This document provides guidance for completing a case study assignment on music video production. It is split into three tasks. Task 1 addresses the purposes of music videos and strategies used. Task 2 covers styles, techniques and conventions of music video production. Task 3 requires analyzing at least three music videos, discussing their use of techniques from Tasks 1 and 2. Students are expected to submit weekly responses and can seek tutor guidance if needed.
The document provides guidance for completing a case study assignment on music video production. It outlines 3 tasks: 1) examining the purposes and strategies of music videos, 2) exploring styles, techniques and conventions, and 3) an individual case study analyzing at least 3 music videos. For the case study, students must discuss the artistic and technical elements used as well as apply critical approaches. The document emphasizes using illustrative examples and linking ideas when analyzing and comparing different artists and genres of music videos.
This document provides guidance for completing a case study assignment on music video production. It is divided into three tasks. Task 1 addresses the purposes of music videos and strategies used by labels and artists. Task 2 covers styles, techniques and conventions of music video production. Students are asked to analyze camerawork, editing, genre conventions, and intertextuality with examples. Task 3 requires students to conduct a case study of three or more music videos by an artist of their choice, discussing the elements from Tasks 1 and 2 through critical analysis and comparison to other artists.
The document provides a case study template for analyzing music videos. It is split into 3 tasks. Task 1 addresses the purposes of music videos and strategies used by labels and artists. Task 2 covers styles, techniques and conventions of music video production. Task 3 requires analyzing a minimum of 3 music videos to discuss their visuals, editing, genres, and critical approaches. The case study should apply lessons from the document to unpack the chosen videos.
The document provides instructions for completing a case study assignment on music video production, which involves analyzing the purposes, styles, techniques, and conventions of music videos. It outlines 3 tasks to complete - examining the purposes of music videos, styles and techniques used, and a case study analyzing at least 3 music videos. Students are expected to submit weekly and can get guidance from their tutor if needed.
The document provides information about music video production, including the purposes of music videos, styles and techniques used, and a case study analysis. It discusses how music videos aim to entertain, promote the artist's brand, and increase sales. Common techniques include different camera shots and editing to set mood. Genre conventions also influence visual style. The case study analyzes several Katy Perry videos, noting examples of intertextuality, camerawork, and how they represent pop music conventions while challenging gender norms.
This document provides guidance for completing a case study assignment on music video production. It outlines three tasks to be completed: 1) analyzing the purposes and strategies of music videos, 2) examining styles, techniques and conventions, and 3) conducting a case study of three or more music videos. For each task, questions are provided to help structure the response. The case study portion asks students to discuss style, techniques, intertextuality, camerawork, editing, genre conventions and critical approaches for the selected videos. Tips are included to incorporate images and make connections between examples.
This document provides guidance for completing a case study assignment on music video production. It is split into three tasks. Task 1 addresses the purposes of music videos and strategies employed. Task 2 focuses on styles, techniques and conventions of music video production. Task 3 requires analyzing a minimum of three music videos by an artist of choice, considering camerawork, editing, genre conventions, and critical approaches. Notes are provided on illustrating points made and adding slides as needed. The document emphasizes applying concepts from the provided lectures and examples to fully discuss the chosen videos.
The document provides guidance for completing a case study assignment on music video production. It is divided into three tasks. Task 1 addresses the purposes of music videos, including entertainment, branding, and sales. It also discusses strategies used by different types of artists. Task 2 covers styles, techniques, and conventions used in music videos, such as camerawork, editing, technical developments, and genre conventions. Task 3 involves analyzing a minimum of three music videos, drawing on concepts from the previous two tasks. The document emphasizes using examples and illustrations to support points and encourages adding extra slides as needed.
The document provides guidance for completing a case study assignment on music video production. It outlines 3 tasks: 1) examining the purposes and strategies of music videos, 2) exploring styles, techniques and conventions, and 3) an individual case study analyzing at least 3 music videos. For the case study, students must discuss the artistic and technical elements used as well as apply critical approaches. The document emphasizes using illustrative examples and linking ideas when analyzing and comparing different artists and genres of music videos.
This document provides guidance for completing a case study assignment on music video production. It is divided into three tasks. Task 1 addresses the purposes of music videos and strategies used by labels and artists. Task 2 covers styles, techniques and conventions of music video production. Students are asked to analyze camerawork, editing, genre conventions, and intertextuality with examples. Task 3 requires students to conduct a case study of three or more music videos by an artist of their choice, discussing the elements from Tasks 1 and 2 through critical analysis and comparison to other artists.
The document provides a case study template for analyzing music videos. It is split into 3 tasks. Task 1 addresses the purposes of music videos and strategies used by labels and artists. Task 2 covers styles, techniques and conventions of music video production. Task 3 requires analyzing a minimum of 3 music videos to discuss their visuals, editing, genres, and critical approaches. The case study should apply lessons from the document to unpack the chosen videos.
The document provides instructions for completing a case study assignment on music video production, which involves analyzing the purposes, styles, techniques, and conventions of music videos. It outlines 3 tasks to complete - examining the purposes of music videos, styles and techniques used, and a case study analyzing at least 3 music videos. Students are expected to submit weekly and can get guidance from their tutor if needed.
The document provides information about music video production, including the purposes of music videos, styles and techniques used, and a case study analysis. It discusses how music videos aim to entertain, promote the artist's brand, and increase sales. Common techniques include different camera shots and editing to set mood. Genre conventions also influence visual style. The case study analyzes several Katy Perry videos, noting examples of intertextuality, camerawork, and how they represent pop music conventions while challenging gender norms.
This document provides guidance for completing a case study assignment on music video production. It outlines three tasks to be completed: 1) analyzing the purposes and strategies of music videos, 2) examining styles, techniques and conventions, and 3) conducting a case study of three or more music videos. For each task, questions are provided to help structure the response. The case study portion asks students to discuss style, techniques, intertextuality, camerawork, editing, genre conventions and critical approaches for the selected videos. Tips are included to incorporate images and make connections between examples.
This document provides guidance for completing a case study assignment on music video production. It is split into three tasks. Task 1 addresses the purposes of music videos and strategies employed. Task 2 focuses on styles, techniques and conventions of music video production. Task 3 requires analyzing a minimum of three music videos by an artist of choice, considering camerawork, editing, genre conventions, and critical approaches. Notes are provided on illustrating points made and adding slides as needed. The document emphasizes applying concepts from the provided lectures and examples to fully discuss the chosen videos.
The document provides guidance for completing a case study assignment on music video production. It is divided into three tasks. Task 1 addresses the purposes of music videos, including entertainment, branding, and sales. It also discusses strategies used by different types of artists. Task 2 covers styles, techniques, and conventions used in music videos, such as camerawork, editing, technical developments, and genre conventions. Task 3 involves analyzing a minimum of three music videos, drawing on concepts from the previous two tasks. The document emphasizes using examples and illustrations to support points and encourages adding extra slides as needed.
The document provides guidance for completing a case study assignment on music video production. It is divided into three tasks. Task 1 addresses the purposes of music videos, such as entertainment, branding, and sales. Task 2 covers styles, techniques and conventions used in music videos, such as camerawork, editing, and how genres influence visual conventions. Task 3 requires analyzing at least three music videos, considering elements from Tasks 1 and 2 like how camerawork and editing techniques relate to the artist's branding and genre.
The document provides information about completing a case study assignment on music video production. It outlines 3 tasks to complete: 1) discussing the purposes of music videos, 2) exploring styles, techniques and conventions of music video production, and 3) analyzing at least 3 music videos considering points from the first two tasks. It encourages adding images and links from examples and expanding responses beyond the provided space. Questions under each task prompt analysis of topics like music video goals, technical developments, genres, and how specific artists present themselves.
Here are the addresses and locations with any cast or permission requirements noted:
- Selby Canal – YO8 8QE (no cast required)
- Farmers Field at Flaxley Road, Selby. YO8 4DB (no cast required)
- Selby Bowling Alley – Unit 1, Bawtry Rd, Selby YO8 8NA (1 cast member required)
- York College – Sim Balk Ln, Bishopthorpe, York YO23 2BB (all in college cast required for some shots)
- Around York – York Piccadilly, York walls, York (1 cast member required for some shots)
The document provides guidance for completing a case study on music video production. It outlines 3 tasks: 1) examining the purposes of music videos, 2) exploring styles, techniques and conventions of music video production, and 3) conducting a case study of at least 3 music videos analyzing them in light of Tasks 1 and 2. Task 1 discusses purposes like entertainment, branding, and sales. Task 2 reviews shot types and editing techniques. Task 3 prompts an in-depth analysis of an artist's videos considering style, intertextuality, camerawork, genres, and critical approaches. The document emphasizes using examples and images from videos to strengthen analysis.
This document provides guidance for completing a case study assignment on music video production. It is split into three tasks. Task 1 addresses the purposes of music videos and strategies used by labels and artists. Task 2 covers styles, techniques and conventions of music video production. Task 3 involves analyzing a minimum of three music videos, drawing on Tasks 1 and 2. Students are expected to submit responses to the questions in each section on a weekly basis during remote learning.
The document provides instructions for completing a case study assignment on music video production. It is divided into 3 tasks. Task 1 involves the purposes of music videos and strategies of labels and artists. Task 2 addresses styles, techniques and conventions of music video production. Task 3 requires analyzing a minimum of 3 music videos by an artist of choice, considering elements from Tasks 1 and 2. Questions under each task prompt discussion of topics like the goals of music videos, techniques like camerawork and editing, genre conventions, and applying critical analysis.
Mv assignment 01 2019 pro forma Joy Buck.JoyLucyBuck
This document provides information about completing a case study on music video production. It is divided into three tasks. Task 1 discusses the purposes of music videos and strategies used by labels and artists. Task 2 covers styles, techniques and conventions of music video production. Task 3 requires analyzing a minimum of three music videos, discussing their visuals, meanings, and connections to Tasks 1 and 2. The document provides guidance on thoroughly answering the questions and illustrating key points from the chosen video examples.
Mv assignment 01 2019 pro forma joy buck.JoyLucyBuck
This document provides information and questions for a case study assignment on music video production. It is divided into three tasks. Task 1 addresses the purposes of music videos and artist/label strategies. Task 2 covers styles, techniques and conventions used in music video production. Task 3 requires the student to analyze a minimum of three music videos by an artist or genre, discussing elements like style, intertextuality, camerawork, genre conventions, and applying critical approaches. The document also provides notes on completing the case study, emphasizing showing examples from videos and linking concepts to other sources.
This document provides information and tasks for a case study on music video production. It is split into three sections. Task 1 asks questions about the purposes of music videos and how artists present themselves. Task 2 asks questions about common music video styles, techniques and conventions like camerawork, editing, and genre conventions. It also asks about intertextuality in music videos. Task 3 involves analyzing at least three music videos considering what was discussed in the first two tasks. The document provides guidance on completing the case study assignments.
This document provides an overview of a case study on music video production. It outlines the purposes and learning outcomes of the case study, which focuses on understanding the purposes of music videos and their production styles, techniques and conventions. The document describes the 3 tasks of the case study, with Task 1 concerning the purposes and strategies of music videos. Key purposes are identified as promotion, income generation and expanding distribution outlets. The document prompts analysis of how artists from major labels, independents and self-produced represent themselves differently in music videos.
This document provides an overview of a case study assignment on music video production. It outlines 3 tasks to complete: 1) discussing the purposes of music videos, 2) exploring styles, techniques and conventions of music video production, and 3) conducting a case study analysis of at least 3 music videos. The case study should examine the videos' styles, techniques, intertextuality, camerawork, editing, and genre conventions through a critical lens. Guidelines are provided on completing the assignment, such as including illustrative images from the videos and adding extra slides as needed.
This document provides guidance for completing a case study assignment on music video production. It is split into three tasks. Task 1 addresses the purposes of music videos and how artists and labels use them. Task 2 covers common styles, techniques, and conventions in music video production. Task 3 instructs the student to analyze at least three music videos considering the information from Tasks 1 and 2. The document provides learning outcomes, assessment criteria, and tips for completing the case study. It also includes example questions for each task to help structure the response.
The document provides guidance for completing a case study assignment on music video production. It outlines 3 tasks to analyze the purposes of music videos, styles and techniques used, and a case study of 3 video examples. Notes emphasize showing examples visually and linking points to other texts or videos. The tasks cover topics like the goals of videos, strategies for promotion, technical developments, and adhering to genre conventions.
The document provides guidance for completing a case study assignment on music video production. It outlines 3 tasks to analyze the purposes of music videos, styles and techniques used, and a case study of 3-5 videos from one artist. For the case study, students must discuss camerawork, editing, intertextuality, genre conventions, and apply critical approaches. Examples and illustrative stills from videos are encouraged. The case study should compare the artist's videos to others and consider different contexts.
Music Video assignment 01 2019 pro forma - Case StudiesDavidLee1474
This document provides information and questions for a case study on music video production. It is divided into three tasks. Task 1 addresses the purposes of music videos from promotional and artistic perspectives and asks questions about how artists represent themselves. Task 2 discusses camerawork, editing, and technical developments in music videos and asks students to analyze examples. Task 3 involves a case study of three music videos to discuss in relation to Tasks 1 and 2. The document emphasizes using images and examples to support points and adding extra slides or pages as needed.
This document provides a case study for a music video production unit. It includes 3 tasks to analyze the purposes, styles, techniques and conventions of music videos. Task 1 discusses the core purposes of music videos and strategies employed. Task 2 explores styles of camerawork, editing, technical developments and genre conventions. Task 3 requires a case study analysis of at least 3 music videos considering purposes, styles, techniques, intertextuality, camerawork/editing and genre. The document provides guidance on completing the tasks and assessment criteria.
The document provides instructions for completing a case study assignment on music video production. It outlines three tasks to analyze the purposes of music videos, styles and techniques used, and a case study analyzing at least three music videos. For the case study, students must discuss the videos in terms of style, intertextuality, camerawork, genre conventions, and critical approaches. Guidelines emphasize using examples and images from the videos to illustrate points being made.
This document provides guidance for completing a case study analysis of music videos. It outlines three tasks: 1) discussing the purposes of music videos, 2) examining styles, techniques and conventions, and 3) conducting a case study analysis of at least three videos. For the case study, the document instructs the student to analyze the videos in terms of style/techniques, intertextuality, camerawork/editing, genre conventions, and critical approaches. Examples are encouraged to illustrate points. The document also provides tips for effectively completing and structuring the case study assignment.
The document provides information about completing a case study assignment on music video production. It is split into three tasks. Task 1 addresses the purposes of music videos, including entertainment, branding, and sales. It also discusses strategies used by different types of artists and labels. Task 2 covers styles, techniques and conventions of music video production, such as camerawork, editing, technical developments, and genre conventions. Task 3 involves analyzing at least three music videos, drawing from Tasks 1 and 2. The document emphasizes using illustrations and examples to strengthen analysis and linking to other sources where possible.
The document provides guidance for completing a case study assignment on music video production. It outlines 4 tasks: 1) examining the purposes of music videos and artist strategies; 2) exploring styles, techniques and conventions; 3) conducting a case study of 3 or more music videos analyzing these elements; and 4) linking what was learned to the student's own work. The summary emphasizes analyzing music videos considering camerawork, editing, genre conventions, intertextuality, and applying critical approaches. Students are encouraged to illustrate their responses with video stills and links.
The document provides guidance for completing a case study assignment on music video production. It is divided into three tasks. Task 1 addresses the purposes of music videos, such as entertainment, branding, and sales. Task 2 covers styles, techniques and conventions used in music videos, such as camerawork, editing, and how genres influence visual conventions. Task 3 requires analyzing at least three music videos, considering elements from Tasks 1 and 2 like how camerawork and editing techniques relate to the artist's branding and genre.
The document provides information about completing a case study assignment on music video production. It outlines 3 tasks to complete: 1) discussing the purposes of music videos, 2) exploring styles, techniques and conventions of music video production, and 3) analyzing at least 3 music videos considering points from the first two tasks. It encourages adding images and links from examples and expanding responses beyond the provided space. Questions under each task prompt analysis of topics like music video goals, technical developments, genres, and how specific artists present themselves.
Here are the addresses and locations with any cast or permission requirements noted:
- Selby Canal – YO8 8QE (no cast required)
- Farmers Field at Flaxley Road, Selby. YO8 4DB (no cast required)
- Selby Bowling Alley – Unit 1, Bawtry Rd, Selby YO8 8NA (1 cast member required)
- York College – Sim Balk Ln, Bishopthorpe, York YO23 2BB (all in college cast required for some shots)
- Around York – York Piccadilly, York walls, York (1 cast member required for some shots)
The document provides guidance for completing a case study on music video production. It outlines 3 tasks: 1) examining the purposes of music videos, 2) exploring styles, techniques and conventions of music video production, and 3) conducting a case study of at least 3 music videos analyzing them in light of Tasks 1 and 2. Task 1 discusses purposes like entertainment, branding, and sales. Task 2 reviews shot types and editing techniques. Task 3 prompts an in-depth analysis of an artist's videos considering style, intertextuality, camerawork, genres, and critical approaches. The document emphasizes using examples and images from videos to strengthen analysis.
This document provides guidance for completing a case study assignment on music video production. It is split into three tasks. Task 1 addresses the purposes of music videos and strategies used by labels and artists. Task 2 covers styles, techniques and conventions of music video production. Task 3 involves analyzing a minimum of three music videos, drawing on Tasks 1 and 2. Students are expected to submit responses to the questions in each section on a weekly basis during remote learning.
The document provides instructions for completing a case study assignment on music video production. It is divided into 3 tasks. Task 1 involves the purposes of music videos and strategies of labels and artists. Task 2 addresses styles, techniques and conventions of music video production. Task 3 requires analyzing a minimum of 3 music videos by an artist of choice, considering elements from Tasks 1 and 2. Questions under each task prompt discussion of topics like the goals of music videos, techniques like camerawork and editing, genre conventions, and applying critical analysis.
Mv assignment 01 2019 pro forma Joy Buck.JoyLucyBuck
This document provides information about completing a case study on music video production. It is divided into three tasks. Task 1 discusses the purposes of music videos and strategies used by labels and artists. Task 2 covers styles, techniques and conventions of music video production. Task 3 requires analyzing a minimum of three music videos, discussing their visuals, meanings, and connections to Tasks 1 and 2. The document provides guidance on thoroughly answering the questions and illustrating key points from the chosen video examples.
Mv assignment 01 2019 pro forma joy buck.JoyLucyBuck
This document provides information and questions for a case study assignment on music video production. It is divided into three tasks. Task 1 addresses the purposes of music videos and artist/label strategies. Task 2 covers styles, techniques and conventions used in music video production. Task 3 requires the student to analyze a minimum of three music videos by an artist or genre, discussing elements like style, intertextuality, camerawork, genre conventions, and applying critical approaches. The document also provides notes on completing the case study, emphasizing showing examples from videos and linking concepts to other sources.
This document provides information and tasks for a case study on music video production. It is split into three sections. Task 1 asks questions about the purposes of music videos and how artists present themselves. Task 2 asks questions about common music video styles, techniques and conventions like camerawork, editing, and genre conventions. It also asks about intertextuality in music videos. Task 3 involves analyzing at least three music videos considering what was discussed in the first two tasks. The document provides guidance on completing the case study assignments.
This document provides an overview of a case study on music video production. It outlines the purposes and learning outcomes of the case study, which focuses on understanding the purposes of music videos and their production styles, techniques and conventions. The document describes the 3 tasks of the case study, with Task 1 concerning the purposes and strategies of music videos. Key purposes are identified as promotion, income generation and expanding distribution outlets. The document prompts analysis of how artists from major labels, independents and self-produced represent themselves differently in music videos.
This document provides an overview of a case study assignment on music video production. It outlines 3 tasks to complete: 1) discussing the purposes of music videos, 2) exploring styles, techniques and conventions of music video production, and 3) conducting a case study analysis of at least 3 music videos. The case study should examine the videos' styles, techniques, intertextuality, camerawork, editing, and genre conventions through a critical lens. Guidelines are provided on completing the assignment, such as including illustrative images from the videos and adding extra slides as needed.
This document provides guidance for completing a case study assignment on music video production. It is split into three tasks. Task 1 addresses the purposes of music videos and how artists and labels use them. Task 2 covers common styles, techniques, and conventions in music video production. Task 3 instructs the student to analyze at least three music videos considering the information from Tasks 1 and 2. The document provides learning outcomes, assessment criteria, and tips for completing the case study. It also includes example questions for each task to help structure the response.
The document provides guidance for completing a case study assignment on music video production. It outlines 3 tasks to analyze the purposes of music videos, styles and techniques used, and a case study of 3 video examples. Notes emphasize showing examples visually and linking points to other texts or videos. The tasks cover topics like the goals of videos, strategies for promotion, technical developments, and adhering to genre conventions.
The document provides guidance for completing a case study assignment on music video production. It outlines 3 tasks to analyze the purposes of music videos, styles and techniques used, and a case study of 3-5 videos from one artist. For the case study, students must discuss camerawork, editing, intertextuality, genre conventions, and apply critical approaches. Examples and illustrative stills from videos are encouraged. The case study should compare the artist's videos to others and consider different contexts.
Music Video assignment 01 2019 pro forma - Case StudiesDavidLee1474
This document provides information and questions for a case study on music video production. It is divided into three tasks. Task 1 addresses the purposes of music videos from promotional and artistic perspectives and asks questions about how artists represent themselves. Task 2 discusses camerawork, editing, and technical developments in music videos and asks students to analyze examples. Task 3 involves a case study of three music videos to discuss in relation to Tasks 1 and 2. The document emphasizes using images and examples to support points and adding extra slides or pages as needed.
This document provides a case study for a music video production unit. It includes 3 tasks to analyze the purposes, styles, techniques and conventions of music videos. Task 1 discusses the core purposes of music videos and strategies employed. Task 2 explores styles of camerawork, editing, technical developments and genre conventions. Task 3 requires a case study analysis of at least 3 music videos considering purposes, styles, techniques, intertextuality, camerawork/editing and genre. The document provides guidance on completing the tasks and assessment criteria.
The document provides instructions for completing a case study assignment on music video production. It outlines three tasks to analyze the purposes of music videos, styles and techniques used, and a case study analyzing at least three music videos. For the case study, students must discuss the videos in terms of style, intertextuality, camerawork, genre conventions, and critical approaches. Guidelines emphasize using examples and images from the videos to illustrate points being made.
This document provides guidance for completing a case study analysis of music videos. It outlines three tasks: 1) discussing the purposes of music videos, 2) examining styles, techniques and conventions, and 3) conducting a case study analysis of at least three videos. For the case study, the document instructs the student to analyze the videos in terms of style/techniques, intertextuality, camerawork/editing, genre conventions, and critical approaches. Examples are encouraged to illustrate points. The document also provides tips for effectively completing and structuring the case study assignment.
The document provides information about completing a case study assignment on music video production. It is split into three tasks. Task 1 addresses the purposes of music videos, including entertainment, branding, and sales. It also discusses strategies used by different types of artists and labels. Task 2 covers styles, techniques and conventions of music video production, such as camerawork, editing, technical developments, and genre conventions. Task 3 involves analyzing at least three music videos, drawing from Tasks 1 and 2. The document emphasizes using illustrations and examples to strengthen analysis and linking to other sources where possible.
The document provides guidance for completing a case study assignment on music video production. It outlines 4 tasks: 1) examining the purposes of music videos and artist strategies; 2) exploring styles, techniques and conventions; 3) conducting a case study of 3 or more music videos analyzing these elements; and 4) linking what was learned to the student's own work. The summary emphasizes analyzing music videos considering camerawork, editing, genre conventions, intertextuality, and applying critical approaches. Students are encouraged to illustrate their responses with video stills and links.
This document provides instructions for completing a case study analysis of music videos. It is divided into three tasks. Task 1 involves analyzing the purposes of music videos, including attracting audiences, conveying meaning, and presenting artists. Task 2 examines styles, techniques, and conventions used in music video production, such as camerawork, editing, and genre conventions. Task 3 requires selecting an artist and analyzing a minimum of three of their music videos, drawing on concepts from Tasks 1 and 2. The case study should consider the videos' purposes, branding, techniques, and meanings created. Students are encouraged to illustrate their analysis with images and video links.
The document provides guidance for completing a case study assignment on music video production. It is divided into three tasks. Task 1 addresses the purposes of music videos, such as entertainment, branding, and sales. Task 2 covers styles, techniques and conventions used in music videos, including camerawork, editing, and genre conventions. Task 3 instructs students to analyze a minimum of three music videos by an artist or genre, discussing elements like style, intertextuality, camerawork, and genre conventions using critical approaches. The document emphasizes using illustrative examples and adding images from video examples.
This document provides guidance for completing a case study analysis of music videos. It is split into three tasks. Task 1 addresses the purposes of music videos and strategies used by labels and artists. Task 2 covers common styles, techniques and conventions used in music video production, including camerawork, editing, and genre conventions. Intertextuality is also discussed. Task 3 requires selecting an artist and analyzing a minimum of three of their music videos, discussing the technical and creative elements used as well as applying critical approaches. The case study aims to demonstrate understanding of concepts covered in the music video lecture.
The document provides guidance for completing a case study assignment on music video production. It outlines 3 tasks: 1) the purposes of music videos, 2) styles, techniques and conventions of music video production, and 3) a case study of 3 or more music videos analyzing them based on Tasks 1 and 2. The case study should discuss the videos' styles, techniques, intertextuality, camerawork, editing, genre conventions, and critical approaches. Students are encouraged to include video links and illustrative images in their responses.
The document provides guidance for completing a case study on music video production. It is divided into three tasks. Task 1 addresses the purposes of music videos, such as entertainment, branding, and sales promotion. Task 2 covers common styles, techniques and conventions used in music video production, including cinematography, editing, technical developments, and genres. Task 3 involves analyzing a minimum of three music videos considering the information from Tasks 1 and 2. The document emphasizes showing examples and linking points to further evidence when completing the case study.
The document provides information and tasks for a case study assignment on music video production. It outlines 3 tasks: 1) the purposes of music videos, 2) styles, techniques and conventions of music video production, and 3) a case study of 3 or more music videos. The case study tasks students to analyze the videos in terms of style, intertextuality, camerawork, genre conventions, and critical approaches. Guidelines are provided for completing the case study, including using illustrative images and adding slides as needed.
The document provides guidance for completing a case study analysis of music videos. It outlines 3 tasks: 1) the purposes of music videos and artist strategies, 2) common styles, techniques and conventions, and 3) a case study analysis of a minimum of 3 videos. For the case study, students should discuss the videos' usage of style, techniques, intertextuality, camerawork/editing, genre conventions, and apply critical approaches. The document also provides examples for each task and encourages the use of images to illustrate points.
The document provides guidance for a case study assignment on music video production. It outlines 3 tasks for students to complete: 1) examining the purposes and strategies of music videos, 2) exploring styles, techniques and conventions used in music video production, and 3) conducting an individual case study analyzing a minimum of 3 music videos. The case study should discuss the use of style, intertextuality, camerawork, editing, genre conventions and critical approaches. Students are encouraged to include video links, stills from videos, and compare/contrast their selected artist to others.
This document provides guidance for completing a case study assignment on music video production. It is divided into three tasks. Task 1 addresses the purposes of music videos and strategies employed by labels and artists. Task 2 covers styles, techniques and conventions of music video production. Task 3 involves analyzing a minimum of three music videos, drawing on Tasks 1 and 2. The document emphasizes including illustrative images and examples to support points. It also notes that additional pages can be added if needed to fully respond to the questions.
This document provides guidance for completing a case study assignment on music video production. It is split into three tasks. Task 1 addresses the purposes of music videos and strategies employed by labels and artists. Task 2 focuses on styles, techniques and conventions of music video production. Task 3 requires analyzing a minimum of three music videos by one artist, discussing the usage of style, techniques, intertextuality, camerawork/editing, genre conventions, and critical approaches. Students are instructed to include video links, images, and compare/contrast their chosen artist/genre to others.
The document provides instructions for completing a case study assignment on music video production. It is divided into three tasks. Task 1 addresses the purposes of music videos and strategies used by labels and artists. Task 2 covers styles, techniques and conventions of music video production. Task 3 requires a case study analysis of at least three music videos by an artist of the student's choice, discussing the videos in relation to Tasks 1 and 2. The instructions emphasize using illustrative examples and applying critical approaches learned in lessons.
The document provides guidance for completing a case study analysis of music videos. It outlines three tasks: 1) discussing the purposes of music videos, 2) examining styles, techniques and conventions, and 3) analyzing three specific music videos. For task 1, purposes include promotion, revenue, and entertainment. Strategies employed by artists and labels are explored. Task 2 delves into camerawork, editing, technical developments, and genre conventions. Task 3 requires selecting pop music videos for in-depth analysis of these elements, along with intertextuality.
The document provides instructions for completing a case study assignment on music video production. It is divided into 3 tasks. Task 1 addresses the purposes of music videos and strategies used by labels and artists. Task 2 focuses on styles, techniques and conventions of music video production. Task 3 requires analyzing a minimum of 3 music videos by an artist of the student's choice, considering elements from Tasks 1 and 2 like camerawork, editing, genre conventions, and critical approaches. The student is advised to include video links, stills from videos, and to structure their response using the guidance provided.
This document outlines a case study assignment on music video production. It is divided into 3 tasks. Task 1 addresses the purposes of music videos and strategies used by labels and artists. Task 2 covers styles, techniques and conventions in music video production. Task 3 requires analyzing at least 3 music videos, discussing their visual and technical elements in the context of Tasks 1 and 2. The document provides guidance on completing the case study, including using illustrative examples from the videos and adding extra slides as needed.
This document provides guidance for completing a case study assignment on music video production. It is divided into four tasks. Task 1 addresses the purposes of music videos and strategies used by labels and artists. Task 2 covers common styles, techniques and conventions in music video production. Task 3 requires analyzing a minimum of three music videos by an artist of the student's choice, considering elements from Tasks 1 and 2. Task 4 prompts the student to discuss how they can apply techniques learned to their own music video project. The document emphasizes using illustrative examples from videos and linking ideas between different parts of the assignment.
Kieran Johnson proposes creating 5 fictional album covers for a prog-rock band, with each cover representing a different decade from the 1970s to 2020s. This will allow exploration of different artistic styles and production techniques for each era. Research will include studying iconic album art designers and existing album covers. Experiments will inform techniques for achieving desired aesthetics. The covers will be evaluated through peer feedback and reflection on achieving the initial vision. The goal is to demonstrate professional graphic design skills.
Kieran Johnson proposes creating 5 fictional album covers for a prog-rock band, with each cover representing a different decade from the 1970s to the 2020s. This will allow exploration of different artistic styles appropriate to each era. Primary research will include interviews on the importance of album art. Secondary research will examine iconic album covers. Experiments will test techniques for achieving desired aesthetics for each decade. The project will be evaluated through work-in-progress screenshots, prototypes, and audience feedback to improve the final pieces.
This document provides context for the student's final major project (FMP) which will involve creating a series of album cover designs for a prog-rock/prog-metal band over the past 5-6 decades. The student discusses how researching the band Rush helped provide understanding of their influential genre. They also note how Rush artist Hugh Syme created symbolic artwork for each album that represented the musical themes. The student intends to chronologically create one album cover design per decade from the 1970s to present day, experimenting with photography, sketches, and computer-based techniques depending on the era. Although feeling their skills may be lacking compared to another similar student project, the topic's passion keeps the student excited to complete this FMP.
Hugh Syme is a Canadian graphic artist best known for creating album artwork for the band Rush from 1975 to their retirement in 2016. In interviews, Syme discusses his career-long association with Rush and how he approached designing album covers. He enjoyed significant creative freedom from Rush which allowed him to take risks. Syme's artwork evolved over time from more serious designs to incorporating visual puns related to album titles. He adapted his style to changing formats from vinyl to CDs but laments the loss of larger canvas sizes. Syme provides insights into specific Rush album covers and his creative process.
The student completed a collaborative multimedia project on the theme of nature with another student. They created a website, social media content, posters, and a podcast. The student focused on the graphical elements, creating posters with clear messages about environmental issues. While most elements turned out well, the student felt the book portion could have been improved or omitted. Overall the project conveyed its messages successfully but the student learned they need to improve time management and giving more focus to incomplete tasks in the future.
Kieran created branding and promotional materials for a production company called The Grid focused on environmental issues. He designed logos and banners incorporating a glitched photo effect of York. Posters were made highlighting rising sea levels and nature preservation. A children's book was also produced covering topics like continental drift and Earth facts to educate audiences. Videos, podcasts, and on-location filming were led by Aaron to round out the multi-media project.
This document outlines a student's final major project (FMP) idea to create a portfolio of fictional album artwork representing the career of a progressive rock/metal band over the last 50 years. The student chose this idea after initially considering a board game concept. They find album artwork important for representing artists and connecting their interests in music and graphic design. Key influences for the project include the bands Alter Bridge and Rush, which will be researched for their extensive catalogues and implications of their album artworks. The goal is to create realistic album covers for each musical decade that intrigue audiences to listen to the fictional band's music. Art styles will vary by decade to match the eras' aesthetics.
The document provides information about media consumption habits of 16-24 year olds from various research sources:
- Only 33% watch TV weekly, preferring video on smartphones. They are more likely to be "cord-nevers" and not subscribe to cable.
- They have high access to digital TV, internet and are more confident using apps and social media than older adults. Social media usage among this age group has significantly increased over the last decade.
- Music is very important to their lives and favorite artists influence their style and social circles. They listen to a variety of genres across platforms like Spotify on their smartphones.
Greta Thunberg is an 18-year-old climate activist from Sweden who began organizing school strikes in 2018 to bring attention to the climate crisis. Her speech at the 2019 UN Climate Action Summit criticized world leaders for their inaction. She travels by boat to reduce her carbon footprint and is vegan. The BBC's Planet Earth documentary series, which began airing in 2006, has brought stunning footage of remote natural areas to wide audiences, especially among those aged 16-34. The popularity of the series demonstrates its ability to engage the target demographic on issues of nature and the environment.
Our content plan prioritizes filming and editing a video on the effects of tourism on the environment. We will create a preview of an online magazine with a front cover and article spreads, and produce a podcast episode in a reddit chat show style discussing brief themes. Additional pieces include posters advertising eco-events and print mood boards.
The document discusses brand identity development for "The Grid" including choosing a color palette, fonts, and logo refinement. It recommends choosing colors that are not immediately recognizable as another brand while keeping a colorful, approachable vibe. For fonts, very sharp and angular fonts were chosen to represent the boxy feel of a grid, settling on "Platinum Sign" font. The logo refinement process initially tried a glitched effect with different fonts and colors before deciding on a multi-colored text version of the Platinum Sign font.
The artwork for Metallica's divisive 2003 album St. Anger was designed by artist Pushead to reflect the band's stress, anger, and rehabilitation during a tumultuous period. However, fans have differing interpretations of the clenched fist artwork - some see it as representing the band's failure, while others see it as a triumph. Reception Theory suggests producers encode meanings while audiences decode in various ways. The St. Anger artwork thus lends itself to multiple readings by fans in the context of the album and band's history.
This document discusses several theories related to film analysis:
- The Auteur Theory suggests that directors have control over films and establish their own artistic style across multiple films. It originated from French film critics in the 1950s.
- Reception Theory by Stuart Hall says that media texts are encoded by producers with intended meanings and then decoded by audiences in various ways based on their own contexts and perspectives.
- The Hypodermic Needle Theory says that audiences will absorb all information from media at face value, but it has been largely discredited.
- The Male Gaze theory by Mulvey suggests that women are typically portrayed in a passive, sexually objectified way in films from a male point of view, though
The artwork for Metallica's divisive 2003 album St. Anger, designed by artist Pushead, reflects the stress, anger, and rehabilitation of the band during a tumultuous period. However, fans interpret the artwork differently based on their own perspectives, following Reception Theory. While some see the clenched fist on the cover as representing the band's struggle and triumph, others see it as a failure due to criticism of the album. The artwork therefore exemplifies how producers and audiences can encode and decode cultural works in varying ways.
Kieran Johnson proposes creating a social media platform called "The Grid" targeting politically left-wing 16-24 year olds. The platform would use multiple mediums like social media sites, a website, and graphics to promote a safe online space for people to discuss topics of interest. Over 7 weeks, the project would develop a visual identity, choose a theme, create content like articles and podcasts, launch social media communities, evaluate feedback, and publish the full platform. The goal is to build a niche community similar to Reddit and Buzzfeed that excels at catering to the interests of its target demographic.
The document discusses the process of designing the cover and inside pages of a fanzine about Sonic the Hedgehog. For the front cover, the author experimented with different layouts and styles before settling on one inspired by retro video game box art. They added effects like metallic text and movement to make it engaging. The back cover and inside pages also feature Sonic characters and backgrounds with unique graphic effects to give each page its own style while maintaining cohesion. The author explored many tutorial techniques and adjusted elements through an iterative process to achieve their desired designs.
This project involved creating a 12-page fanzine called "Press X To Play" focused on video games. Key aspects of the project included researching existing fanzines in different genres, developing ideas like reader letters and previews, conducting an interview with a gaming YouTuber, and refining pages like adding a Shadow the Hedgehog poster and retro game reviews. The completed fanzine consisted of consistent artistic style across pages, a review of Sonic Colors, and an exploration of whether the gaming industry is truly evolving. While more detail could have been added on some topics, the creator is pleased with the final product and application of fanzine conventions and design appealing to the target audience.
Kieran Johnson is proposing a fanzine titled "Press X To Start" focused on current issues in the video game industry and whether it is evolving or stagnating. The target audience is 16-24 year olds interested in video games. Research will include existing fanzines and information on the industry's history and impact. The fanzine will include an interview with YouTuber ThisGenGaming and recommendations for older games. Progress will be evaluated through daily diary entries and a final reflection on the challenges and Kieran's evolution as a producer. Production will take place over 4 weeks, with writing, layout, and refinement occurring both in and out of college.
The document provides a treatment for a fanzine about video games and the gaming industry. The purpose is to discuss whether gaming is evolving or deteriorating, as consoles are focusing more on performance than games. The intended audience is male video game players aged 16-39 interested in industry news and history. Contributors will include personal friends and a YouTuber. Visual materials will come from game footage and screenshots captured on a phone or camera. The fanzine outline includes sections for cover, introduction, interview, game reviews, and next issue preview across 12 pages. Producing a printed fanzine combines the creator's specialism in print media and lifelong interest in video games.
Factual development and planning pro formaKieranJohnson6
The document provides planning details for a gaming fanzine project, including:
1) Ideas for content include an interview with a gaming YouTuber, an article comparing today's gaming industry to the past, and a retro game reviews page. Color schemes, fonts, and page layout concepts are also outlined.
2) Production planning considers risks like trip hazards and obtaining permissions. The schedule accounts for idea development, content creation, layout, and distribution.
3) Different elements are needed depending on the format - a fanzine requires content outlines, visual style guides, and pagination plans while a podcast needs scripts and release schedules. Permissions from interview subjects and copyright clearance are also addressed.
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2. MUSIC VIDEO PRODUCTION
• We will look at Music Videos from a number of perspectives, this template is for
you to write up your notes and to complete your case study.
• The document is split into 3 different tasks, each with separate questions to
answer.
• Task 1 is concerned with the purposes of music videos and the strategies
employed by labels and artists
• Task 2 is concerned with the styles, techniques and conventions of music video
production
• Task 3 is your own case study into a minimum of three music videos where you
can unpack and discuss the videos considering everything you have looked at in
Task 1 and 2
• You are expected to submit each section on a weekly basis during your remote
learning weeks.
• If you get stuck, talk to/email your tutor for guidance.
3. NOTES ON COMPLETING THE
CASE STUDY
• It is often easier to show something you are discussing than to
take time describing it. With this in mind, feel free to add lots of
illustrative images from your chosen video examples. Links to
YouTube/Vevo/etc are also encouraged.
• Remember, when you make a point or define something, you
should follow this with an example, an explanation of this and
then link to further texts/videos where possible.
• If you don’t think there is enough room to add your full
response to a question, don’t just reset the font size to really
small, add an extra slide wherever necessary.
4. TASK 1 -
PURPOSES
Y O U S H O U L D O P E N T H E M U S I C L E C T U R E
P O W E R P O I N T A N D L O O K AT S E C T I O N 1
B E F O R E D O I N G T H I S TA S K
5. TASK 1 - PURPOSES
• Q1 - Outline the 3 core purposes of music video with a short
explanation for each:
• Entertainment – To offer the audience an amusing video,
possibly even attract new members to the audience as well.
• Identity/Branding – Artists try to represent themselves in a
certain way and these representations often stretch out into
their music videos.
• Sales – Music videos are often released to promote a particular
song and an upcoming album, and so they may spark pre-
order/release date sales of the artist’s album.
6. TASK 1 - PURPOSES
• Q2 – What are some of the broader purposes of music videos? Try and
outline a minimum of 3.
• Having a music video of a song may allow the artist to not be forced to play
the song live – their audience now have a visual interpretation of the song
being played through the music video. An example of this is US rock band
Alter Bridge releasing a music video of their song ‘Cradle To The Grave’ in
2017 despite having never played the song live in concert before or since.
• Artists may have music videos produced contained featuring artists tied to
a particular song or other artists from the same label to boost their own
popularity whilst also maintaining the featured artist’s relevancy and
popularity, or vice versa depending on. The X-Ecutioners released a music
video in 2002 for ‘It’s Goin’ Down’ which featured Linkin Park members
Mike Shinoda, Joe Hahn, Rob Bourdon and Dave Farrell, as well as Static-X
guitarist Wayne Static.
• Sometimes music videos are produced to help push a group’s political
agenda, pushing their message explicit imagery related to politics, as seen
in Alter Bridge’s video for ‘Show Me A Leader’ where assumed political
leaders wearing suits are depicted with megaphones attached to their
bodies – which was released in the just ahead of the 2016 US Election as
well as following the UK Brexit Referendum.
7. TASK 1 - PURPOSES
• Q3 – Branding; select an artist you like and look at how they present themselves in
their music videos. Explain what their ‘brand’ is, who is appeals to and why they might
have done this.
• Metallica – an important thing to note about Metallica is that they originally had a
policy of not having videos produced for their songs until 1989, where ‘One’ was the
first Metallica song to have it’s own music video. The video features them playing the
song in a warehouse whilst clips from the 1971 war film ‘Johnny Got His Gun’ played
during the instrumental sections. It is clear from here that the group emphasized
themselves towards storytelling and anchoring the lyrics of their songs towards the
themes and acting of their videos.
• This would also be the case for their 1991 videos of ‘Enter Sandman’ and ‘The
Unforgiven’. The first of which shows a child going through nightmares in their sleep
including running from a truck, falling off of a large building and numerous close-up
shots of the ‘Sandman’ the song constantly refers to. The latter involves a young man
making their living their life in a stone room alone, trying to carve out a window. The
man grows older as the video progresses, but he finally manages to create a window
to deposit his sole possession – a locket – before laying down to die. There also exists
a 12-minute theatrical cut of this video which doesn’t feature any cuts of the band
playing the song.
8. TASK 1 – PURPOSES
• Q3 cont.
• The following songs from their eponymous 1991 album; ‘Nothing Else Matters’,
‘Wherever I May Roam’ and ‘Sad But True’ all have videos based on the band
performing the song itself as opposed to telling a story within the video –
though the first two may have loose connections to the themes of the lyrics of
brotherhood within the band and the constant touring they went through
around this time.
• Their 2003 single and titular album song ‘St. Anger’ had a video where the band
were performing the song live to an audience of prisoners inside of an actual
prison – which would be nominated for that year’s Best Rock Video at the MTV
Video Music Awards. This represents their brand seemingly being a source of
comfort towards a universal audience rather than just their original niche of
thrash metal fans.
• In more modern times Metallica have since touched back into their original
brand regarding narratively-based music videos, which is clearly seen in their
videos for ‘The Day That Never Comes’, which features post 9/11 concepts and
themes of US warfare in the Middle East, and ‘Halo On Fire’, which depicts a
young woman making her living in a fight club – both feature intertwined clips
of the band playing each song.
9. TASK 1 - PURPOSES
• Q4 – Compare One Direction and Animal Collective music videos [find
them on YouTube!], what can you discern about each act from their videos?
What is the main aim? Explain why.
• One Direction’s music videos try to provoke a mainstream audience, which
can be noted by their videos having easy-to-follow narratives so their large
audience would be able to understand and can simply watch without
needing to engage with it for any hidden meanings. The main aim for their
music videos is to promote their singles and albums by gaining as many
views and as much money as possible through their music videos.
• Animal Collective by comparison is dedicated towards a more niche
audience. We can see that their videos are much more complex and may
offer their audience a different interpretation or reading regarding how
each member may see the video from their own perspective. For passive
members they may struggle to interpret and understand any meaning for
their videos. Instead of getting as many views as possible, they aim to keep
their more loyal fans interested with their unique artistic and creative
direction.
10. TASK 2 – STYLES,
TECHNIQUES AND
CONVENTIONS
Y O U S H O U L D O P E N T H E M U S I C L E C T U R E
P O W E R P O I N T A N D L O O K AT S E C T I O N 2
B E F O R E D O I N G T H I S TA S K
11. TASK 2 – STYLES, TECHNIQUES
AND CONVENTIONS
• Q1 – Describe and explain the use of camerawork in music videos, i.e. the
types of shot used with examples to illustrate this and how this creates
meaning
• Music videos generally use mid-shots and close-ups in order to place
emphasis towards the artist’s playing the song – as well as any other actions
going on in the video if there is any detailed acting and any narrative taking
place – and the vocalist singing the song – also to detail personal emotions
and facial expressions in regards to any acting and narrative.
• A notable example of this is Metallica’s ‘Halo On Fire’ video, which depicts a
young woman making her way to a fight club. The first time the camera
reveals her in a panning upwards close-up of her waking up, we can see her
marks across her body and face, giving us a false narrative of abuse and
violence within her home. Later on the video has a lot of POV shots, from
the same woman’s perspective, looking at people she goes passed on a bus
she had just boarded on, and even later POV shot of her view as she gets
hit in the face during her first fight at the club. Lots of the fight club scenes
contain mid-shots to detail the fighting that is taking place.
12. TASK 2 – STYLES, TECHNIQUES
AND CONVENTIONS
• Q2 - Describe and explain the use of editing in music videos,
i.e. the types of shot used with examples to illustrate this and
what the effect of this is/meanings that are created/etc
• The type of editing used in music videos often depends on the
mood of the song. Softer sounding songs generally tend to
have slower pacing and transitions between cuts, possibly even
using more fading transitions into the following cut.
• By contrast, songs with a quicker pace tend to apply quicker
pacing and transitions between cuts and often use straight cuts
more predominantly than anything else.
• Some digital effects may be used to entertain the audience,
which could come in the form split screens, CGI, or
colourisation.
13. TASK 2 – STYLES, TECHNIQUES
AND CONVENTIONS
• Q3 – Genre conventions; often music videos adhere to genre
conventions within their visual style and production techniques.
Select a recognisable genre and use illustrations to explain what
their genre conventions are…
• Hip-hop/Rap
– Tend to include themes that represent/stereotype social minorities
as those with issues against law enforcement, shown in large
groups/gangs, sporting clothes and male dominated.
– Camera – Plenty of close-ups, and low-angled shots of the artist
and their groups.
14. TASK 2 – STYLES, TECHNIQUES
AND CONVENTIONS
• Q4 - John Stuart’s description of the music video “incorporating, raiding and
reconstructing” is essentially the essence of intertextuality [something asserted
by Andrew Goodwin]. Can you explain what intertexuality is and find a minimum
of 3 examples of it in music videos?
• Intertextuality – Where a product (in this case music videos) takes inspiration
from other products to influence its own [music video] – usually as an homage.
• The video of the Red Hot Chili Peppers song ‘Californication’ (1999) takes
inspiration from the video game culture that was gaining a mass following from
the younger generation at the time of its release.
• Madonna’s video of ‘Material Girl’ (1985) is heavily referential to a section in the
Marylin Monroe film ‘Gentlemen Prefer Blondes’, in regards to its look, fashion
and choreography.
• Metallica’s ‘Until It Sleeps’ video (1996) took inspiration from a variety of
painting’s by Hieronymus Bosch and several pieces of religious imagery.
Prominent figures of which include the Human-Eating Monster, Adam & Eve and
Jesus Christ depicted on a cross.
15. TASK 3 – CASE
STUDY
Y O U S H O U L D O P E N T H E M U S I C L E C T U R E
P O W E R P O I N T A N D L O O K A T S E C T I O N 3
B E F O R E D O I N G T H I S T A S K
16. TASK 3 – CASE STUDY
• For your individual case study you must study an artist of
choice, focusing on a minimum of 3 videos [ideally 5+ videos]
• This should provide discussion on the usage of the following:
– Style[s] & Techniques employed
– Intertextuality
– Camerawork/editing
– Genre conventions
– Critical approaches [you should be applying some of the critical
approaches from your lessons and some of your own, to your
selected videos]
17. TASK 3 – CASE STUDY
• You should include a video link for the videos used
• You should include illustrative stills from the videos chosen
• Be creative in your approach, it is suggested you use the
heading on the previous slide a guide on how to structure your
response to get you started
• Remember, make a point, use a specific part of the chosen
video as an example, explain yourself and then link to another
video where possible
• Compare and contrast your artist/genre to other artists/genres
• Remember to consider differing contexts
18. METALLICA - ONE
• Narrative – Fairly simplistic, but very symbolic to the lyrics. It features
scenes from 1970s war film ‘Johnny Got His Gun’, as the band play the song
in a warehouse. The lyrics anchor to the synopsis of the film, particularly
when the song reaches the “darkness, imprisoning me, all that I see,
absolute horror”, as the titular character in the film is laid alone in a hospital
suffering from war injuries and trapped in his own thoughts, unable to
speak.
• Colour scheme/lighting – The video is almost entirely in black and white,
with only a few scenes from the film featuring any colour at all.
• Camerawork – The only original camera work comes in the form of the
shots where the band are playing the song in the warehouse, including
multiple close-up shots of the members faces (most prominently when
James Hetfield and Jason Newsted are singing) and their instruments (Kirk
Hammett’s guitar during all the solos). Additionally there are numerous
bird’s eye view/overhead shots of Lars Ulrich playing the drums throughout
the song.
• Critical approach – For Metallica’s first video, this is particularly striking as
most of the footage comes from an already existing film. On top of that, the
stylistic approach makes this unique compared to other music videos of
thrash metal and other metal subgenres of the time – bands like Iron
Maiden and Megadeth would also have videos of the band playing the
song, but would generally rely less on any acting performances or
19. METALLICA – THE UNFORGIVEN
(THEATRICAL RELEASE)
• Synopsis – This video is essentially a short film, telling the story of a young
boy who ends up in a small cave and tries to carve a window to get to the
other side of it. As the video progresses, he grows old and by the time he
finally manages to carve the window he dies falling to the ground with a
locket and a key in his hands. Although the 6-minute cut of this video
features the band playing in a shadowed background, the theatrical release
has no sight of them.
• Camerawork – There very rarely seems to be many close-ups of the main
character’s face in the film, seemingly being hidden by the shadows that
surround the setting. Instead there are plenty of bird’s eye view shots and
mid shots to show the character’s age progression and actions.
• Colour/lighting – Similarly to ‘One’ both versions of ‘The Unforgiven’ music
videos contain drained out colour, leaning towards a more sepia style than
black and white.
• Critical approach – Theatrical music films were rare around 1991, and what
is particularly rarer is that the band are not seen playing the song during
the music video. The storytelling element follows on a style that Metallica
had incorporated previously from ‘One’ and ‘Enter Sandman’
20. METALLICA – THE MEMORY
REMAINS
• Synopsis – The band are playing the song on a platform that is rotating on a
pole around a room in a gothic house, like it is a swing. As the video progresses,
English singer and actress Marianne Faithfull appears singing her vocals (the
“naa, na na naa…” sections) and turns a handle on a box which is implied to be
attached to the platform the band is playing on. Behind the scenes, the platform
was actually still and the room was instead rotating, with the camera attached to
it to create the illusion that the platform was what was actually rotating instead.
• Camerawork – The video mostly consists of mid shots and long shots of the
band playing on the platform as it swings around the room, with the majority of
the close-ups being of James Hetfield’s face as he sings, though the rest of the
band are also shown close-up. Marianne Faithfull’s parts also range between mid
shots and long shots, one notable part includes when she turns away from the
camera towards the large door behind her, only to later return when her second
vocal section begins.
• Editing – There are instances where the platform goes over the camera as a
means to transition to another cut, and there is also a film real effect after the
third chorus. The colour and lighting is actually in full colour.
• Critical approach – The mid 90s featured some of the more creative Metallica
music videos as far as camerawork and stylistic approach is concerned, with this
being no exception considering the effort made on the camerawork and editing
of the video.
21. METALLICA - FRANTIC
• Synopsis – The video begins with a man crashing his truck at a junction. As the video
progresses the video explores the activities the man had been through over the
previous days, including drinking, promiscuity and smoking, all of which anchors to
the lyrics. As this happens, the band play the song separate from one another, but all
at least in some form of agricultural area before their background turns white. The
video ends with another car running into the window of the truck, now tipped upside
down with the man laughing inside.
• Editing – The video is paced convenient to the context of the song. The song begins
with a quick pace, and so the video appears quick, almost as if it is on a time-lapse at
certain points, including the scenes when the character is in a bar drinking very
heavily being very fast to suit the narrative. There are also fast cuts for when the band
are playing, switching from one another extremely quickly, in addition to a slow
motion for when the truck crashes into the RV at the junction, which is used multiple
times.
• Camerawork – Almost all the shots featuring the band are close-ups of either their
faces of their instruments with a few mid shots thrown in (though there seems to be
much less of the new bass player Robert Trujillo compared to the others for… some
reason). There are mid shots of the character to explore his actions and long shots for
the crash.
• Critical approach – The video for the song definitely seems to fit right with the
2003/04 period of the music industry. Not only by the context that the song and
video brings up itself, but the song itself is also shortened by about a minute to suit
as a radio/single version of the song. It also lacks a solo of sorts from Kirk Hammett,
22. METALLICA – HALO ON FIRE
• Synopsis – A woman is depicted to be getting ready for her day despite being
bruised. She is making her way to a fighting club surrounded by a circle of
onlookers in what appears to be a local city hall, explaining the bruises from the
beginning, and once she is dragged out she goes back the next day. As the
video progresses, the band are playing the song in the same hall with the same
crowd surrounding them.
• Editing – The colour and lighting returns to a semi-sepia, mostly black and white
effect seen similarly in ‘The Unforgiven’, with most natural colour drained out. In
regards to pacing, the song and video start off slow and fitting to the beat,
gradually picking up speed towards the end of the song. What’s also interesting
to notice is the cuts not only impact with the beat, but also with the blows the
woman takes when fighting, displaying the close parallel of the people watching
the fighting and the people watching Metallica. One funny Easter Egg to note is
that multiple times James Hetfield (the singer and rhythm guitarist) appears in
the crowd multiple times acting as a fan, as well as playing the song with his
bandmates.
• Camerawork – Regarding the band playing, there is a focus on mid shots and
close-ups (the latter particularly for Hetfield singing). For the character’s
narrative there is a mixture of POV shots as she is walking by people in public as
well as when she’s fighting the other people in the hall, as well as mid shots for
her progression through the day.
• Critical approach – The narrative and stylistic approach is very similar to the old
Metallica style that was presented in ‘One’ and ‘The Unforgiven’. Given modern
perceptions, the intro to the video could well mistake first time viewers into