Music video genre_analysis
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The document discusses three main types of music videos: performance, narrative, and conceptual. Performance videos feature artists singing to fans and emphasize the music. Narrative videos tell linear stories, often about love, with males as actors and females reacting. Conceptual videos rely on metaphor and mood to evoke multiple meanings for viewers. The document also analyzes the Girls Aloud "Call The Shots" video and Radiohead's "Knives Out" video in terms of genre conventions.
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This document provides an overview and instruction for Section A of the G322 Exam on TV Drama. It discusses:
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Similar to Music video genre_analysis
Music video narrative
The document discusses narrative theory and its application to analyzing music videos. It addresses how to examine the narrative structure, characterization, conflict, and use of technical elements like music, editing and mise-en-scene to tell the story. Key questions are posed about how the narrative is organized, how the viewer relates to characters, and how sound and visuals work together to convey themes. Common narrative types in music videos like performance, narrative and conceptual are described.
Characteristics of a music video (evaluation)
According to Andrew Goodwin's theory, there are 6 key characteristics of music videos:
1) They demonstrate genre characteristics through elements like dance routines or stage performances.
2) The visuals have a relationship with the song lyrics, either illustrating, amplifying or contradicting them.
3) The visuals also have a relationship with the music in the same ways.
4) Record labels want close-ups of the artist. Artists may develop recurring visual motifs.
5) Videos often reference looking or voyeurism, especially of women.
6) They frequently allude to other media through intertextual references.
Characteristics of music video
Music videos emerged from the combination of rock music, album artwork, live performances, and the birth of MTV as a way to promote music visually. They aim to engage viewers emotionally through compelling moods and imagery rather than explicitly promoting products. Directors employ various techniques like performance, narratives, and conceptual imagery to attract audiences and convey messages about artists. As a blend of film and television techniques, music videos offer new ways of incorporating familiar icons to reconstitute cultural imagery. Understanding their rhetorical impact requires viewing them as cultural acts situated within viewers' own experiences.
Task 7 theory lesson
This document provides tasks and theory related to analyzing music videos and genres for a media studies course. It includes tasks to analyze codes and conventions in different music video genres, examine narrative and performance approaches in sample videos, explore representation of social groups in various genres, and conduct a close analysis of a music video using relevant theory. The document also discusses theories related to genre from scholars like Robert Stam, Rick Altman, and Andrew Goodwin. Students are asked to apply these theories to their own video productions and examine how genres may be defined, conventions established, and meanings negotiated between text and audiences.
Music Video Theorists
The document discusses several key aspects of music videos identified by Andrew Goodwin, including thought beats, narrative and performance, star images, technical aspects, and the relationship between visuals and song. It explains Goodwin's three steps for identifying thought beats: examining song structure and music, listening to the artist's voice, and understanding the artist's role as storyteller. The document also discusses the importance of narrative, star image, technical elements, and Roland Barthes' codes for analyzing narrative texts. Finally, it summarizes Vladimir Propp's eight character types commonly found in narratives.
Menu cards for music workshop final
The document discusses different types of relationships between lyrics and visuals in music videos, including illustration, amplification, and disjuncture. It then provides tasks and concepts for creating a music video section matching visuals to lyrics in various ways, and exploring these relationships between lyrics and visuals.
Music video types
This document discusses three main types of music videos:
1. Performance videos feature the artist(s) singing and playing their song. They emphasize the recording of the music.
2. Narrative videos tell a story through a sequence of events, commonly featuring themes of love and relationships.
3. Conceptual videos rely on poetic metaphors and aim to evoke a mood rather than tell a linear story. They can be open to various interpretations.
Some videos combine elements, forming a hybrid that allows audiences to both relate to the performer and understand the concept.
Music video types.
There are three main types of music videos: performance videos, narrative videos, and conceptual videos. Performance videos focus on showing the artist performing the song, narrative videos tell a story set to the music, and conceptual videos use poetic metaphors and symbols to convey a mood or feeling. Some videos combine elements, like performance videos that also include a conceptual element, telling a story through the artist's performance.
Music video types
The document describes three types of music videos:
1. Performance videos focus on the artist singing and playing their song, conveying the live concert experience.
2. Narrative videos tell a story through a sequence of events, commonly a love story.
3. Conceptual videos rely on metaphor and poetic form to create a mood rather than tell a linear story, allowing for multiple interpretations.
Genre In Detail Summary - Fateh Khaled
The document discusses music genres and the four main genres of music videos: pseudo-documentary, art music video, narrative, and staged performance. It provides examples for each genre and notes that some music videos combine genres or evolve over time. Genres are negotiated and not clearly defined, but provide a framework to understand music and music videos.
Music videos
The document discusses different types of music videos and how they can be characterized. It identifies three main types: performance videos focus on the artist singing to fans; narrative videos tell a story, often a love story; and conceptual videos rely on metaphor and mood rather than a linear narrative. It provides examples of each type and discusses how music videos can have elements of more than one type.
Music video theory
The document discusses various elements that are commonly found in music videos, including links between lyrics and visuals, following genre characteristics, and focusing on developing the artist's star image. It also summarizes Roland Barthes' five codes for interpreting media narratives: the hermeneutic code, proairetic code, referential code, semantic code, and symbolic code. Finally, it discusses two categories of music videos - performance videos that focus on the artist, and conceptual videos that tell a narrative story.
Applying Narrative Theory to your Work
The document discusses various narrative theories that could potentially be applied to analyzing a music video, including:
- Focusing on the relationship between the lyrics and visuals in the video.
- Examining the overall mood and whether key lyrics are given visual prominence.
- Considering whether there is a cause-and-effect relationship between story elements.
- Analyzing the role of the artist and whether the video serves to promote their persona.
- Determining if the video presents a subjective or objective point of view.
- Assessing whether the theories of Propp, Todorov, or Cameron on narrative structures can provide useful frameworks for understanding the video's narrative elements.
Applying Narrative Theory To Your Work
The document discusses various narrative theories that could potentially be applied to analyzing a music video, including:
- Focusing on the relationship between the lyrics and visuals in the video.
- Examining the overall mood and whether key lyrics are given visual prominence.
- Considering whether there is a cause-and-effect relationship between story elements.
- Analyzing the role of the artist and whether the video serves to promote their persona.
- Determining if the video presents a subjective or objective point of view.
- Assessing whether the theories of Propp, Todorov, or Cameron on narrative structures could apply to the music video's narrative approach.
RESEARCH: A2 Media Music Video Analysis (Alternative Genre)
I did not find any explicit intertextual references to other films, TV programs or music videos in the "We Are Young" music video by Fun. The video focuses on depicting the song's lyrics through a narrative of a chaotic party scene. While it utilizes some common music video techniques like close-ups, slow motion and performance shots, it does not directly reference or allude to any other existing media texts.
Thirty second to mars hurricane - music video analysis
This music video analysis document discusses several theories about music videos and analyzes the Thirty Seconds to Mars music video for "Hurricane" in detail. The document covers how music videos can represent music genres through performance, the relationship between lyrics/music and visuals, and common techniques used. It then provides a thorough summary of the "Hurricane" video, describing its chapter structure, themes of confronting fears and desires, and symbolism relating to dreams.
Evaluation 1:In what ways does your media product use, develop or challenge f...
Evaluation 1:In what ways does your media product use, develop or challenge forms and conventions of real media products?
My quick theory list
This document summarizes several theorists' views on codes and conventions in media such as music videos. It discusses Roland Barthes' five codes of media representation: the hermeneutic code, the proairetic code, the semantic code, the symbolic code, and the cultural code. It also summarizes Andrew Goodwin's five key aspects of music video analysis: narrative and performance, star image, technical aspects, thought beats, and music visualization. Finally, it discusses Laura Mulvey's concept of the male gaze and how media often depicts women and events from a heterosexual male point of view.
Simon Frith
Simon Frith identified three broad typologies of music videos: performance, narrative, and conceptual. Performance videos depict the artist in a concert or studio setting to emphasize the music. Narrative videos attempt to tell a linear love story, often with the male artist performing impressive actions to win back a female interest. Conceptual videos rely on poetic metaphor through visual and verbal elements to convey inexpressible truths, creating a mood rather than telling a straight storyline.
Menu cards for music workshop
Here are a few key points about voyeurism in music videos:
- Voyeurism plays with notions of looking/being looked at and private/public spaces. Music videos often feature scenes that seem intimate or private but are being watched by the audience.
- As the theory goes, the "male gaze" is dominant in many music videos, with female subjects being objectified or presented as passive objects of desire. However, some videos subvert this by featuring active female gazes or empowered female subjects.
- Elements like peepholes, mirrors, windows, screens within screens are commonly used to suggest voyeurism - the subject is unaware they are being watched. Angles and framing can also make the audience
Similar to Music video genre_analysis (20)
RESEARCH: A2 Media Music Video Analysis (Alternative Genre)
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Thirty second to mars hurricane - music video analysis
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Questionaire
The document is a survey that asks respondents questions about their gender, age, music listening habits, favorite music genres, opinions on music videos, preferred music video types, interest in hybrid genres, willingness to pay to view music videos, and payment amount. It collects demographic information and gauges preferences related to music and music videos.
Music video market research finished
- The document discusses market research conducted by Abbey Moss to help decide factors for a music video they plan to produce. A survey of 10 college students provided results about preferences for genres, concepts, and willingness to pay.
- Based on the results, the music video will be aimed at males ages 17-19 and feature rock music and performance concepts. Over half of respondents said they would pay between £1-5 for a music video.
- Abbey Moss will use the results to decide how to theme, style, and potentially monetize the music video to best appeal to the target demographic identified in the market research.
Question 1
1) The student and their partner decided to create a music video for the Nickelback song "Rockstar" using three local Manchester locations that were familiar and populated.
2) They chose to dress extras in everyday casual clothing and not use props to make the video seem more realistic and fit with the genre of rock music.
3) The video uses a variety of camera shots including close-ups, medium shots, and long shots to show singers emulating rockstars and involve local people to show anyone can be a rockstar. It breaks conventions by not following a linear narrative and cutting between different scenes and locations.
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Brandon Fry provides progress updates and plans for his coursework over several months from September 2012 to April 2013. He details completing research, constructing ancillary pieces, analyzing postmodernism theories, and planning his main music video production. For upcoming weeks, his plans include finishing reports, gathering research results, scripting and storyboarding the video, filming, editing footage, and completing evaluations. Contingency plans include addressing issues that may arise from weather affecting outdoor filming.
Focus group questions devised
Focus group questions were devised to gather feedback on a music video. The questions asked participants what they liked about the video, what could be improved, whether it seemed similar to other music videos, what else could appear in the video, who the target audience seemed to be, and what, if any, features were overused. Responses from a Facebook feedback group would be screenshot and included directly in an evaluation to make the feedback more trustworthy and directly address the questions asked.
Music video questionnaire
This music video questionnaire asks respondents for their gender, age group, favorite music genre, occupation, monthly income, where they watch music videos, how much they would pay to buy a music video, if they prefer a hybrid genre, and their favorite type of music video. It collects demographic information and preferences about music video consumption to gain insights from audiences.
Music video market research
Brandon Fry conducted market research through surveys to inform the creation of a music video. The surveys asked about gender, age, music preferences, income, and how people consume music videos. Most respondents were young adults and male. Over half preferred dance and rap music genres. Most watch music videos on TV and would pay under £5. The majority preferred a hybrid genre and performance-style video. This research will influence Brandon to create a mainstream, performance-based music video costing under £5 targeted at young adults.
Evaluation question 1 word
The media product being summarized is a music video. It uses several conventions of real music videos, such as typical locations like a character's house and club. However, it also challenges conventions with unusual costumes and props. A variety of camera shots are used, as is typical in dance music videos. The editing cuts between scenes and times the visuals to the music. The narrative follows a linear sequence of friends preparing for a night out and then returning home. While it focuses more on the preparation than being in the club, as do many dance videos. Character introductions are also uncommon in the genre.
Evaluation question 2 complete
The document discusses how the combination of a DJ's main music product and ancillary texts like advertisements are effective. It notes that the ancillary pieces use a black background to match the genre and house style. Both the main product music video and ancillary texts feature stereotypical elements for the genre like titles, fonts, and backgrounds that create consistency and link the content. Feedback shows the combination of elements is positively received by audiences.
Music video report of ideas
The document provides details on the iconography, characters, lyrics, genre, camera work, props, plan, sound, lighting, and mise-en-scene for an upcoming music video. Iconographic elements will include alcohol bottles, minimal lyrics, and club settings. Characters will be late-teenaged males and females in current fashion. The genre is a linear music video portraying a typical night out for teens in Salford including alcohol, dancing, and flashing lights. Various camera techniques will be used to make the video seem realistic. Props will feature alcohol and lighting to recreate a club atmosphere. Sound will primarily be the song with people in the background. Strobe lights and bright flashing colors will be used for
Audience theory
This document discusses several theories of audience reception of media texts:
1. The Hypodermic Model suggests audiences passively receive information from media without processing or challenging it.
2. Two Step Flow Theory asserts that information moves from media to opinion leaders who influence their followers.
3. Uses and Gratifications Theory states that individuals choose media texts for diversion, relationships, identity, and information.
4. Encoding/Decoding Theory argues meaning is created between text and audience, who can take preferred, negotiated, or oppositional readings based on their own experiences.
Section a 1b_task
This document provides guidance for students preparing for their G325 Critical Perspectives in Media exam. It discusses two questions in Section A that focus on evaluating student's production skills and coursework. For question 1(b), students must analyze one of their coursework productions in relation to a media concept, such as audience, genre, or representation. The document provides an example response analyzing a student's horror film "The Sleepover" in relation to the audience concept. It describes the student's use of audience research and theories like hypodermic needle, uses and gratifications, and reception theory in the film's development. Examiners found the response borderline level 3/4 for its application of theory and description of the film
Music video script_template finished
This music video script is for the song "Discolights" by Ultrabeat vs Darren Styles. It consists of 6 scenes: 1) Friends arrive at a house and get ready to go out. 2) They arrive at the club and dance. 3) Extended dancing scenes inside the busy club. 4) More dancing and shots of the DJ. 5) The drunk friends leave the club in a taxi and take photos. 6) Final shots show each friend asleep in the house. The script provides timing cues and descriptions to visualize the song and accompany the music and lyrics.
Hmv ritz
HMV Ritz was a music retailer located in Manchester, England that operated from 1982 until 2021. It was notable for being one of the largest entertainment stores in the United Kingdom and a popular destination for music fans in Manchester. However, after several ownership changes and financial struggles, HMV Ritz ultimately closed its doors in 2021 after nearly 40 years in business.
Music video market research
Brandon Fry conducted market research on music videos through surveys. The surveys found:
- Slightly more male respondents than female.
- Most respondents were 15-20 years old, reflecting the college-aged survey pool.
- Half preferred the dance music genre, with rap second highest.
- Most respondents had monthly incomes between £251-£500.
- TV was still the most popular way to watch music videos, but internet use was increasing.
- Most would pay £0-£5 for a music video and prefer a hybrid genre and performance-style video.
Exam preparation
The document discusses a coursework assignment to evaluate a music production in relation to genre concepts. Specifically, it summarizes the author's creation of a CD cover called "DiscoLights" by "Hungarian Mansion Dealers", intended to represent a dance music genre. The summary explores various genre theories and how they are represented through technical elements, iconography, mise-en-scene, and characters on the CD cover. Repetition of dance music conventions and stereotypes are used to appeal to the target audience, according to the theories of Neale and others.
Exam preparation
Brandon Fry has created a CD cover called "DiscoLights" by "Hungarian Mansion Dealers" to evaluate in relation to music genre concepts. The cover uses stereotypical design elements of dance music genres, such as a black background with large bold grey text. While simple compared to pop albums, these design choices will appeal specifically to dance music audiences by playing on expectations of the genre through repetition of conventions. No props, settings, costumes, or characters are depicted on the cover, as is common for dance music, allowing the music to be the focus without symbolic elements that could distract from the genre.
Music video analysis
The document provides an analysis of three music videos:
1. Beyoncé's "Best Thing I Never Had" video tells a narrative story through flashbacks of Beyoncé's past relationship and her current wedding. Symbolic props like flowers, rings and wedding attire are used to represent themes of innocence and marriage.
2. Green Day's "21 Guns" video features both a performance by the band and a narrative story of a young couple. Props like bullets and the band's instruments conform to genre expectations, while the dark tone and messy setting provide contrast.
3. Eminem's "Without Me" video is analyzed but no details are provided about its conventions.
Magazine research
The poster advertises a band through a large picture of the band members wearing casual clothes. Some band members wear sunglasses, making indirect eye contact with the viewer. The band's name and release dates are in a large, easy-to-read font. A picture of the CD being advertised also appears, informing viewers of the product. The black and white color scheme stands out despite lacking bright colors, with the white text contrasting against the black background.
Ancillary 2 research blueprint
Jay-Z's album Blueprint 3 is being promoted. The color scheme of red, grey, black, and white is consistently used based on the album cover. Images follow the rule of thirds and include the album cover, a picture of Jay-Z, and the Empire State Building, which is featured in one of his songs. The text catches the audience's eye by being in all capital and bold letters.
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留信网认证的作用:
1:该专业认证可证明留学生真实身份
2:同时对留学生所学专业登记给予评定
3:国家专业人才认证中心颁发入库证书
4:这个认证书并且可以归档倒地方
5:凡事获得留信网入网的信息将会逐步更新到个人身份内，将在公安局网内查询个人身份证信息后，同步读取人才网入库信息
6:个人职称评审加20分
7:个人信誉贷款加10分
8:在国家人才网主办的国家网络招聘大会中纳入资料，供国家高端企业选择人才
The Unbelievable Tale of Dwayne Johnson Kidnapping: A Riveting Saga
Introduction
The notion of Dwayne Johnson kidnapping seems straight out of a Hollywood thriller. Dwayne "The Rock" Johnson, known for his larger-than-life persona, immense popularity. and action-packed filmography, is the last person anyone would envision being a victim of kidnapping. Yet, the bizarre and riveting tale of such an incident, filled with twists and turns. has captured the imagination of many. In this article, we delve into the intricate details of this astonishing event. exploring every aspect, from the dramatic rescue operation to the aftermath and the lessons learned.
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The Origins of the Dwayne Johnson Kidnapping Saga
Dwayne Johnson: A Brief Background
Before discussing the specifics of the kidnapping. it is crucial to understand who Dwayne Johnson is and why his kidnapping would be so significant. Born May 2, 1972, Dwayne Douglas Johnson is an American actor, producer, businessman. and former professional wrestler. Known by his ring name, "The Rock," he gained fame in the World Wrestling Federation (WWF, now WWE) before transitioning to a successful career in Hollywood.
Johnson's filmography includes blockbuster hits such as "The Fast and the Furious" series, "Jumanji," "Moana," and "San Andreas." His charismatic personality, impressive physique. and action-star status have made him a beloved figure worldwide. Thus, the news of his kidnapping would send shockwaves across the globe.
Setting the Scene: The Day of the Kidnapping
The incident of Dwayne Johnson's kidnapping began on an ordinary day. Johnson was filming his latest high-octane action film set to break box office records. The location was a remote yet scenic area. chosen for its rugged terrain and breathtaking vistas. perfect for the film's climactic scenes.
But, beneath the veneer of normalcy, a sinister plot was unfolding. Unbeknownst to Johnson and his team, a group of criminals had planned his abduction. hoping to leverage his celebrity status for a hefty ransom. The stage was set for an event that would soon dominate worldwide headlines and social media feeds.
The Abduction: Unfolding the Dwayne Johnson Kidnapping
The Moment of Capture
On the day of the kidnapping, everything seemed to be proceeding as usual on set. Johnson and his co-stars and crew were engrossed in shooting a particularly demanding scene. As the day wore on, the production team took a short break. providing the kidnappers with the perfect opportunity to strike.
The abduction was executed with military precision. A group of masked men, armed and organized, infiltrated the set. They created chaos, taking advantage of the confusion to isolate Johnson. Johnson was outnumbered and caught off guard despite his formidable strength and fighting skills. The kidnappers overpowered him, bundled him into a waiting vehicle. and sped away, leaving everyone on set in a state of shock and disbelief.
The Immediate Aftermath
The immediate aftermath of the Dwayne Johnson kidnappin
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The teleprotection market size has grown
exponentially in recent years. It will grow from
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Orpah Winfrey Dwayne Johnson: Titans of Influence and Inspiration
Introduction
In the realm of entertainment, few names resonate as Orpah Winfrey Dwayne Johnson. Both figures have carved unique paths in the industry. achieving unparalleled success and becoming iconic symbols of perseverance, resilience, and inspiration. This article delves into the lives, careers. and enduring legacies of Orpah Winfrey Dwayne Johnson. exploring how their journeys intersect and what we can learn from their remarkable stories.
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Early Life and Backgrounds
Orpah Winfrey: From Humble Beginnings to Media Mogul
Orpah Winfrey, often known as Oprah due to a misspelling on her birth certificate. was born on January 29, 1954, in Kosciusko, Mississippi. Raised in poverty by her grandmother, Winfrey's early life was marked by hardship and adversity. Despite these challenges. she demonstrated a keen intellect and an early talent for public speaking.
Winfrey's journey to success began with a scholarship to Tennessee State University. where she studied communication. Her first job in media was as a co-anchor for the local evening news in Nashville. This role paved the way for her eventual transition to talk show hosting. where she found her true calling.
Dwayne Johnson: From Wrestling Royalty to Hollywood Superstar
Dwayne Johnson, also known by his ring name "The Rock," was born on May 2, 1972, in Hayward, California. He comes from a family of professional wrestlers, with both his father, Rocky Johnson. and his grandfather, Peter Maivia, being notable figures in the wrestling world. Johnson's early life was spent moving between New Zealand and the United States. experiencing a variety of cultural influences.
Before entering the world of professional wrestling. Johnson had aspirations of becoming a professional football player. He played college football at the University of Miami. where he was part of a national championship team. But, injuries curtailed his football career, leading him to follow in his family's footsteps and enter the wrestling ring.
Career Milestones
Orpah Winfrey: The Queen of All Media
Winfrey's career breakthrough came in 1986 when she launched "The Oprah Winfrey Show." The show became a cultural phenomenon. drawing millions of viewers daily and earning many awards. Winfrey's empathetic and candid interviewing style resonated with audiences. helping her tackle diverse and often challenging topics.
Beyond her talk show, Winfrey expanded her empire to include the creation of Harpo Productions. a multimedia production company. She also launched "O, The Oprah Magazine" and OWN: Oprah Winfrey Network, further solidifying her status as a media mogul.
Dwayne Johnson: From The Ring to The Big Screen
Dwayne Johnson's wrestling career took off in the late 1990s. when he became one of the most charismatic and popular figures in WWE. His larger-than-life persona and catchphrases endeared him to fans. making him a household name. But, Johnson had ambitions beyond the wrestling ring.
In the early 20
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Music video genre_analysis
- 1. Brandon fry Genre analysis: Music video Music videos are characterized by three broad types: performance narrative conceptual (Firth,1988). These types describe the form and content selected by the director or artist to attract viewers and to convey a direct or indirect message. Performance videos the most common type (Firth 1988) feature the star or group singing in concert to wildly enthusiastic fans. The goal is to convey a sense of the in-concert experience. Gow (1992) suggests "the predominance of performance as a formal system in the popular clips indicates that music video defines itself chiefly by communicating images of artists singing and playing songs" (pp. 48-49). Performance videos, especially those that display the star or group in the studio, remind the viewer that the soundtrack is still important. "Performance oriented visuals cue viewers that, indeed, the recording of the music is the most significant element" (Gow, 1992, p. 45). Narrative videos present a sequence of events. A video may tell any kind of story in linear, cause-effect sequencing. Love stories, however, are the most common narrative mode in music video. The narrative pattern is one of boy meets girl, boy loses girl, boy gets girl back. Action in the story is dominated by males who do things and females who passively react or wait for something to happen (Schwichtenberg, 1992). Conceptual videos rely on poetic form, primarily metaphor (Firth, 1988). The conceptual video can be metaphysical poetry articulated through visual and verbal elements. "These videos make significant use of the visual element, presenting to the eye as well as the ear, and in doing so, conveying truths inexpressible discursively" (Lorch, 1988, p. 143). Conceptual videos do not tell a story in linear fashion, but rather create a mood, a feeling to be evoked in the experience of viewing (Firth, 1988). Conceptual videos contain the possibility for multiple meanings as the metaphor or metaphoric sequence is interpreted by the viewer. "Thus the metaphorical relations between images structured according to musical and visual rhymes and rhythms play a suggestive role in soliciting multiple meanings from us, the viewers/listeners, that resonate with our experience--something we can feel and describe" (Schwichtenberg, 1992 p. 124)
- 2. Brandon fry Understanding Genre: Analysis of Music Videos Using the ideas covered above, fill out the boxes below after watching the music video for ‘Call The Shots’ by Girls Aloud. Use examples from the text to explain the extent to which it conforms to or deviates from its genre. In your analysis you should use examples from the text to explain why it uses and/or deviates from convention. Girls Aloud - Call The Shots –(dir. Sean de Sparengo2007 ) http://www.youtube.com/watch?v=QPWUyAZZfK0&feature=artist Key Theorists: A Reminder Chandler: Conventional definitions of genres tend to be based on the notion that they constitute particular conventions of content (such as themes or settings) and/or form (including structure and style) Neale: Genre can be defined by instances of repetition and difference genre is part of a process of “mental machinery” between “industry, text and subject.”
- 3. Brandon fry Genre elements Conventions presented in the Call The Shots Video Performers/Characters – representations, stereotypes, behaviour, body language, specific pop stars Performance as they sing and dance. All women in the video represented as objectified and independent. This goes against the stereotype. Shows bad behaviour when burning the picture. Also men are objectified such as the scene in the shower. Genre Type: Performance, Narrative or Conceptual? Are there elements of each? Describe them. If there is a narrative, what type of narrative is it? (Linear/Non Linear?) Performance based with the singing and dancing. Narrative as there can be a storyline with the use of the phone and burning the picture, however it is more hidden. The genre can also be seen as conceptual as they can be conveying the truth of a storyline of some sort of affair as she burns the picture. Iconography – props, symbolic codes The burning picture is symbolic of a bad experience with the opposite gender. White flags on the beach showing innocence. Setting- mise en scene At home alone representing the storyline then moving to the beach in a peaceful area with just girls there. Technical and audio codes – camera use, editing, lighting, diegetic/non diegetic sound, sfx Neale’s ‘Mental Machinery’: How does the text meet audience expectations? How does it conform to convention and/or deviate from convention?
- 4. Brandon fry What ideologies are encoded in the music video? What does the pop genre seem to say about what it is like to live in the world, as represented in the video? Now repeat the activity with the following video: Radiohead: Knives Out (dir. Michel Gondry, 2008) http://www.youtube.com/watch?v=CJ1iMQA0egc Genre elements Conventions presented in the Knives Out Video Performers/Characters – representations, stereotypes, behaviour, body language, specific performers Strange behaviour Genre Type: Performance, Narrative or Conceptual? Are there elements of each? Describe them. If there is a narrative, what type of narrative is it? (Linear/Non Linear?) Narrative genre as the video gives a sequence of events on a train in the tv, the tv being in the hospital room. Iconography – props, When the girl plays the body in the operation game
- 5. Brandon fry symbolic codes literally meaning shes having a operation Setting- mise en scene Hospital area- doctors patients Equipment and beds Picture frames of the couple to show past memories Technical and audio codes – camera use, editing, lighting, diegetic/non diegetic sound, sfx Handheld camera showing a documentary Low lighting used at most times Neale’s ‘Mental Machinery’: How does the text meet audience expectations? How does it conform to convention and/or deviate from convention? What ideologies are encoded in the Knives Out video? How do the ideologies presented in the Radiohead video differ from a conventional pop video? What does the genre of alternative rock seem to say about what it is like to live in the world? Homework: Write a 500-800 word analysis, commenting upon how each video conforms to or deviates from music video conventions. Are there any similarities in style/content? What are the main differences? Remember to quote the theories and theorists that we have studied so far. Deadline: Friday 16th March