The document provides an analysis of several music videos in the glam rock genre. It summarizes the camera work, mise-en-scene, editing, sound, and other technical elements for videos by Lady Gaga, Beyoncé, Kylie Minogue, and White. It notes conventions like colorful costumes, flashy sets, and fast editing that help define the glam rock style. It also discusses themes around gender, sexuality and cultural references present in some of the videos.
The document provides an analysis of Lady Gaga's "Bad Romance" music video. It discusses the video's concept of depicting Gaga being kidnapped and sold to the Russian mafia as a metaphor for the dark side of the music industry. Various camera techniques are examined, such as close-ups showing Gaga's innocence being stripped away. Costuming and lighting are also analyzed to represent Gaga's corruption. The intended audience is described as Lady Gaga fans and creative young adults who can understand the video's hidden messages.
The video for "R U Mine" by Arctic Monkeys conforms to several conventions of the rock music genre identified by Goodwin's genre theory. It features a live band performance and close-ups of band members singing directly to the camera. While it does not focus on the female body, it includes a brief shot of a woman in provocative clothing walking toward the band. The black-and-white filming style, editing, costumes, and band persona portrayed reinforce expectations of the rock genre and Arctic Monkeys' brand. The narrative follows the band singing and dancing in a car before performing live, reflecting teenage rebellion and culture.
The document summarizes Lady Gaga's music video for "Bad Romance". It describes the concept of Gaga being kidnapped and sold as a sex slave to the Russian mafia. It then analyzes the camera work, sound, costumes, lighting, colors, and props used throughout the video to portray this concept and Gaga's journey.
The document provides a detailed analysis of the music video for Lady Gaga's "Bad Romance". It describes the concept of Gaga being kidnapped and auctioned off to the Russian mafia. It then analyzes elements of the video like costumes, lighting, camerawork, props and Gaga's facial expressions throughout the video.
Jara Everett is the Author of "Jumpoff" the book and song; her true story about TUPAC, R.KELLY, SUGE KNIGHT, SHAQ, MARTIN LAWRENCE & others!
The video shows the band Blink 182 playing to a large audience, showing they cannot be that alternative despite their genre being alternative rock. It includes unconventional elements like a dog attacking a man on an otherwise pleasant beach. Throughout the video, editing is very fast to create excitement reflecting their music. The video references other genres through stereotypes like the band members walking in suits or wearing underwear, mocking boy bands.
The document analyzes themes of homage and narcissism in Lady Gaga's music video for "Telephone." It notes that the video pays homage to her previous video for "Paparazzi" as well as the film "Thelma and Louise." It also argues that the video portrays Lady Gaga as a confident and narcissistic figure through scenes where she wears minimal clothing, dances sexually, and takes pictures of herself and Beyonce, showing pride in her image. Narcissism is a prominent theme throughout the video as Lady Gaga presents herself in a lustful and sexy manner.
This document provides a detailed analysis of the music video for "The Kill (Bury Me)" by Thirty Seconds to Mars according to Nick Lacey's theory of genre elements. It summarizes the characters, narrative, iconography, settings, and technical/audio codes present in the video. The video draws heavily from the film "The Shining" by Stanley Kubrick, portraying the band members acting out scenes from the film while they stay alone in a haunted hotel. Imagery and settings from the film are replicated to tell a narrative of the band members confronting their doppelgangers and darker sides of themselves.
The document provides an analysis of Lady Gaga's "Bad Romance" music video. It discusses the video's concept of depicting Gaga being kidnapped and sold to the Russian mafia as a metaphor for the dark side of the music industry. Various camera techniques are examined, such as close-ups showing Gaga's innocence being stripped away. Costuming and lighting are also analyzed to represent Gaga's corruption. The intended audience is described as Lady Gaga fans and creative young adults who can understand the video's hidden messages.
The video for "R U Mine" by Arctic Monkeys conforms to several conventions of the rock music genre identified by Goodwin's genre theory. It features a live band performance and close-ups of band members singing directly to the camera. While it does not focus on the female body, it includes a brief shot of a woman in provocative clothing walking toward the band. The black-and-white filming style, editing, costumes, and band persona portrayed reinforce expectations of the rock genre and Arctic Monkeys' brand. The narrative follows the band singing and dancing in a car before performing live, reflecting teenage rebellion and culture.
The document summarizes Lady Gaga's music video for "Bad Romance". It describes the concept of Gaga being kidnapped and sold as a sex slave to the Russian mafia. It then analyzes the camera work, sound, costumes, lighting, colors, and props used throughout the video to portray this concept and Gaga's journey.
The document provides a detailed analysis of the music video for Lady Gaga's "Bad Romance". It describes the concept of Gaga being kidnapped and auctioned off to the Russian mafia. It then analyzes elements of the video like costumes, lighting, camerawork, props and Gaga's facial expressions throughout the video.
Jara Everett is the Author of "Jumpoff" the book and song; her true story about TUPAC, R.KELLY, SUGE KNIGHT, SHAQ, MARTIN LAWRENCE & others!
The video shows the band Blink 182 playing to a large audience, showing they cannot be that alternative despite their genre being alternative rock. It includes unconventional elements like a dog attacking a man on an otherwise pleasant beach. Throughout the video, editing is very fast to create excitement reflecting their music. The video references other genres through stereotypes like the band members walking in suits or wearing underwear, mocking boy bands.
The document analyzes themes of homage and narcissism in Lady Gaga's music video for "Telephone." It notes that the video pays homage to her previous video for "Paparazzi" as well as the film "Thelma and Louise." It also argues that the video portrays Lady Gaga as a confident and narcissistic figure through scenes where she wears minimal clothing, dances sexually, and takes pictures of herself and Beyonce, showing pride in her image. Narcissism is a prominent theme throughout the video as Lady Gaga presents herself in a lustful and sexy manner.
This document provides a detailed analysis of the music video for "The Kill (Bury Me)" by Thirty Seconds to Mars according to Nick Lacey's theory of genre elements. It summarizes the characters, narrative, iconography, settings, and technical/audio codes present in the video. The video draws heavily from the film "The Shining" by Stanley Kubrick, portraying the band members acting out scenes from the film while they stay alone in a haunted hotel. Imagery and settings from the film are replicated to tell a narrative of the band members confronting their doppelgangers and darker sides of themselves.
The video for "Misery Business" by Paramore tells a narrative story of a girl who steals other people's boyfriends getting her comeuppance. Scenes include the band performing, the "stereotypical bitch" girl in a low-cut dress, and Williams singing angrily about revenge. The video garnered Paramore significant publicity and boosted their career in the music industry.
The music video for Sigma ft Paloma Faith's "Changing" uses mise-en-scene to represent different classes, genders, and ethnicities in a suburban American setting. While the area is often stereotyped as poor and crime-ridden, the video depicts the characters smiling, laughing, and enjoying themselves. Stylistic choices like Paloma's flashy jewelry contrast with the plain clothes worn by the male characters of different ethnicities. Scenic shots of palm trees, flags, and skylines emphasize that the setting is meant to subvert negative stereotypes, not reinforce them. Representations of gender, class, and age throughout the video avoid negative portrayals and instead focus on a fun, lively atmosphere.
The video features Ellie Goulding as the main character singing about her love for a man who is never shown. This engages the enigma code by keeping the audience guessing about the identity of the man. Symbolic codes are also used by portraying Ellie in an everyday manner contrasting with her status as a recording artist. No other characters are present besides occasional glimpses of another woman and a kitten. Ellie remains the central focus promoting the artist.
The song "Yeah!" is performed by Usher and features vocals from Lil Jon and Ludacris. It was released in 2004 as the lead single from Usher's album Confessions. The song combines crunk, hip hop, and R&B styles. The music video depicts Usher at a club where a woman seduces him despite him being in a relationship. It uses strobe lighting and close-ups to create an energetic party atmosphere.
The song "Yeah!" is performed by Usher and features vocals from Lil Jon and Ludacris. It was released in 2004 as the lead single from Usher's album Confessions. The song combines crunk, hip hop, and R&B styles. The music video depicts Usher at a club where a woman seduces him despite him being in a relationship. It uses strobe lighting and close-ups to create an energetic party atmosphere.
Drake's music video is a hybrid of hip-hop and R&B that uses common characteristics of both genres like urban fashion and jewelry. The lyrics describe sexual feelings for a woman and this is reflected visually through erotic depictions of women working out. The slow tempo of the music and cutting rate during verses matches the narrative focus on female movement. There are intertextual references to Drake as an artist through uniforms with his name and cameo appearances by other artists that help promote Drake further.
The document discusses initial treatment locations for filming a music video. It plans to film establishing shots in London to give the impression the video is set there, while actually filming most scenes locally in Henley-on-Thames. Specific locations mentioned include a high street made to look like London, a school, a park by the river trying to resemble a London garden, Henley's town center avoiding landmarks, and an alleyway for a mock drug deal scene. The goal is to make the locations look like London while benefitting from easier local filming.
The music video for "Love The Way You Lie" by Eminem featuring Rihanna depicts domestic violence through imagery of a house on fire. It shows the toxic relationship between the two main characters through scenes of violence and entrapment. The video aims to empathize with the female victim of abuse through numerous close-ups of Rihanna that highlight her emotion. It introduces the characters in a way that challenges stereotypes, showing both strength and vulnerability from both the male and female perspectives. The video leaves it ambiguous as to whether the events are reality or a dream through the use of lighting and bookending the video with the characters asleep in bed.
This document provides biographical information about two music video directors, David Wilson and Nigel Dick. Wilson studied illustration and has directed videos for bands like Arctic Monkeys and Royal Blood that feature animation. Dick has directed videos for bands like Oasis, Guns N' Roses, and Nickelback that often use narrative or performance styles. The document then analyzes and compares Wilson's video for Royal Blood's "Out of the Black" and Dick's video for Oasis's "Wonderwall," noting their different approaches and how they reflect the genres of rock music.
The document discusses the costume and prop design for a story about two male best friends who had a falling out in the past. For their future meeting, the males will wear smart clothing to represent career success. Flashbacks will show them in more casual, youthful clothing representing their rise from hardship. The female will wear casual jeans and a t-shirt. Props include roses symbolizing lost love, a car representing fond memories, and a game controller showing their past enjoyment together.
The document provides an analysis of Katy Perry's music video for "California Gurls" using Lacey's repertoire of elements to examine genre conventions. It finds that the video initially conforms to pop music stereotypes through its sexualized portrayal of female characters and objectification of women. However, it also notes that the video challenges some conventions by having the women gain power over the male character and by potentially providing social commentary on unrealistic Hollywood depictions. Technically, the video uses techniques like colorful lighting, costumes and sets to establish its candy-land setting and enhance the viewing experience.
This document provides summaries of three music videos:
1) The White Stripes - "Blue Orchid" focuses on the Victorian era setting and director Floria Sigismondi's signature jittery camerawork.
2) Duran Duran - "Wild Boyz" emphasizes the music through sharp cuts and movements that match the beat. Directed by Russell Mulcahy, it has stunts and effects resembling a film.
3) Alexisonfire - "Young Cardinals" shows the hardcore punk genre through moshing and jumping. It focuses on the band's performance and their connection to the crowd.
This document provides reviews and analysis of four music videos:
1) Fall Out Boy's "The Take Over, The Breaks Over" which tells a narrative story through a dog's dream with unusual elements like dancing postmen.
2) Foo Fighters' "The Pretender" which shows the band battling riot police in a simple, effective video that relates to the song lyrics.
3) All Time Low's "I Feel Like Dancing" which parodies typical music video tropes like product placement, sex, and copying other artists in a humorous way through the band's discomfort.
4) Overall analyses are provided on the videos' narrative structures, representations of gender, uses of camera shots and
The document proposes a music video that follows the relationship between two youths. The video will be presented as a montage, moving between scenes of the couple together and apart. It aims to portray them engaging in reckless behavior and question what led to their separation. The accompanying song lyrics describe a reckless drive and relationship that provided fleeting fulfillment. The video aims to represent rebellious youth and challenge stereotypes through empowering the female character without the male influence. It will incorporate various film and media theories to analyze representations of gender, youth culture, and the role of media.
This document summarizes and analyzes three music videos: Radiohead's "Karma Police", Aphex Twin's "Window Licker", and Beastie Boys' "Sabotage". For "Karma Police", the video is shot from the perspective of a driver chasing a man, with Thom Yorke lip syncing in the backseat. There is mystery around the plot. For "Window Licker", the video parodies conventions by subverting expectations with unusual imagery. "Sabotage" spoofs 1970s cop shows through exaggerated acting and combat roles by the Beastie Boys in a fake trailer for a police program.
The document provides an in-depth analysis of the opening sequence of the film "House at the End of the Street" through examining its camera work, mise-en-scene, editing, sound, iconography, narrative conventions, representation, and intended audience. It analyzes how the camera focuses on close-ups of the girl's face and eyes to suggest she is not mentally stable. The lighting, colors, and props are used to create a dark and suspenseful tone. Jump cuts and tense sounds are edited in to build tension. The sequence subverts narrative expectations by starting with a violent act and uses horror stereotypes like an innocent-seeming young girl killer.
This campaign report summarizes SEEK's objectives to raise awareness of and drive acquisition of SEEK Profiles. Research found many professionals are satisfied but open to opportunities, and SEEK Profiles allow candidates to be considered for jobs even when not actively looking. The target audience are ages 25-45 who believe in self-improvement. The campaign's big idea is an "Employees' Market" where employers look for candidates through SEEK Profiles. A video, digital ads, and ambient escalator ads will feature candidates happily receiving job offers to encourage profile creation.
The document provides information about a Year 4 overnight camping trip taking place from June 7-9, 2016. Students will stay overnight in yurts and be provided with meals and activities. The cost of the trip is £35 per student, with final payment due by June 2nd. A detailed kit list is provided of what students should bring, including clothing, sleeping gear, toiletries, and bags. Medical forms and permissions are required for any medications students need. Attendees can direct any additional questions to the contact information provided.
The document outlines the equipment that will be used for a film project, including a Panasonic HD camera for high quality video, a basic tripod to keep shots stable, LEDGO lights for professional lighting, a Rode microphone on a boom pole for clear sound recording, and iMovie, Adobe Premiere, and Logic Pro software for editing video and audio.
The document discusses the technology used and technical difficulties encountered in filming a school project. It mentions using a camcorder, microphone, computer, iPad and docking station. Outdoor filming was challenging due to noise from passing cars. The camera had focusing issues when changing locations. Editing software like Premiere Pro and After Effects were used. The author is proud of certain shots they filmed and edited themselves, but notes things that could be improved like using a microphone sock and filming outdoors in daylight.
La luz es una radiación electromagnética que se propaga en forma de ondas. Las ondas electromagnéticas incluyen la luz y se propagan a 300,000 km/segundo en el vacío. Las ondas electromagnéticas se clasifican en un espectro según su frecuencia y longitud de onda.
The video for "Misery Business" by Paramore tells a narrative story of a girl who steals other people's boyfriends getting her comeuppance. Scenes include the band performing, the "stereotypical bitch" girl in a low-cut dress, and Williams singing angrily about revenge. The video garnered Paramore significant publicity and boosted their career in the music industry.
The music video for Sigma ft Paloma Faith's "Changing" uses mise-en-scene to represent different classes, genders, and ethnicities in a suburban American setting. While the area is often stereotyped as poor and crime-ridden, the video depicts the characters smiling, laughing, and enjoying themselves. Stylistic choices like Paloma's flashy jewelry contrast with the plain clothes worn by the male characters of different ethnicities. Scenic shots of palm trees, flags, and skylines emphasize that the setting is meant to subvert negative stereotypes, not reinforce them. Representations of gender, class, and age throughout the video avoid negative portrayals and instead focus on a fun, lively atmosphere.
The video features Ellie Goulding as the main character singing about her love for a man who is never shown. This engages the enigma code by keeping the audience guessing about the identity of the man. Symbolic codes are also used by portraying Ellie in an everyday manner contrasting with her status as a recording artist. No other characters are present besides occasional glimpses of another woman and a kitten. Ellie remains the central focus promoting the artist.
The song "Yeah!" is performed by Usher and features vocals from Lil Jon and Ludacris. It was released in 2004 as the lead single from Usher's album Confessions. The song combines crunk, hip hop, and R&B styles. The music video depicts Usher at a club where a woman seduces him despite him being in a relationship. It uses strobe lighting and close-ups to create an energetic party atmosphere.
The song "Yeah!" is performed by Usher and features vocals from Lil Jon and Ludacris. It was released in 2004 as the lead single from Usher's album Confessions. The song combines crunk, hip hop, and R&B styles. The music video depicts Usher at a club where a woman seduces him despite him being in a relationship. It uses strobe lighting and close-ups to create an energetic party atmosphere.
Drake's music video is a hybrid of hip-hop and R&B that uses common characteristics of both genres like urban fashion and jewelry. The lyrics describe sexual feelings for a woman and this is reflected visually through erotic depictions of women working out. The slow tempo of the music and cutting rate during verses matches the narrative focus on female movement. There are intertextual references to Drake as an artist through uniforms with his name and cameo appearances by other artists that help promote Drake further.
The document discusses initial treatment locations for filming a music video. It plans to film establishing shots in London to give the impression the video is set there, while actually filming most scenes locally in Henley-on-Thames. Specific locations mentioned include a high street made to look like London, a school, a park by the river trying to resemble a London garden, Henley's town center avoiding landmarks, and an alleyway for a mock drug deal scene. The goal is to make the locations look like London while benefitting from easier local filming.
The music video for "Love The Way You Lie" by Eminem featuring Rihanna depicts domestic violence through imagery of a house on fire. It shows the toxic relationship between the two main characters through scenes of violence and entrapment. The video aims to empathize with the female victim of abuse through numerous close-ups of Rihanna that highlight her emotion. It introduces the characters in a way that challenges stereotypes, showing both strength and vulnerability from both the male and female perspectives. The video leaves it ambiguous as to whether the events are reality or a dream through the use of lighting and bookending the video with the characters asleep in bed.
This document provides biographical information about two music video directors, David Wilson and Nigel Dick. Wilson studied illustration and has directed videos for bands like Arctic Monkeys and Royal Blood that feature animation. Dick has directed videos for bands like Oasis, Guns N' Roses, and Nickelback that often use narrative or performance styles. The document then analyzes and compares Wilson's video for Royal Blood's "Out of the Black" and Dick's video for Oasis's "Wonderwall," noting their different approaches and how they reflect the genres of rock music.
The document discusses the costume and prop design for a story about two male best friends who had a falling out in the past. For their future meeting, the males will wear smart clothing to represent career success. Flashbacks will show them in more casual, youthful clothing representing their rise from hardship. The female will wear casual jeans and a t-shirt. Props include roses symbolizing lost love, a car representing fond memories, and a game controller showing their past enjoyment together.
The document provides an analysis of Katy Perry's music video for "California Gurls" using Lacey's repertoire of elements to examine genre conventions. It finds that the video initially conforms to pop music stereotypes through its sexualized portrayal of female characters and objectification of women. However, it also notes that the video challenges some conventions by having the women gain power over the male character and by potentially providing social commentary on unrealistic Hollywood depictions. Technically, the video uses techniques like colorful lighting, costumes and sets to establish its candy-land setting and enhance the viewing experience.
This document provides summaries of three music videos:
1) The White Stripes - "Blue Orchid" focuses on the Victorian era setting and director Floria Sigismondi's signature jittery camerawork.
2) Duran Duran - "Wild Boyz" emphasizes the music through sharp cuts and movements that match the beat. Directed by Russell Mulcahy, it has stunts and effects resembling a film.
3) Alexisonfire - "Young Cardinals" shows the hardcore punk genre through moshing and jumping. It focuses on the band's performance and their connection to the crowd.
This document provides reviews and analysis of four music videos:
1) Fall Out Boy's "The Take Over, The Breaks Over" which tells a narrative story through a dog's dream with unusual elements like dancing postmen.
2) Foo Fighters' "The Pretender" which shows the band battling riot police in a simple, effective video that relates to the song lyrics.
3) All Time Low's "I Feel Like Dancing" which parodies typical music video tropes like product placement, sex, and copying other artists in a humorous way through the band's discomfort.
4) Overall analyses are provided on the videos' narrative structures, representations of gender, uses of camera shots and
The document proposes a music video that follows the relationship between two youths. The video will be presented as a montage, moving between scenes of the couple together and apart. It aims to portray them engaging in reckless behavior and question what led to their separation. The accompanying song lyrics describe a reckless drive and relationship that provided fleeting fulfillment. The video aims to represent rebellious youth and challenge stereotypes through empowering the female character without the male influence. It will incorporate various film and media theories to analyze representations of gender, youth culture, and the role of media.
This document summarizes and analyzes three music videos: Radiohead's "Karma Police", Aphex Twin's "Window Licker", and Beastie Boys' "Sabotage". For "Karma Police", the video is shot from the perspective of a driver chasing a man, with Thom Yorke lip syncing in the backseat. There is mystery around the plot. For "Window Licker", the video parodies conventions by subverting expectations with unusual imagery. "Sabotage" spoofs 1970s cop shows through exaggerated acting and combat roles by the Beastie Boys in a fake trailer for a police program.
The document provides an in-depth analysis of the opening sequence of the film "House at the End of the Street" through examining its camera work, mise-en-scene, editing, sound, iconography, narrative conventions, representation, and intended audience. It analyzes how the camera focuses on close-ups of the girl's face and eyes to suggest she is not mentally stable. The lighting, colors, and props are used to create a dark and suspenseful tone. Jump cuts and tense sounds are edited in to build tension. The sequence subverts narrative expectations by starting with a violent act and uses horror stereotypes like an innocent-seeming young girl killer.
This campaign report summarizes SEEK's objectives to raise awareness of and drive acquisition of SEEK Profiles. Research found many professionals are satisfied but open to opportunities, and SEEK Profiles allow candidates to be considered for jobs even when not actively looking. The target audience are ages 25-45 who believe in self-improvement. The campaign's big idea is an "Employees' Market" where employers look for candidates through SEEK Profiles. A video, digital ads, and ambient escalator ads will feature candidates happily receiving job offers to encourage profile creation.
The document provides information about a Year 4 overnight camping trip taking place from June 7-9, 2016. Students will stay overnight in yurts and be provided with meals and activities. The cost of the trip is £35 per student, with final payment due by June 2nd. A detailed kit list is provided of what students should bring, including clothing, sleeping gear, toiletries, and bags. Medical forms and permissions are required for any medications students need. Attendees can direct any additional questions to the contact information provided.
The document outlines the equipment that will be used for a film project, including a Panasonic HD camera for high quality video, a basic tripod to keep shots stable, LEDGO lights for professional lighting, a Rode microphone on a boom pole for clear sound recording, and iMovie, Adobe Premiere, and Logic Pro software for editing video and audio.
The document discusses the technology used and technical difficulties encountered in filming a school project. It mentions using a camcorder, microphone, computer, iPad and docking station. Outdoor filming was challenging due to noise from passing cars. The camera had focusing issues when changing locations. Editing software like Premiere Pro and After Effects were used. The author is proud of certain shots they filmed and edited themselves, but notes things that could be improved like using a microphone sock and filming outdoors in daylight.
La luz es una radiación electromagnética que se propaga en forma de ondas. Las ondas electromagnéticas incluyen la luz y se propagan a 300,000 km/segundo en el vacío. Las ondas electromagnéticas se clasifican en un espectro según su frecuencia y longitud de onda.
The document discusses the planning of a music video for the eerie song "Echoes" by Silhouettes. The creator wants to reflect the haunting atmosphere of the song through locations like abandoned buildings, cellars, and graveyards to establish a ghostly and edgy atmosphere. They have also been inspired by the music videos of Kelly Clarkson's "Behind These Hazel Eyes", several In This Moment videos, Brooke Candy's "A Study in Duality".
This document outlines location plans for filming in an apartment in London. It describes several shots that will be taken from the apartment's balcony and interior to establish the setting and protagonist. Exterior shots of the surrounding streets are also mentioned to portray the character venturing into the city in a way that conveys romance.
This document contains poems and reflections from a course on the desegregation of Little Rock Central High School in 1957. It discusses the brave students who integrated the school facing hostility, the ongoing impact of segregation, and calls for confronting racism and injustice in education today. Reflections consider how far we have come, but also how much further we still need to go to achieve truly equal opportunities and integrated schools.
2-8 января 2015, в 11:00 и 14:00 - Новогоднее представление Русского театра марионеток для детей с 2-х лет – дошкольников и младших школьников и их родителей.Проходит в здании ЦДА, которое само по себе напоминает сказочный замок.Дети принимают активное участие в действии на всем его протяжении. Прекрасная сказочная атмосфера царит уже в фойе, где Вас встречают добрые, сказочные персонажи и приглашают в зрительный зал.Представление начинается с яркой интермедии, в которой участвуют фокусники, ростовые куклы и аниматоры, используется аквагрим. Весёлые лесные герои проводят смешные игры с ребятишками, загадывают загадки, зажигают новогоднюю елочку, поют песни, играют в снежки, вместе со Снегурочкой лепят замечательного Снеговика-почтовика, который оживает на глазах у зрителей и становиться добрым помощником. С Дедом Морозом ребята отправляются в Новогодний сказочный лес, где их ждет неожиданная встреча с вредным медвежонком и коварной хитрой вороной, которые, скрываясь от преследования, хотят присвоить «похищенные подарки» и испортить детский новогодний праздник.Во время спектакля ребят ждут увлекательные приключения и волнительная погоня за коварными и хитрыми «разбойниками», неожиданные встречи с опасностью огня, тумана и снегопада в сказочном мире Новогоднего леса. Но Снеговик, Дед Мороз, Снегурочка и другие жители Волшебной страны Деда Мороза вместе с ребятами преодолеют все сложности во время музыкального, интерактивного и очень яркого спектакля.
The document summarizes and compares the mise-en-scene techniques used in the opening scenes of three films: 28 Weeks Later, Aeon Flux, and Tank Girl. For 28 Weeks Later, the opening scene takes place in a cramped, dimly-lit cottage to set a gloomy tone as characters try to survive a zombie apocalypse. Aeon Flux has a bright, futuristic opening that introduces the protagonist's mission against a controlling government through shots of the manufactured community. Tank Girl begins in a snowy, post-apocalyptic San Francisco where the tongue-in-cheek protagonist examines dead bodies left by "Rippers," human-eating mutants.
The document provides details about an upcoming four-day visit to the Fellside Centre in March for Year 5 and 6 students. It outlines the itinerary of activities, arrival and departure times, staff leading the trip, equipment needed, costs, safety measures, and contact information in case of an emergency.
This document discusses digital projects created by students in Facing History and Ourselves classrooms. It provides an overview of the organization Facing History and Ourselves and its use of digital media and multimedia projects to engage students. Several specific projects are described, including videos, voicethread, online learning modules, and student journalism/radio projects. Links and resources for further information are also included.
The music video for Lady Gaga's song "Telephone" criticizes modern technology and consumerism. It portrays female incarceration and lesbianism. Lady Gaga wears revealing outfits and the video references other films without directly parodying them. The video lacks an overall narrative and celebrates consumer culture through ironic detachment and product placement.
The student created two media productions for their advanced portfolio: a thriller opening sequence titled "Caught in the Web" about two men who prey on and murder suicidal teenage girls, and a music video for the song "Voodoo Child" performed by their fictional girl band The Vixens. For both projects, the student conducted research into genre conventions and technical elements to inform their creative work. This included studying films with internet conversations for the thriller and fashion/costume elements to symbolize the seven deadly sins in the music video. The student concluded that their foundation portfolio skills helped produce stronger advanced works and that researching genres allowed more ambitious projects that challenge audiences.
AS thriller film, A2 girlband music video (Vixens) --- A/B borderline [39/50]DB3igs
The student produced a thriller opening sequence titled "Caught in the Web" about two men who prey on suicidal teenage girls online. They also produced a music video for the song "Voodoo Child" by their girlband The Vixens. For both projects, the student researched genre conventions and expanded their research beyond just the genre. For the thriller, they looked at how internet conversations are filmed in other works. For the music video, they studied fashion magazines and photographs to inform the costumes representing the seven deadly sins. The student believes their foundation portfolio skills helped them produce improved advanced projects through refined skills and research into various aspects of genre.
The document discusses different genres and techniques used in music videos. It provides examples of different types of music videos including animated, narrative, live performance, homage, parody, and surreal. It also outlines several music video conventions like lyrical interpretation and techniques such as cutting to the beat, special effects, lip syncing, and camera shots/angles. Overall, the document serves as a guide to understanding various approaches to creating music videos.
"What's My Age Again?" Blink 182 // Music Video Analysissamhodgson105
The music video for "What's My Age Again?" by Blink-182 features the band members running around naked in Los Angeles. It relies on their rebellious punk image to appeal to fans. Throughout the video, the visuals directly relate to and exaggerate the lyrics' themes of sex, immaturity, and disregard for social norms. Camerawork enhances the fast pace and energy, with close-ups of faces and bodies highlighting the "star power" of the band members. The nakedness, sexual imagery, and disregard for rules portray the stereotypical rebellious attitude of punk rock genres.
1. The music video for "Telephone" by Lady Gaga and Beyoncé uses postmodern techniques like intertextuality, bricolage, and originality. It references other works like Quentin Tarantino films through the use of the "Pussy Wagon" vehicle and the term "Honey Boo."
2. The video also features diverse and abstract costumes that challenge gender and fashion norms, like Beyoncé's Wonder Woman inspired outfit and costumes suggesting women can be equally dangerous as men.
3. It presents an alternative version of a women's prison where the inmates are fashionable and slim, opposing stereotypes of female prisoners.
This document discusses the concept of intertextuality in music videos. It defines intertextuality as the shaping of a text's meaning through references or allusions to other texts. The document then provides several examples of intertextuality in Lady Gaga, Katy Perry, and Beyoncé music videos. Lady Gaga's "Paparazzi" references films like Sunset Boulevard and Chicago. Her video for "Telephone" with Beyoncé imitates the style of Quentin Tarantino films like Pulp Fiction. Katy Perry's "Roar" references the Survivor song "Eye of the Tiger" and her video for "This is How We Do" references the artist Piet Mondrian
The music video for Lady Gaga's "Telephone" utilizes several postmodernist techniques. It continues the narrative from her previous "Paparazzi" video, showing her imprisoned at the start. Intertextuality is shown through references to the film "Kill Bill". Lady Gaga breaks the fourth wall by looking directly at the camera. The exaggerated and unrealistic prison setting depicts hyperconsciousness. Hyperreality is portrayed through Lady Gaga living as her simulated persona rather than her real self. Narcissism is conveyed through Lady Gaga flaunting her body throughout the video.
Lady Gaga's music video for "Telephone" references and pays homage to various films, music videos, and pop culture icons through intertextuality, pastiche, and parody. It references Kill Bill through shots that mimic poses and costumes. It references Caged Heat through dances between female prisoners. Styling of Beyoncé's character imitates Ashanti's "Good Good" video and old Hollywood models. Lady Gaga also references her own "Paparazzi" video and pays homage to Michael Jackson through her dance moves. The video parodies and modernizes elements from Pulp Fiction and uses comic book-inspired costumes to reference Wonder Woman and Superwoman.
From “Paparazzi” and “Bad Romance” to “John Wayne” and “Rain on Me” — we talked to the Gaga collaborators who helped make some ofthe best videos ofthe 21st Century
The video for "Misery Business" by Paramore tells a narrative story of a girl who steals other people's boyfriends getting her comeuppance. Scenes include the band performing, the "stereotypical bitch" girl in a low-cut dress, and Williams singing angrily about revenge. The video garnered Paramore significant publicity and boosted their career in the music industry.
This video analyzes Katy Perry's "Thinking of You" music video through several paragraphs. It discusses the narrative elements of the video, with Katy portraying a character and flashbacks showing her relationship. Neutral colors are used to focus on the story. Katy wears risque costumes from the 1940s but the camera focuses on her face rather than being overly sexualized. References to her appearance help popularize her as an artist. The analysis also discusses conventions like fade effects and jump cuts used in the editing of pop videos.
The document discusses several music videos and how they relate to postmodernism. It analyzes Jessie J's "Who's Laughing Now" music video, noting its use of intertextuality through references to other works and hyperreality through cuts between past and present. It also summarizes Ed Sheeran's "Don't" video and how it plays with traditional gender conventions. Finally, it analyzes aspects of Lady Gaga's "Judas" video that reflect postmodern ideals like challenging norms and mixing elements.
This document summarizes and provides examples of different music video genres:
1) The "Animation" genre is exemplified by Daft Punk's "One More Time" video, which uses animation to tell a story and illustrate the song.
2) The "Homage" genre pays tribute to artists, like 2Pac's "Ghetto Gospel" video honoring him 10 years after his death.
3) "Narrative" videos tell a story that relates to the song, like Arctic Monkeys' "When the Sun Goes Down" about a homeless woman.
4) "Live" videos simply film a band's live performance, like Linkin Park's "Numb/Encore"
This music video for "Ms. Jackson" by Outkast departs from the typical hip hop music video in several ways. Instead of focusing on expensive cars, jewelry, and half-naked women, it features close-ups of the artists and tells a story through its imagery and lyrics. The video emphasizes the song's meaning and the artist's current despair over a relationship situation. It uses mis-en-scene and lighting effects to suggest the men are poor and unlucky, reinforcing the narrative structure and message to "Ms. Jackson".
This music video for "Ms. Jackson" by Outkast departs from the typical hip hop music video in several ways. Instead of focusing on expensive cars, jewelry, and half-naked women, it features close-ups of the artists and tells a story through its imagery and lyrics. The video emphasizes the song's meaning and the artist's current despair over a relationship situation. It uses mis-en-scene and lighting effects to suggest the men are poor and unlucky, reinforcing the narrative structure and message to "Ms. Jackson".
Lady Gaga employs postmodern techniques in her music videos and songs, such as appropriating biblical stories and characters in unconventional ways, self-referencing between her videos, and making numerous pop culture references. She also engages in overt product placement and borrows elements from other artists like Madonna while putting her own spin on them. Her work reflects the postmodern concept that we can access and experience art and media in various non-traditional ways.
The music video is primarily performance based with some narrative elements. It begins by introducing each band member through medium shots that establish their instruments. Throughout, there are shots of the full band performing that demonstrate the genre's performance characteristics. Some narrative is provided by cuts between shots of transportation that relate to the lyrics about wanting to "get away from here." Overall, the video focuses on the band's performance to showcase their music.
Lady Gaga's music video for "Telephone" contains numerous references to past decades and popular films that make it a postmodern work. It references the styles of the 1950s, 1970s, and 1980s through fashion and accessories. Many scenes directly reference or pay homage to specific movies, including Pulp Fiction, Kill Bill, 101 Dalmatians, and Thelma & Louise. By blending references to past movies, fashion, and news reports into one music video narrative, Lady Gaga blurs the lines between fiction and reality to tell a postmodern story.
The document analyzes the representation of subjects, stereotypes, and camera work in several music videos. It discusses how two sisters are represented in one video to show their feeling of isolation from society. It also examines how NWA presents themselves as bold and brave in opposing societal norms. The document discusses potential stereotypes around teenagers feeling alone and finding belonging through partying. It also analyzes the representation of gender in indie music videos.
Question 3: What Have You Learnt From Your Audience FeedbackGeorge_Mugglestone
The document describes feedback from an audience on a music video, digital packaging, and website. It summarizes the key findings:
- The majority of the audience were female teenagers who responded positively to the products.
- Feedback highlighted unintentional elements like the sexualization of the female performer and how the video represented themes of love/loss.
- Respondents noted how editing techniques used were appropriate for the electronic music genre and helped tell the story.
- The products were seen as cohesive and professionally designed, effectively building an identity around the themes of the song.
The document outlines the necessary equipment, props, people, and locations for a film shoot, including a Canon DSLR camera, Jessop's tripod, tripod wheels, a white dress, a performer named Lizzie, St. Michael's & All Angels Church graveyard, and the Sixth Form Photography Studio.
The document discusses the locations being considered for a video shoot - a church graveyard and a school photography studio. The graveyard of St. Michael's & All Angels Church in South Normanton was chosen as it was near the actress and would be easy for her to access. Permission will be sought to use the locations and they will be treated with respect. Pre-shoot visits were made to scout the locations and help with planning.
The document analyzes and summarizes several electronic dance music (EDM) artist websites, including Skrillex, David Guetta, Zedd, and Daft Punk. The summaries highlight how each website prominently features the artist's latest music and tour dates, merchandise for purchase, opportunities to follow the artist on social media, and forums for fan interaction. Daft Punk's website stands out for its unique layout resembling an online shop and use of their helmet icon to reveal video content.
- The document discusses researching potential record labels for a hypothetical new electronic dance music artist.
- It first discusses why the artist would not be a good fit for Fueled By Ramen and instead proposes the smaller label Big Beat Records.
- Big Beat Records is outlined as an American record label owned by Warner Music Group that started in 1987 and helped launch careers in underground dance music. It is known for artists like Knife Party, Martin Solveig, Icona Pop, and Skrillex.
- Product distribution methods like CDs, concerts, and social media are discussed. Specific festival appearances by Knife Party and Skrillex are also mentioned.
This focus group questionnaire asks participants to choose between two ideas, explain their preference, and provide additional ideas or suggested changes. Participants are asked to circle the preferred idea from two options and then explain their choice in the space provided. The questionnaire also asks for any other ideas the participant may have as well as potential changes to improve the proposed ideas.
For a music video, the author envisions abstract, mysterious visuals that portray hallucinatory or psychedelic effects, seamlessly complementing the haunting melody of their song. They have been inspired by the fluid, continuous styles of music videos by Brooke Candy, Lana Del Rey, Zayn, Melanie Martinez, Gwenno, Skrillex, and Calvin Harris & Disciples, due to sharing the electronic dance music genre.
To present my Audience responses, I created a Twitter account. Here is an analysis of that Twitter account, what interactions I did upon it and why I did these.
This document discusses the target audience for electronic dance music (EDM). It notes that EDM fans tend to be younger, between the ages of 16-34. EDM fans are also very active on social media, more so than other music fans, and are likely to share and discuss EDM music, concerts, and live streams online. As such, EDM fans represent a good target audience for marketing products through social media platforms, as they will help spread word about new music and provide valuable feedback.
This document provides an analysis of two music videos from the genres of house/electronic dance music. For the song "Rhythm of the Night" by Corona, the summary notes that the quick edits and dancing fit the feel-good but agitating nature of the genre. Camera work uses various shots and computer imagery to maintain a euphoric feeling. Scenes take place in various outdoor and indoor locations. For "Clarity" by Zedd featuring Foxes, the summary states the video has a conceptual, disorienting style fitting for electronic music through its disjointed narrative and hallucinatory camera work, including computer-generated imagery and shots of the artists. Both videos aim to match the visuals and
This document provides details for a shoot on Sunday, January 17th 2016. It will take place at night inside a nightclub and feature Tyler Brown as Bebe Bundy and Dylan Leadered as Turn Turnon. The equipment needed includes cameras, a tripod, lighting such as strobe lights or club lighting.
Record labels are companies that manage the production, distribution, and promotion of music recordings. They sign artists, organize the production and release of albums and singles, and market the music to retailers and fans. Fueled by Ramen is an American record label owned by Warner Music Group that specializes in pop punk and alternative rock genres. It promotes bands like Paramore, Fall Out Boy, and Panic! At the Disco. Record labels rely heavily on social media to connect with fans, promote their artists, and market their music. They use platforms like Twitter, Facebook, and YouTube to share content and gain feedback from audiences. Record labels are also responsible for enforcing copyright on the music recordings and videos they release to protect the
The document discusses where music videos can be found and viewed, the purposes of music videos, and examples of product placement in music videos. It states that the largest outlets for finding music videos are internet platforms like YouTube, which allow users to both view and upload videos. Music videos are used as marketing tools to promote artists' music and sell songs/albums. They can be performance-based, narrative-based, or a combination. Product placement in music videos is a way for companies to advertise their products by paying to feature them prominently in artists' videos. Several examples of product placement are given.
This document discusses an idea for a music video featuring drag queens in a nightclub setting. The creator realized their original idea of an abandoned house did not fit the upbeat tone of the song. Nightclubs are associated with dance and fun, providing inspiration. Several example music videos set in nightclubs are listed that could help shape the new idea, such as Cher's "Believe" and Zedd and Selena Gomez's "I Want You To Know".
The document discusses planning for a music video. While drag queens were always part of the concept, the theme and portrayal were still undecided. Originally, the performer envisioned an "American Horror Story" and "RuPaul's Drag Race" crossover, with the queens located in an abandoned house in dark surroundings. Specific music videos provided inspiration for this concept by also placing performers in abandoned house or stately home settings. The goal is for the style of the music video to mirror a Tim Burton-esque environment with drag queens.
Macroeconomics- Movie Location
This will be used as part of your Personal Professional Portfolio once graded.
Objective:
Prepare a presentation or a paper using research, basic comparative analysis, data organization and application of economic information. You will make an informed assessment of an economic climate outside of the United States to accomplish an entertainment industry objective.
Exploiting Artificial Intelligence for Empowering Researchers and Faculty, In...Dr. Vinod Kumar Kanvaria
Exploiting Artificial Intelligence for Empowering Researchers and Faculty,
International FDP on Fundamentals of Research in Social Sciences
at Integral University, Lucknow, 06.06.2024
By Dr. Vinod Kumar Kanvaria
Strategies for Effective Upskilling is a presentation by Chinwendu Peace in a Your Skill Boost Masterclass organisation by the Excellence Foundation for South Sudan on 08th and 09th June 2024 from 1 PM to 3 PM on each day.
How to Manage Your Lost Opportunities in Odoo 17 CRMCeline George
Odoo 17 CRM allows us to track why we lose sales opportunities with "Lost Reasons." This helps analyze our sales process and identify areas for improvement. Here's how to configure lost reasons in Odoo 17 CRM
it describes the bony anatomy including the femoral head , acetabulum, labrum . also discusses the capsule , ligaments . muscle that act on the hip joint and the range of motion are outlined. factors affecting hip joint stability and weight transmission through the joint are summarized.
A workshop hosted by the South African Journal of Science aimed at postgraduate students and early career researchers with little or no experience in writing and publishing journal articles.
A Survey of Techniques for Maximizing LLM Performance.pptx
Music video research
1. Music video research
Genre: Glam-Rock
Artist, song/link Genre Thoughts
Lady Gaga- Born This Way
(https://www.youtube.com/watc
h?v=wV1FrqwZyKw)
Pop/Alternative Overall: I like Lady Gaga's
challenging nature. She pushes
the boundaries. I like the
individuality of her work. It's
something completely different
to contemporary culture.
This is instantly recognisable for
my overall genre of “Glam-
Rock” as it's flamboyant and
'different'. You don't always see
this in every-day music videos.
Lady Gaga is an icon, through
her believes and campaigns, to
the LGBTQ community and we
can see this through how 'out-
there' her video is. She is unique
and that is what is liked about
her.
Camera work
Due to the metaphorical story of
aliens etc, various conventions
are played around with. For
example, unusual camera shots
to emphasise the storytelling.
e.g.
Mise-en-Scene
As the video is based in space,
the Mise-en-Scene plays a
HUGE part in the storytelling
with everything 'out of this
world', including unusual
segments of alien-birth and
reproduction. Aside from this,
there is also performance within
the video. This is also
contemporary to enforce the
metaphor behind the song and
2. video.
Although, durations within the
video, Lady Gaga, herself and a
male are seen in Skeleton make-
up and suits. This contrasts to
the original Science-fiction
theme.
Editing
A music video ALWAYS needs
extensive editing it fit in with
various aspects such as lip
syncing, but it also needs to have
'quick' editing to fit in with the
conventions of a music video.
This is not specific to this genre.
This is the case for ALL music
videos. They have to keep the
audience interested and engaged.
Specifically, one of the aspects I
like about the editing in this
video is that it doesn't always
match up or isn't always neat but
matches with Lady Gaga's
eccentric nature.
Sound
Due to the 'Born This Way'
video's cinematic storyline
nature, there is more than just
the artist's single on the video.
From 0:00-2:38 minutes, the
juxtaposition of the orchestral
piece playing under Lady Gaga's
narrative dialogue. This is to
help tell create the tense
atmosphere Lady Gaga wants
you to feel. Having said it is a
juxtaposition, it could be seem
that the agitated orchestral music
helps to emphasise the abrupt
nature of the Science-fiction
theme. This then reaches the
eventual music of the track,
which perfectly matches with
video.
Intertexuality
Critics have noted cultural
3. references to artists such as
Michael Jackson, Madonna,
Björk, late fashion designer,
Alexander McQueen, as well as
Greek Mythology and
surrealism.
Lady Gaga ft. Beyoncé-
Telephone
(https://www.youtube.com/watc
h?v=EVBsypHzF3U)
Pop/Alternative Overall –
I like this video. Although there
are certain aspects of the piece I
feel need to be addressed. For
example, the storyline of th`e
video sees Lady Gaga and
Beyoncé team up, to kill various
males. They're being made to be
viewed as 'bunny boilers' with
their eccentric, yet provocative
clothing and make-up. This, in
my opinion, is faulty as it
sexualises, not only serial
killing, but women in this role.
Showing that if women were to
complete this terrible crime, it
could be somewhat tolerable, as
the video also shows the women
have a right to do it when the
males are being objectificational
to other women within the café
where some of the action is
taking place. While I am
completely against
discrimination of any sort or on
any level, the video can be seen
to be hypocritical as it can be
seen to say, crime can be
punished with crime.
gender identity-nudity
- masculine female prison
guards/ transgenderality/
transsexuality
When the prison officers strip
Lady Gaga naked, they walk
away, with one of them
exchanging: “I told ya she didn't
have a [dick]”. This could lead
to two connotations; the first
being that men would not be
able to enjoy this naked image of
4. her, if she was to have a penis or
that, any female that is seen to
obtain the societal 'correct'
genitalia, is not a 'normal'
female, at all- gender
identity/perceptions.
A fight within the canteen of the
prison is also focused on within
the video. Showing that female's
physically fighting with each
other is something unusual and
you wouldn't expect this as it
isn't 'the norm' for women to
heatedly fight like this.
Genre conventions
This video is instantly
recognisable for the genre. As
previously stated with other
Lady Gaga video, it is
flamboyant and comes up with a
completely original idea and
concept. Lady Gaga is known
for her daring attitude and this
video is no different.
-colourful, eye-catching
-'sassy'
-It can be raised how the male
homosexual community look up
to these artists, without being
attracted to them.
-Or perhaps how these artists are
representing a minority in the
industry and they feel they are
'owning' it for them.
Camera work
Different to Lady Gaga's last
video I analysed, this video is set
completely on planet Earth, in
America. Therefore, the camera
work used is similar to that of a
normal music video. The video
starts off with various
establishing shots to show to
high-security prison Lady Gaga
has been taken to. e.g.
5. (the above is a high-angled
establishing shot)
There are also examples of
panning shots of the other
female prisoners as they watch
in their cells. Said females can
also appear to be physically
attractive, some undertaking
sexual implied mannerisms or
gestures, further implying the
objectification of female
prisoners. Playing up the gender
theories within media. Perhaps
this could be an unusual fantasy
of a male, and therefore, they
could, as Judith Butler said,
watch this video both
6. voyeristically, and fetishistically,
gaining pleasure from seeing
women in this societal position.
This is further exemplified with
Lady Gaga's nudity and when
she is seen to spontaneously kiss
another attractive tom-boy
looking female. Perhaps a
similar situation to adult-films
they watch in their own time.
Throughout the video,
dismemberment can be seen.
This further expands my point
around the idea of selling the
idea that women that commit
crime are 'sexy'...
7. Mise-en-scene
The video is set around Beyoncé
bailing Lady Gaga out of prison
therefore, includes everything
that you would traditionally
associate with this situation, e.g.
prison surroundings, a 'get-away'
car,a desert road and a diner they
visit to continue their crime(s).
Costume/make-up- One of the
aspects of the mise-en-scene I
feel does not conform to the
situation of prison/crime, is the
choice of clothing and make-up
(high-end fashion within a
prison/couture), not only by
Lady Gaga and Beyoncé but
some of the characters within the
prison. For example:
8. All of the above costumes and
make-up, in a realistic prison,
would most likely, not be worn
or allowed.
Once Lady Gaga exits the
prison, herself and Beyoncé
travel down a desert road to a
diner, in the 'Pussy Waggon' (star
appeal/synergy?), made famous
from Quentin Tarantino's 1994
film, 'Pulp Fiction', where they
continue to commit their crimes.
Again, here, their choice of
clothing is questionable within
the situation as you wouldn't
9. expect people who have just
been released from prison and
their accompaniment to be
wearing such extravagant
clothing. e.g.
10. Editing
The editing techniques within
the video are similar to those of
any other music video, although,
perhaps, due to the short film
nature of the music video, some
elements are different to
effectively tell the story. For
example, a music video is
normally fast-paced, and while
this is, the beginning sets the
story up for the viewer and
therefore has to be allowed time
to develop. Thus, why the song
does not start until roughly 2
minutes 47 seconds.
11. There are certain instances
where the edit coincides with
what is happening on screen or
in the track. For example, Lady
Gaga takes photos of Beyoncé,
the screen is seen flashing, like it
would if the flashlight came on
during a photo. Also, the beat in
the song jitters, the image is
made to do the same.
Sound
As raised above, the video is a
short film and therefore, uses
sound other than the track to tell
the story. For example, using
dialogue, and 'everyday' sound
(shoes clipping on the floor,
ringing telephones, doors
shutting, alarms, fingers on
laptop keyboards, car engine,
tinned radio/speaker voices etc).
Intertexuality
-Thelma and Louise- serial
killers who travelled around in a
ford convertible
-Pussy Wagon
-Pulp Fiction- gore/violence-
suggesting women could be as
violent
Kylie Minogue- Can't Get You
Out Of My Head
(https://www.youtube.com/watc
h?v=c18441Eh_WE)
Pop/Dance Overall
This is a performance music
video that heavily incorporates
various features of the Glam-
Rock genre. For example, a
strong female figure and
flamboyant backing dancers,
wearing daring outfits, all to a
backdrop of computer-generated
scenary.
Camera work
Unlike the last two videos, this
very much so is like a 'normal'
music video; and therefore the
camera work is nothing
extravagant, it uses a range, such
12. as establishing, panning, low-
angled, mid-shots and close-ups-
These help to enforce Kylie's
strong persona.
Mise-en-scene
The video seems to be set in a
future reality, where most
aspects are robot-generated.
Therefore, this is enforced
through the computer-generated
setting or high-definition studio,
clothing, props, make-up, hair
styles and choreography. For
example:
(setting)
(clothing/setting)
flamboyant backing dancers/
clothing/ choreography
Editing
Editing is completed to reflect
13. the tempo of the song during
certain parts. For example, when
the tempo is fast, the pace of the
video seems to speed up.
Wherein, the beat slows, slow-
motion visuals are seen.
Sound
Unlike the previous analysed
videos, the sound for this is
straight-forward. It is all digetic
sound. In other words, the only
sound you can hear is the track,
with Kylie lip syncing to it.
Intertextuality
The director, Dawn Shadforth
blocked some shots of the initial
driving scene based upon similar
shots of Shirley Manson piloting
an aeroplane in her award-
winning dogfight clip for
Garbage’s “Special”.
Kylie Minogue- In Your Eyes
(https://www.youtube.com/watc
h?v=IbO2mb_sYsA)
Pop/Dance Overall
I really like the disco/dance
concept of this video. The
electro-pop vibe is showcased
through various aspects, such as
the mise-en-scene, camera work,
editing and of course, sound.
Again, this follows the
conventions of the genre, as it is
colourful, yet sultry and
sophisticated.
Camera work
In my opinion, the camera work
reflects the busy, agitating,
overwhelming feel of the song.
The song is a dance hit and this
can certainly be seen through the
distorted and quick shots. This
camera work helps to enforce the
common sense of euphoria that
comes with dance tracks of this
type. For example:
(note: close-up of Kylie's lips-
both voyeuristic and fetishistic.
Also how the screen splits into
14. three)
(The same could be said for this
close-up shot of her head)
(You can't quite make out what
is happening here. That is what
the director wants you to feel)
15. (The director seems to
use various filters to disorientate
the viewer)
See here how the backing dancer
jitters:
http://www.tubechop.com/watch/
6825976
The performance on screen also
seems to blend with the vibrant/
neon lights throughout too (This
could cross over with Mise-en-
scene)...
16. As the video finishes, Kylie is
seen close-up to the camera
before it moves away, showing a
crane shot of her, before moving
up and the video finishes.
Mise-en-scene
The aspects of Mise-en-Scene
work together with all the other
elements to produce a funky and
energetic music video. For
example, as previously
mentioned, the fluorescent
backing lights, pictured:
17. work with the brightly coloured
costumes to make the video
visually appealing. e.g shown
above and:
(note how the colours work well
together)
18. Here, the backing dancers are
wearing what seem to be
futuristic costumes. Works in
partnership with the both
fluorescent/bright and sultry
lighting.
Here, the light flashes with the
beat:
which you can see here:
http://www.tubechop.com/watch/
6825949
Here, Kylie is seen to be wearing
a flowing dress that seems to be
made of literal strips of material
covering only her front body and
derrière.
She is seen here to 'punch' the
camera wearing a 'Kylie' finger
piece. This is to establish, to her
19. target audience, who she is, if we
didn't know already. Very similar
to 'sassy' greetings that are
stereotypical with female divas.
e.g. “It's Britney, bitch”
She also during a shot, is seen
wearing a black corset w with a
long, flowing pink tail coming
from the back of her pink pants:
Editing
Editing is completed to reflect
the tempo of the song during
certain parts. For example, when
the tempo is fast, the pace of the
video seems to speed up.
Wherein, the beat slows, slow-
motion visuals are seen.
The visuals within the video
move neatly move around the
bass- it seems floaty, in a sense.
Sound
The song is a disco genre and
therefore involves various
elements to create a euphoric
feeling for the listener. For
example, the track includes tinny
sounding layered vocals and
dance-style beat and bass.
Intertextuality
Dawn Shadforth, the previous
director of Kylie’s “Can’t Get
You Out of My Head”, for this
video, envisioned a “science-
fiction” theme. Kylie and her
artistic director, William Baker
had become interested in the
street interpretation of robotic,
jerky movements and included
20. that within this video. The
costumes also represent this
interest and have been described
by Baker as being a mixture of
“hip-hop chic with sci-fi
lunacy”.
White- Blush
(https://www.youtube.com/watc
h?v=D1u1bZkGk4E)
Indie-pop Overall- I like this video. I
personally feel it has a similar
feel to my chosen track- glam-
rock and makes you want to
dance. The glamourous-rock is
showcased through various
aspects, not only the musical
hooks but the mise-en-scene is
captivating, mysterious and
attractive.
Camera work
Within the video, I see many
instances of continuous shots,
where the camera moves around
the action rather than cutting
between edited shots. Almost
like it’s a POV shot.
The camera is also shaky in
parts, further exemplifying the
video is POV.
The camera closes-up and mid-
shots on the band and relevant
aspects, such as the protagonists
involved. Seen here:
21. Throughout the video, double-
vision and distortion is also
depicted through the camera
work, seen below; This could
imply drug-use of the video’s
POV subject.
Overlapping of moving image is
also present. Further implying
the POV subject is disorientated.
E.g.
22. The camera closes-up and mid-
shots on the band and relevant
aspects, such as the protagonists
involved. Seen here:
23. Throughout the video, double-
vision and distortion is also
depicted through the camera
work, seen below; This could
imply drug-use of the video’s
POV subject.
Overlapping of moving image is
also present. Further implying
the POV subject is disorientated.
E.g.
The camera also spins to further
disorientate.
The pace of the video then
speeds up as it implies the POV
subject, is reaching the climax of
substance consumption. We then
are made aware that the POV is
of one of the protagonists
featured throughout the video.
The camera then moves from the
disorientation, to panning away
from the protagonist’s eyes/face
to him being stood, with some
sort of abstract pattern painted
on his face, next to five letter
balloons, spelling out ‘BLUSH’,
the name of the song.
24.
25. Mise-en-Scene
The mise-en-scene for this video
is straight-forward. It seems the
director wanted a dark colour
scheme to the video. Hence why
the camera work is very dark.
Location- The video seems to
have been shot in an
underground venue. As that is
perhaps what the director wanted
to create the aesthetic and
atmosphere.
Clothing/ costume- This, unlike
my previous music video, is
straightforward. The extras,
protagonist(s) and band all seem
to be wearing smart-casual
clothing. The only clothing item
that is different is the sparkly
jacket that the female
protagonist is wearing. The male
protagonist, at the end of the
video, is seen wearing an
abstract pattern upon his face
with face paint.
Editing- The video begins with
a static screen, thought-beating
to the music, then progressing to
spell out “WHITE”.
There are various elements of
the editing that help to convey
the video’s story. For example,
as previously mentioned,
double-vision and distortion is
used. This is to portray the POV
subject as intoxicated by
substances. This is completed
through after effects.
26. Several of the video’s shots seem
to be continuous. This purposely
been emphasised through the
editing process.
The camera, throughout the
video, also jitters, like speakers.
This again, are thought-beats;
emphasising the rhythm.
Shots such as Close-ups, mid-
shots are used when focusing on
the band themselves. This is to
stress the focus of the band as it
is their video and fans want to
see them.