DiCaprio and the Super Bowl. exploring his appearances at the event, His involvement in Super Bowl advertisements. and his cultural impact that bridges the gap between these two massive entertainment industries.
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Leonardo DiCaprio: The Hollywood Icon
Early Life and Career Beginnings
Leonardo Wilhelm DiCaprio was born in Los Angeles, California, on November 11, 1974. His journey to stardom began at a young age with roles in television commercials and educational programs. DiCaprio's breakthrough came with his portrayal of Luke Brower in the sitcom "Growing Pains" and later as Tobias Wolff in "This Boy's Life" (1993). where he starred alongside Robert De Niro.
Rise to Stardom
DiCaprio's career skyrocketed with his performance in "What's Eating Gilbert Grape" (1993). earning him his first Academy Award nomination. He continued to gain acclaim with roles in "Romeo + Juliet" (1996) and "Titanic" (1997). the latter of which cemented his status as a global superstar. Over the years, DiCaprio has showcased his versatility in films like "The Aviator" (2004). "Start" (2010), and "The Revenant" (2015), for which he finally won an Academy Award for Best Actor.
Environmental Activism
Beyond his film career, DiCaprio is also renowned for his environmental activism. He established the Leonardo DiCaprio Foundation in 1998, focusing on global conservation efforts. His commitment to ecological issues often intersects with his public appearances. including those related to the Super Bowl.
The Super Bowl: An American Institution
History and Significance
The Super Bowl is the National Football League (NFL) championship game. is one of the most-watched sporting events in the world. First played in 1967, the Super Bowl has evolved into a cultural phenomenon. featuring high-profile halftime shows, memorable advertisements, and significant media coverage. The event attracts a diverse audience, from avid sports fans to casual viewers. making it a prime platform for celebrities to appear.
Entertainment and Advertisements
The Super Bowl is not only about football but also about entertainment. The halftime show features performances by some of the biggest names in the music industry. while the commercials are often as anticipated as the game itself. Companies invest millions in Super Bowl ads. creating iconic and sometimes controversial commercials that capture public attention.
Leonardo DiCaprio's Super Bowl Appearances
A Celebrity Among the Fans
Leonardo DiCaprio's presence at the Super Bowl has noted several times. As a high-profile celebrity. DiCaprio attracts
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Unlocking the Secrets of IPTV App Development_ A Comprehensive Guide.pdfWHMCS Smarters
With IPTV apps, you can access and stream live TV, on-demand movies, series, and other content you like online. Viewers have more flexibility and customization of content to watch. To develop the best IPTV app that functions, you must combine creative problem-solving skills and technical knowledge. This post will look into the details of IPTV app development, so keep reading to learn more.
Unlocking the Secrets of IPTV App Development_ A Comprehensive Guide.pdf
Music video analysis katy perry, taylor swift, flo-rida
1. Genre elements Conventions presented in Teenage Dream-Katy Perry
Characters – Katy Perry. The recognisable artist has been placed in the music video and is shown to be
representations, wearing little clothing. Little clothing is often worn in pop music videos to make the artist
stereotypes, behaviour, look more of a sex object and appeal to audiences. This is a repetitional theme using
body language, specific Steve Neal’s repetitional theory.
actors/stars The Party atmosphere is used as teenagers like to have a good time and party. Party's
are also associated with Summer which is the season the music video has been shot to
look like.
Narrative events –how is The narrative structure of Katy Perry’s Teenage Dream is narrative yet has an abstract
the narrative ordered and feel to it as the music video as a whole tells the story of a summer romance yet the
structured? abstract feel shows a variety of clips taken from summer.
Iconography – props, Sunglasses, hair blowing back in the wind from the car gives the music video a summer
symbolic codes feel and makes Katy look 'free'.
In the video you see teenagers jumping and running whilst taking parts of their clothes
off as though they are heading to the beach. This creates a fun atmosphere for the music
video.
Props such as bikes and skateboards have been used to give a ‘young’ effect to the video
as these objects are usually stereotyped for a younger audience of teenagers. This would
appeal to Katy Perry’s target audience and uses Neals theory of repetition.
Close-up clips of ice pops have been used to again highlight summer. These particular
objects have been edited in slow motion to reinforce what teenaged like. The colour red
is fairly dominant as the music video enters a party atmosphere which symbolises
love/passion or danger. Smoke and bright colours are also used. These colours are often
used in pop music videos, appealing to teenage audiences. Steve Neal’s theory on
repetition is applied here.
Setting- mise en scene
Setting- mise en scene The beach has been chosen as a setting as audiences associate the beach as a happy,
positive, fun place to be. The clip shows teenagers running into the sea having fun.
There is lots of greenery shown in this particular music video. The fields/trees give a
natural feel to the video and suggest Katy Perry is free. This would appeal to teenage
audiences as teenagers want to be free and have independence much like Katy Perry is
shown to have.
Throughout the music video the colour has been dulled and the use of pastel colours are
used- this gives a ‘dreamy’ effect to the video. Music videos often use this technique
which is part of Steve Neals theory on music videos repeating certain aspects so that
they create the perfect music video.
Technical and audio codes There are a lot of close up shots in the music video especially at parts such as showing
– camera use, editing, Katy Perry with her love interest. Steve Neal believes music videos repeat themselves;
lighting, diegetic/non Katy Perry's video reinforces his theory through the close up shots showing how happy
diegetic sound, sfx she is. Slow motion has been used to emphasize the summer ‘fun’ that they are having.
Handheld camera has been used at the start of the music video giving it a more personal
touch, although handheld camera is not used throughout.
What ideologies are encoded in the music video? What does the genre seem to say
about what it is like to live in the world?
Katy Perry’s music video for Teenage Dream shows a more generic narrative not a niche
audience appeals wider audience convention.
What ideologies are encoded in the music video? What does the genre seem to say about what it is like to live in the
world?
Katy Perry’s music video for Teenage Dream shows a more generic narrative. Her video is not aimed at a niche
audience with it appealing to a wider audience. Stereotypical conventions have been used. Katy Perry as an artist
however can use abstract narratives for example her music video for California Girls features a world made out of
Candy. This is a rejection of Neal’s theory as no one has done this as a music video before.
2. Genre elements Conventions presented in I Knew You Were Trouble- Taylor Swift
Characters – Taylor Swift appeals to teenage girls. Her outfits have been specifically chosen that
representations, of what a teenager would wear. As Taylor's audience are teenagers and young girls
stereotypes, behaviour, she is represented to be nothing but a young teenager going through boy problems
body language, specific which all girls can relate to. Her outfits are not chosen to make her look 'sexy' but
actors/stars instead 'pretty'. This follows Steve Neal’s theory as all music videos dress a certain
way to appeal to a certain audience. It is repetitive.
Narrative events –how is This particular video of Taylor's follows a narrative. The narrative is based around
the narrative ordered and the love interest which is common throughout Taylor's videos as she mainly sings
structured? about relationships. There are flashbacks of 'memories' in the video also.
Iconography – props, Guitar has been used when the various shots of people having fun are shown and
symbolic codes highlights 'summer fun'.
The Music video shows the love interest getting a tattoo giving him an edge and
stereotyping the 'bad boy' image he's supposed to be playing. There is also part of
the clip where a police car is shown which represents rebellion.
Fireworks and fire are shown in the music video representing the relationship.
Setting- mise en scene Steve Neal’s theory of Repetition is used in the music video through the car. Much
like Katy Perry's 'Teenage Dream' video the rooftop down car is used for Taylor and
her love interest. This could symbolise her being free and highlights the season of
summer. Summer is the month people generally associate love with I.e. 'summer
romance'. Various clips are used to show the relationship between Taylor, her love
interest and friends which tells the story and after analysing other music videos is a
common theme to use. The rave is used for the build up of the song and shows
people dancing, having fun and the band playing. This would appeal to audiences
through teenagers like to have fun and go partying. Steve Neal’s theory of repetition
is used here through pop music videos usually showing some kind of 'rave' or party.
Technical and audio At the start of the music video a long shot is used to establish location. The location
codes – camera use, shows Taylor alone with a mess around her to which suggests there was a party
editing, lighting, going on but everyone has gone and left her.
diegetic/non diegetic Part of the music video shows a rave which uses low key lighting. Fast paced editing,
sound, sfx including quick cuts are used at quicker parts of the song making it contrapuntal. It
is common for quick cuts to be used in pop music videos reinforcing Steve Neal’s
theory.
Medium close ups and close ups were constantly used throughout the video so that
the audience recognised the characters expressions. Whenever Taylor Swift and the
love interest are shown close there is always some kind of light shown which could
represent that there is hope for the relationship.
What ideologies are encoded in the music video? What does the genre seem to say about what it is like to live in
the world?
Taylor Swift uses stereotypical conventions which would appeal to her target audience and follows Steve Neal’s
theory as a result of this. As a Taylor Swift fan I have seen most of Taylor's music videos and know that her music
videos follow a similar pattern with the love interest in the narrative. The music video gives the idea on how
focused we are on relationships and how things can either go right or wrong. Taylor Swift’s genre is pop/country.
3. Genre elements Conventions presented in I gotta’ feeling’- Flo-Rida
Characters – Flo Rida appeals to teenage audiences. He is made to look powerful and dominant
representations, in his videos which is a stereotypical look for artists such as himself to want to
stereotypes, behaviour, appear like. He uses typical conventions to which his genre is associated with which
body language, specific reinforces Neal’s theory as most artists do this.
actors/stars
Narrative events –how is Flo-Rida’s music video begins with him flying off to the airport and arriving at
the narrative ordered and specific places giving it a narrative feel however it then changes to abstract as it
structured? shows him in different country’s having fun doing a variety of things. Home footage
is also shown.
Iconography – props, In one of the clips we see Flo-Rida having an interview wearing a gold chain. The
symbolic codes gold chain represents bling and is a stereotypical piece of jewellery that a pop/rap
singer would have appealing to Neal theory. An ipad is also used in a clever way by
him placing it over his face and moving it across to show various shots of himself,
I’ve never seen this be done before and so rejects Neal’s theory as a non
stereotypical convention.
Flo-rida seems to be in a robe at one point in what looks like a nice hotel room, this
is another example of how rich he is.
The different shots of cars are a representation of Steve Neal’s theory of repetition
as it is a common prop used in this particular genre.
Flo-Rida is wearing sunglasses a lot in his video giving him a mysterious edge but
also being a stereotypical convention of the rap genre.
Surprisingly their was hardly any females in the music video but when their was
they were wearing little clothing which is common for the genre he is aimed at.
Setting- mise en scene Flo-Rida is shown at a concert in parts of the video- which angle?
He is shown in different parts of the world next to well known buildings such as
Eiffel Tower in Paris. This shows how rich he is as he is able to do this and the
lifestyle that he has.
A variety of shots are shown in the music video for example when Flo-Rida goes
surfing, driving a car/motorbike, partying, gym, running. These have all been
specifically chosen as they would appeal to Flo-Rida’s audience. Gym and running
represents Flo-Rida maintaining his body, keeping fit with a good body whilst the
car for males as it is a stereotype for males to have nice cars. Surfing has been
chosen to make Flo-Rida look more down to earth as at one point he falls off and is
laughing, this would appeal to his audience.
Aswell as being shown in the gym Flo-Rida is also shown boxing giving him a
stereotype and making him look powerful through strength.
Technical and audio The handheld camera towards the end of the video gives the ‘home footage’ effect.
codes – camera use, This effect gives the audience a glimpse of what his lifestyles like. It also makes the
editing, lighting, audience feel like they know him more on a personal level as they are seeing him
diegetic/non diegetic hanging out with his friends being ‘normal’.
sound, sfx Flo-Rida is also shown singing to the screen matching the lyrics. This will look like he
is singing to the individual watching the video personally capturing their attention.
At the end of the video a montage of different pictures of Flo-Rida having a good
time is shown and as the montage zooms out you see it is made out of Flo-Ridas
face which then dissolves into his real face with the music video ending.
The variety of clips shown differed from fast and slow pacedin order to keep up with
the speed of the song, there are also a lot of quick cuts.
What ideologies are encoded in the music video? What does the genre seem to say about what it is like to live in
the world?
4. Flo-Ridas music video follows a common narrative with stereotypical conventions used. The message he is trying
to portray is all about having fun and the lifestyle most of us wish to have. This also contrasts into the actual
lyrics of the song ‘I Gotta Feelin’.