The music video for Mika's song "Grace Kelly" is a performance video that shows Mika singing and playing instruments in a studio setting. The video mocks the music industry by having Mika conform to pop conventions like bright costumes ironically. While using some pop elements, the video challenges the industry's pressure on artists to change their style. It celebrates individual artistic expression.
This document provides an analysis of the music video for Dua Lipa's song "New Rules". It discusses several features of the video in relation to typical conventions of music video genres. It notes that the video demonstrates characteristics of the pop genre through its minimal scenery, bright coloring, close-ups of the artist, and emphasis on Dua Lipa's styling and appearance. It also analyzes how the video creates relationships between the lyrics, music, and visuals to engage the audience. Motifs like Dua Lipa's consistent visual style and the use of "screen within screen" are also discussed.
The document provides an analysis of genre characteristics, lyrics and visuals, and music and visuals in the music videos for "The Man Who Can't Be Moved" by The Script and "Juliet" by Lawson. Some key points made:
- Both videos include conventions of live performance but incorporate elements of both pop and rock genres.
- Visuals in both videos closely connect to and illustrate the lyrics being sung.
- Lighting, costumes, and close-ups of instruments follow conventions more of the rock genre.
The document analyzes genre characteristics, lyrics and visuals, music and visuals, close ups, and digipak/album designs of the music videos "The Man Who Can't Be Moved" by The Script and "Juliet" by Lawson. Some key points:
1) The videos incorporate conventions of both rock (dark colors, live performances) and pop (lead singer at front, inclusion of natural light).
2) Visuals strongly connect to lyrics through illustrative matching of scenes to words.
3) Close ups are used frequently on faces to convey emotion and build connection with viewers.
4) Digipaks and album covers/posters feature band images and information clearly while
The document discusses the effectiveness of combining the main product (a music video) with ancillary texts (album cover, magazine advertisement).
It aims to create a strong bond between the products by using consistent styling, color palette, and eye contact images of the artist. This portrays a cohesive brand and star image across all materials.
Key elements that link the products include using the same outfit, makeup, and location from the music video shoot for the ancillary images. Eye contact and varying facial expressions engage audiences and convey emotions. Consistency in visuals and the record label logo strengthen the relationship between the main product and ancillary texts.
The music video for "Never Be the Same" by Camila Cabello demonstrates several characteristics of the pop genre. It features a circular narrative focused on Camila's performance and persona. Dialogue and camera techniques are used to portray an unfiltered perspective. The video primarily focuses on Camila's performance through close-up shots that highlight her charming and multifaceted personality. It also contains subtle references to Camila's style and past work to engage fans.
The document provides details about the band Dinner and Suit, including their background, formation, and the meaning behind their name. It then discusses why the song "Enough" was chosen for a music video, including that it has emotional lyrics and a slow pace. The document outlines initial ideas for shots, locations, props, costumes, and casting for the music video. It aims to tell a story of a breakup through flashbacks while also including performances of the band.
Country and western music originated from folk songs brought by English, Scottish and Irish settlers to the US southeast in the 18th century. The genre began to take shape in the 1920s with the first commercial recording and further development of radio, recording, touring and publishing industries. Popular artists mentioned include Taylor Swift, Johnny Cash, Billy Ray Cyrus, The Carter Family and Dolly Parton. Country music audiences have diversified but still include a core base of older rural and working class fans. Music videos are discussed for Taylor Swift, Shania Twain, Billy Ray Cyrus and Dolly Parton showing different styles and ways they appeal to target audiences. Album cover links to videos and images are also analyzed.
This document provides an analysis of the music video for Dua Lipa's song "New Rules". It discusses several features of the video in relation to typical conventions of music video genres. It notes that the video demonstrates characteristics of the pop genre through its minimal scenery, bright coloring, close-ups of the artist, and emphasis on Dua Lipa's styling and appearance. It also analyzes how the video creates relationships between the lyrics, music, and visuals to engage the audience. Motifs like Dua Lipa's consistent visual style and the use of "screen within screen" are also discussed.
The document provides an analysis of genre characteristics, lyrics and visuals, and music and visuals in the music videos for "The Man Who Can't Be Moved" by The Script and "Juliet" by Lawson. Some key points made:
- Both videos include conventions of live performance but incorporate elements of both pop and rock genres.
- Visuals in both videos closely connect to and illustrate the lyrics being sung.
- Lighting, costumes, and close-ups of instruments follow conventions more of the rock genre.
The document analyzes genre characteristics, lyrics and visuals, music and visuals, close ups, and digipak/album designs of the music videos "The Man Who Can't Be Moved" by The Script and "Juliet" by Lawson. Some key points:
1) The videos incorporate conventions of both rock (dark colors, live performances) and pop (lead singer at front, inclusion of natural light).
2) Visuals strongly connect to lyrics through illustrative matching of scenes to words.
3) Close ups are used frequently on faces to convey emotion and build connection with viewers.
4) Digipaks and album covers/posters feature band images and information clearly while
The document discusses the effectiveness of combining the main product (a music video) with ancillary texts (album cover, magazine advertisement).
It aims to create a strong bond between the products by using consistent styling, color palette, and eye contact images of the artist. This portrays a cohesive brand and star image across all materials.
Key elements that link the products include using the same outfit, makeup, and location from the music video shoot for the ancillary images. Eye contact and varying facial expressions engage audiences and convey emotions. Consistency in visuals and the record label logo strengthen the relationship between the main product and ancillary texts.
The music video for "Never Be the Same" by Camila Cabello demonstrates several characteristics of the pop genre. It features a circular narrative focused on Camila's performance and persona. Dialogue and camera techniques are used to portray an unfiltered perspective. The video primarily focuses on Camila's performance through close-up shots that highlight her charming and multifaceted personality. It also contains subtle references to Camila's style and past work to engage fans.
The document provides details about the band Dinner and Suit, including their background, formation, and the meaning behind their name. It then discusses why the song "Enough" was chosen for a music video, including that it has emotional lyrics and a slow pace. The document outlines initial ideas for shots, locations, props, costumes, and casting for the music video. It aims to tell a story of a breakup through flashbacks while also including performances of the band.
Country and western music originated from folk songs brought by English, Scottish and Irish settlers to the US southeast in the 18th century. The genre began to take shape in the 1920s with the first commercial recording and further development of radio, recording, touring and publishing industries. Popular artists mentioned include Taylor Swift, Johnny Cash, Billy Ray Cyrus, The Carter Family and Dolly Parton. Country music audiences have diversified but still include a core base of older rural and working class fans. Music videos are discussed for Taylor Swift, Shania Twain, Billy Ray Cyrus and Dolly Parton showing different styles and ways they appeal to target audiences. Album cover links to videos and images are also analyzed.
The document analyzes the cover design of Katy Perry's "Teenage Dream" album and The Script's album in terms of genre conventions. For Katy Perry's pop album, the bright colors, cloud imagery relating to the album title of "Teenage Dream", and candy-shaped letters replacing O's in song titles conform to pop conventions. The Script's album has a darker color scheme fitting for rock but also includes a golden glow, balancing the dark and light sides of being a pop/rock band. Typeface, imagery, and editing choices are discussed as contributing to the "house style" of each album.
The document discusses and analyzes several music videos and their album/single covers. It provides summaries of each one in 3 sentences or less:
- Beyonce's "Sweet Dreams" music video aims at ages 10-28, uses creative editing techniques, and focuses on the artist through a mirror scene.
- Kings of Leon's "Notion" video uses special effects to make the band look like they are in a demolition, has repeated close-ups of band members, and creative camera work.
- Jay-Z, Rihanna, and Kanye West's "Run This Town" video has a historic feel with armor costumes, dims lighting, and jump cuts that sometimes take focus away
The document discusses conventions used in R&B music videos and how the student's music video product for their artist Faderera both challenges and conforms to some of these conventions. It provides examples of conventions from other artists' music videos such as the use of mid-shots, location shots, slow motion, jump cuts, and lighting. The student explains how their video features some of these techniques while also challenging conventions through certain shots and their artist's costumes. The document also discusses conventions in R&B album artwork and websites, and how Faderera's products compare. It analyzes how Faderera represents social groups by challenging stereotypes of women while conforming to representations of ethnicity.
The document discusses conventions used in R&B music videos and how the student's music video for their artist Faderera both challenges and conforms to some of these conventions. It provides examples of conventions like close-up shots, lighting, costumes, and location shots seen in other R&B videos and compares them to techniques used in the student's video. The student also discusses how Faderera's image and music represents social groups by challenging stereotypes of women while conforming to representations of ethnicity commonly seen in R&B artists.
The document discusses conventions used in R&B music videos and how the student's music video for their artist Faderera both challenges and conforms to some of these conventions. It provides examples of conventions like close-up shots, lighting, costumes, and location shots seen in other R&B videos and compares them to techniques used in the student's video. The student also discusses how Faderera's image and music represents social groups by challenging stereotypes of women while conforming to representations of ethnicity commonly seen in R&B artists.
Beyoncé's "Sorry" music video provides a narrative summary of her emotions through lyrics and visuals. It features slow pacing and black and white imagery to emphasize her pain and anguish. Close-ups are used to focus on Beyoncé's facial expressions showing how her emotions are tied to the song. While the lyrics suggest betrayal, no male is present, showing she needs only her female friends for support. The video gains recognition through speculation about her relationship with husband Jay-Z, helping promote her brand.
The document discusses common characteristics and conventions of music video genres including pop, hip hop, rock, and indie. Pop videos usually feature choreographed dancing, storylines linked to lyrics, and lip syncing. Hip hop videos often use close-ups, "the male gaze", and displays of wealth and strength. Rock videos typically show bands performing at concerts with lighting and shots that match the energetic music. Indie videos strive for uniqueness with narrative storylines and unconventional aesthetics.
Take That is a British pop group formed in 1990 that initially consisted of 5 members including Gary Barlow and Robbie Williams. Their early image from music videos like "Once You've Tasted Love" portrayed them as a typical boy band dressed in trendy 1990s clothing and with unique hairstyles. After Robbie Williams left in 1995, the group's image matured when they reunited in 2005, dressing smarter and changing their hairstyles to appear less flashy. Throughout their career, their music videos have focused close-ups on band members, especially the lead singer, to reinforce their image and sell the song over any narrative.
The document discusses how the creators of a country music video drew inspiration from other country music videos. They analyzed videos by Miranda Lambert, Ashley Monroe, Sam Smith, The 1975, and Blake Shelton to inform elements of shots, narrative, imagery, and tone in their own video. Key elements they incorporated included dissolve transitions between shots, casual clothing, natural imagery, a clear narrative, and sepia tones and slow motion to represent memories of the past. They also wanted to pay homage to early female country artists through a shot with dull lighting.
This document provides a summary of Dua Lipa's music video for her song "Be the One". It discusses several elements of the video including the lighting, performance style, editing, camera shots, Dua Lipa's styling and appearance, relationships between the lyrics and visuals, relationship between the music and visuals, demands of the record label, motifs that recur in her work, and references to notions of looking and treatment of the female body. Overall, the summary analyzes how the video demonstrates characteristics of the indie pop/dark pop genre and represents Dua Lipa's style and personality.
1. Music videos serve several purposes including promoting songs and artists, entertaining audiences, and generating revenue through sales of music, albums, and merchandise.
2. They aim to increase awareness of artists and expand their fan bases while also promoting albums and earning money for record labels.
3. Music videos sometimes tell a story that continues across an album, encouraging fans to purchase the full album to understand the overall narrative.
Textual Analysis: Lana Del Rey - 'National Anthem'SianLynes
The document analyzes the music video for Lana Del Rey's "National Anthem". It recognizes conventions of music videos like narrative scenes, lip syncing, and camera techniques. However, it also stretches conventions by reenacting historical events like Marilyn Monroe's performance for JFK and the assassination scene. It departs from typical solo artist videos by focusing more on historical themes than dances. The video seems aimed at a young audience but modernizes the historical context in an unconventional way.
This video analyzes Lorde's music video for her song "Green Light". It discusses the lighting, which uses UV filters to add colors like red, green, and pink that accentuate the song's title and give a retro appearance. It also discusses Lorde's performance, which follows a narrative theme and allows her to express her style visually. Finally, it analyzes the editing, camera work, Lorde's style and appearance in the video, and how the visuals represent and illustrate the lyrics.
This document discusses the indie pop music genre and provides examples of music videos that reflect its conventions or subvert them:
- Indie pop follows pop conventions but uses more diverse instrumentation like rock instruments or electronics. It originated in the UK and expanded in the US in the 1990s.
- Lana Del Rey's "Young and Beautiful" video focuses on her facial expressions against a plain black background, emphasizing the male gaze.
- Marina and the Diamonds's "Primadonna" video depicts her wishing for luxury through lavish costumes and settings that reflect the lyrics.
- Halsey's "New Americana" video subverts conventions by depicting an oppressed group rebelling against authority through
This document analyzes Lana Del Rey's music video for "National Anthem" according to Goodwin's Theory of music video analysis. It discusses four key points: 1) How the video demonstrates indie genre characteristics through its black and white editing and retro filter. 2) The close relationship between the patriotic lyrics and visuals depicting JFK. 3) The synchronization between the music's pace and cuts in the video. 4) How the heavily edited, black and white style meets the demands of the indie record label.
The document provides an analysis of two music videos:
1) Lukas Graham's "7 Years" which follows the singer's life from childhood to present day through costumes, locations, and lyrics. It promotes values of family and friendship.
2) OneRepublic's "Counting Stars" which shows a meeting transformed into a dance party when a man inspires them. It represents finding happiness in others rather than money. Both videos use a variety of camera shots, editing techniques, and genres to tell their narratives.
The document discusses how the media product conforms to conventions of real country music products. It summarizes how elements of the music video, album packaging, and website were inspired by other country artists like Kacey Musgraves, Miranda Lambert, Taylor Swift, and Lori McKenna. Conventions included setting the video on a rural path, including the artist's band, using consistent costumes, establishing a connection to the artist early, including natural elements like flowers, and addressing fans in a personal way on websites and albums. The goal was to attract a target country music audience while developing the artist's image and persona.
The music video treatment proposes a concept where Ke$ha's song "Take It Off" is portrayed through a teenage rave party in the woods. The storyboard outlines shots that would show characters arriving at nightfall and getting wild, with close-ups of Ke$ha singing and long shots showing the full scene. Color explosions and glitter are planned to depict the excitement, and shots of passed out characters at the end are meant to wrap up the hectic night.
A PowerPoint presentation which includes the deconstruction of 3 pop music videos, discussing how they conform, develop and challenge genre conventions. Also linking the videos to Goodwin's theory.
- The document discusses a music video created for the song "Can't Fight the Moonlight" from the movie Coyote Ugly.
- It analyzes how the music video uses conventions of 1990s pop music videos like narrative storylines, costumes, locations, and camera techniques while also challenging conventions by dressing the main character in everyday clothes for one scene.
- The document evaluates how the music video portrays the song's lyrics and storyline through visuals and the main character's emotions after a breakup.
Unit 29 task 2 understanding style, techniques and conventions.pptx 2samanthamwest
This music video for Katy Perry's "California Gurls" uses various techniques. It tells a narrative story through a board game setting, with Katy Perry and Snoop Dogg as characters. Animation is used to create surreal elements like the characters being made of candy. Impressionist techniques place Katy Perry in fantastical scenic backdrops. The video aims to promote Katy Perry's brand image through her fashionable outfits and choreography that emphasize her figure. Overall it creates a whimsical world connecting to the song's themes of summer and the California lifestyle.
This document discusses the codes and conventions used in music videos and how the author developed and challenged them in their own music video project. It provides an overview of several key conventions like technical techniques, symbolic techniques, colors, and star image. It then describes how the author's video focused on color and star image through close-ups and facial expressions to represent the song. While the original cut was similar to Bloc Party's "Banquet," feedback requested more editing effects, so the author combined elements of "Banquet" with A-Ha's "Take On Me" by adding overlays and modifying colors and contrast.
The document analyzes the cover design of Katy Perry's "Teenage Dream" album and The Script's album in terms of genre conventions. For Katy Perry's pop album, the bright colors, cloud imagery relating to the album title of "Teenage Dream", and candy-shaped letters replacing O's in song titles conform to pop conventions. The Script's album has a darker color scheme fitting for rock but also includes a golden glow, balancing the dark and light sides of being a pop/rock band. Typeface, imagery, and editing choices are discussed as contributing to the "house style" of each album.
The document discusses and analyzes several music videos and their album/single covers. It provides summaries of each one in 3 sentences or less:
- Beyonce's "Sweet Dreams" music video aims at ages 10-28, uses creative editing techniques, and focuses on the artist through a mirror scene.
- Kings of Leon's "Notion" video uses special effects to make the band look like they are in a demolition, has repeated close-ups of band members, and creative camera work.
- Jay-Z, Rihanna, and Kanye West's "Run This Town" video has a historic feel with armor costumes, dims lighting, and jump cuts that sometimes take focus away
The document discusses conventions used in R&B music videos and how the student's music video product for their artist Faderera both challenges and conforms to some of these conventions. It provides examples of conventions from other artists' music videos such as the use of mid-shots, location shots, slow motion, jump cuts, and lighting. The student explains how their video features some of these techniques while also challenging conventions through certain shots and their artist's costumes. The document also discusses conventions in R&B album artwork and websites, and how Faderera's products compare. It analyzes how Faderera represents social groups by challenging stereotypes of women while conforming to representations of ethnicity.
The document discusses conventions used in R&B music videos and how the student's music video for their artist Faderera both challenges and conforms to some of these conventions. It provides examples of conventions like close-up shots, lighting, costumes, and location shots seen in other R&B videos and compares them to techniques used in the student's video. The student also discusses how Faderera's image and music represents social groups by challenging stereotypes of women while conforming to representations of ethnicity commonly seen in R&B artists.
The document discusses conventions used in R&B music videos and how the student's music video for their artist Faderera both challenges and conforms to some of these conventions. It provides examples of conventions like close-up shots, lighting, costumes, and location shots seen in other R&B videos and compares them to techniques used in the student's video. The student also discusses how Faderera's image and music represents social groups by challenging stereotypes of women while conforming to representations of ethnicity commonly seen in R&B artists.
Beyoncé's "Sorry" music video provides a narrative summary of her emotions through lyrics and visuals. It features slow pacing and black and white imagery to emphasize her pain and anguish. Close-ups are used to focus on Beyoncé's facial expressions showing how her emotions are tied to the song. While the lyrics suggest betrayal, no male is present, showing she needs only her female friends for support. The video gains recognition through speculation about her relationship with husband Jay-Z, helping promote her brand.
The document discusses common characteristics and conventions of music video genres including pop, hip hop, rock, and indie. Pop videos usually feature choreographed dancing, storylines linked to lyrics, and lip syncing. Hip hop videos often use close-ups, "the male gaze", and displays of wealth and strength. Rock videos typically show bands performing at concerts with lighting and shots that match the energetic music. Indie videos strive for uniqueness with narrative storylines and unconventional aesthetics.
Take That is a British pop group formed in 1990 that initially consisted of 5 members including Gary Barlow and Robbie Williams. Their early image from music videos like "Once You've Tasted Love" portrayed them as a typical boy band dressed in trendy 1990s clothing and with unique hairstyles. After Robbie Williams left in 1995, the group's image matured when they reunited in 2005, dressing smarter and changing their hairstyles to appear less flashy. Throughout their career, their music videos have focused close-ups on band members, especially the lead singer, to reinforce their image and sell the song over any narrative.
The document discusses how the creators of a country music video drew inspiration from other country music videos. They analyzed videos by Miranda Lambert, Ashley Monroe, Sam Smith, The 1975, and Blake Shelton to inform elements of shots, narrative, imagery, and tone in their own video. Key elements they incorporated included dissolve transitions between shots, casual clothing, natural imagery, a clear narrative, and sepia tones and slow motion to represent memories of the past. They also wanted to pay homage to early female country artists through a shot with dull lighting.
This document provides a summary of Dua Lipa's music video for her song "Be the One". It discusses several elements of the video including the lighting, performance style, editing, camera shots, Dua Lipa's styling and appearance, relationships between the lyrics and visuals, relationship between the music and visuals, demands of the record label, motifs that recur in her work, and references to notions of looking and treatment of the female body. Overall, the summary analyzes how the video demonstrates characteristics of the indie pop/dark pop genre and represents Dua Lipa's style and personality.
1. Music videos serve several purposes including promoting songs and artists, entertaining audiences, and generating revenue through sales of music, albums, and merchandise.
2. They aim to increase awareness of artists and expand their fan bases while also promoting albums and earning money for record labels.
3. Music videos sometimes tell a story that continues across an album, encouraging fans to purchase the full album to understand the overall narrative.
Textual Analysis: Lana Del Rey - 'National Anthem'SianLynes
The document analyzes the music video for Lana Del Rey's "National Anthem". It recognizes conventions of music videos like narrative scenes, lip syncing, and camera techniques. However, it also stretches conventions by reenacting historical events like Marilyn Monroe's performance for JFK and the assassination scene. It departs from typical solo artist videos by focusing more on historical themes than dances. The video seems aimed at a young audience but modernizes the historical context in an unconventional way.
This video analyzes Lorde's music video for her song "Green Light". It discusses the lighting, which uses UV filters to add colors like red, green, and pink that accentuate the song's title and give a retro appearance. It also discusses Lorde's performance, which follows a narrative theme and allows her to express her style visually. Finally, it analyzes the editing, camera work, Lorde's style and appearance in the video, and how the visuals represent and illustrate the lyrics.
This document discusses the indie pop music genre and provides examples of music videos that reflect its conventions or subvert them:
- Indie pop follows pop conventions but uses more diverse instrumentation like rock instruments or electronics. It originated in the UK and expanded in the US in the 1990s.
- Lana Del Rey's "Young and Beautiful" video focuses on her facial expressions against a plain black background, emphasizing the male gaze.
- Marina and the Diamonds's "Primadonna" video depicts her wishing for luxury through lavish costumes and settings that reflect the lyrics.
- Halsey's "New Americana" video subverts conventions by depicting an oppressed group rebelling against authority through
This document analyzes Lana Del Rey's music video for "National Anthem" according to Goodwin's Theory of music video analysis. It discusses four key points: 1) How the video demonstrates indie genre characteristics through its black and white editing and retro filter. 2) The close relationship between the patriotic lyrics and visuals depicting JFK. 3) The synchronization between the music's pace and cuts in the video. 4) How the heavily edited, black and white style meets the demands of the indie record label.
The document provides an analysis of two music videos:
1) Lukas Graham's "7 Years" which follows the singer's life from childhood to present day through costumes, locations, and lyrics. It promotes values of family and friendship.
2) OneRepublic's "Counting Stars" which shows a meeting transformed into a dance party when a man inspires them. It represents finding happiness in others rather than money. Both videos use a variety of camera shots, editing techniques, and genres to tell their narratives.
The document discusses how the media product conforms to conventions of real country music products. It summarizes how elements of the music video, album packaging, and website were inspired by other country artists like Kacey Musgraves, Miranda Lambert, Taylor Swift, and Lori McKenna. Conventions included setting the video on a rural path, including the artist's band, using consistent costumes, establishing a connection to the artist early, including natural elements like flowers, and addressing fans in a personal way on websites and albums. The goal was to attract a target country music audience while developing the artist's image and persona.
The music video treatment proposes a concept where Ke$ha's song "Take It Off" is portrayed through a teenage rave party in the woods. The storyboard outlines shots that would show characters arriving at nightfall and getting wild, with close-ups of Ke$ha singing and long shots showing the full scene. Color explosions and glitter are planned to depict the excitement, and shots of passed out characters at the end are meant to wrap up the hectic night.
A PowerPoint presentation which includes the deconstruction of 3 pop music videos, discussing how they conform, develop and challenge genre conventions. Also linking the videos to Goodwin's theory.
- The document discusses a music video created for the song "Can't Fight the Moonlight" from the movie Coyote Ugly.
- It analyzes how the music video uses conventions of 1990s pop music videos like narrative storylines, costumes, locations, and camera techniques while also challenging conventions by dressing the main character in everyday clothes for one scene.
- The document evaluates how the music video portrays the song's lyrics and storyline through visuals and the main character's emotions after a breakup.
Unit 29 task 2 understanding style, techniques and conventions.pptx 2samanthamwest
This music video for Katy Perry's "California Gurls" uses various techniques. It tells a narrative story through a board game setting, with Katy Perry and Snoop Dogg as characters. Animation is used to create surreal elements like the characters being made of candy. Impressionist techniques place Katy Perry in fantastical scenic backdrops. The video aims to promote Katy Perry's brand image through her fashionable outfits and choreography that emphasize her figure. Overall it creates a whimsical world connecting to the song's themes of summer and the California lifestyle.
This document discusses the codes and conventions used in music videos and how the author developed and challenged them in their own music video project. It provides an overview of several key conventions like technical techniques, symbolic techniques, colors, and star image. It then describes how the author's video focused on color and star image through close-ups and facial expressions to represent the song. While the original cut was similar to Bloc Party's "Banquet," feedback requested more editing effects, so the author combined elements of "Banquet" with A-Ha's "Take On Me" by adding overlays and modifying colors and contrast.
This document summarizes the genre conventions represented in various music videos. It discusses how Taylor Swift's "Shake It Off" incorporates different genres through costumes and settings. It also analyzes Olly Murs' "Beautiful to Me" for its natural lighting and relatable storyline. The document provides overviews of several other music videos and how they fit conventions of genres like pop, rock, alternative, country, and rap.
The document discusses various codes and conventions used in music videos, including technical codes like editing style and use of sound, and symbolic codes like facial expressions and mise-en-scene. It then discusses how the student used some of these conventions, like color, performance, and focus on the lead singer's image, in their own music video. It challenges conventions by having limited camera movement and combining influences from the music videos for "Banquet" by Bloc Party and "Take On Me" by A-Ha to create a unique style.
The document discusses conventions in music videos and how the author's media product used and developed these conventions. Specifically, the author focused on color and star image by using close-ups and facial expressions to convey lyrics. They used a performance-based black-and-white style to focus on lighting and editing like videos in their punk/pop-punk genre. While their original cut was too similar to Bloc Party's "Banquet," feedback helped them improve with editing effects, combining influences from "Banquet" and A-Ha's "Take On Me" into their final cut.
The document outlines Goodwin's Rules for analyzing music videos. It states that music videos typically demonstrate genre characteristics through elements like dance routines or stage performances. It also notes there should be a relationship between the lyrics, music, and visuals whether illustrative, amplifying, or contradicting. Additionally, it says record labels want close-ups of artists and artists may develop recurring motifs. It mentions music videos often reference looking and treat the female body in a voyeuristic way and contain intertextual references to other media.
The document discusses various codes and conventions used in music videos, including technical techniques, symbolic techniques, colors, notions of looking, and star image. It then summarizes how the author's music video incorporated some of these conventions, such as a focus on color, star image, and facial expressions to convey meaning. The author challenged conventions by creating a purely performance-based video with still footage and no camera movements, similar to Bloc Party's "Banquet." The author then developed this idea further by combining elements from "Banquet" and A-Ha's "Take On Me" music videos.
This document discusses conventions used in pop rock music videos and albums. It analyzes the document writer's media product and compares it to conventions seen in other pop rock media. Specifically, it examines conventions related to: 1) Performance lighting and shots in music videos, 2) Costumes in music videos balancing pop and rock styles, 3) Using the same actor for performance and narrative in music videos, 4) Black borders and color use in magazine advertisements, and 5) Medium shots of artists on album digipaks. The document evaluates how the writer's media product used, developed, or challenged these common pop rock conventions.
The document describes the various techniques used in creating a music video for an alternative rock song, including:
- Using a dark, apocalyptic aesthetic for the setting, costumes, lighting, and color correction to match the mood of the song.
- Incorporating conventions from apocalyptic films like long shots of the empty landscape.
- Having long shots to match the slow pace of the song and adding a lonely atmosphere.
- Including a narrative of a character alone in the apocalyptic world who finds hope with another person.
- Designing a website, digipak, and music video inspired by other alternative rock bands to target a wide audience.
The document provides an analysis of how the student's media product uses, develops, and challenges conventions of real music videos. It discusses the use of narrative through storytelling that relates to the song lyrics. Genre conventions of indie/rock music videos are explored through examples like location, clothing, and instrumentation. Representation of social class, age, and gender align with typical portrayals in indie music. Cinematography techniques, editing, mise-en-scene, and sound work to develop the narrative and reinforce the genre. Audience feedback confirmed the project achieved its goals of mirroring real music video forms and conventions.
Codes and conventions of a pop music video Kate Jenkins
This document discusses various codes and conventions commonly found in pop music videos. It notes that pop music videos often feature close-ups of the artist's face to show emotions, as well as long shots showing parties or groups of people. Costumes can be extreme or plain, reflecting real-life clothes. Props like guitars, pens, and microphones help tell the story. Lighting uses bright colors and spotlights, while locations include schools and beaches. Editing employs filters and tints to make the video more appealing.
The document provides information about creating a music video for the song "To Anyone" by the indie rock band Crystal Whites. It discusses comparing the song to similar music videos to determine themes. It also analyzes lyrics and discusses using band members in the video to make it feel realistic. Location ideas and influences from other young bands' videos are presented. Elements of the rock/indie music video genre like focusing on performance over narrative and using natural low-budget settings are also covered.
In what ways does your media product use, develop or challenge forms and conv...Sammie Light
This document discusses conventions of real media products and how the student's projects used or challenged conventions.
The student learned about common music video conventions like shot types, camera movement, mise-en-scene, and editing techniques. Their music video incorporated tracking shots, close-ups, and fades between clips. They also considered appropriate conventions for their pop song like outfits, pacing, and visualizing lyrics.
Genre conventions like performance styles, editing pace, and imagery for pop, rock, R&B, and indie were examined. Their pop-style digipak and magazine advert used bold colors and fonts on the inside while having a darker outer cover to challenge expectations. Key artist information was prominently displayed
The music video for "Girls" by The 1975 both illustrates genre conventions of indie music videos but also subverts some expectations. It begins in black and white like their typical videos but incorporates bright colors. There are many close-ups of the lead singer per record label demands. The video portrays a narrative of being trapped by clingy girls through lyrics and visuals, though it is primarily a performance-based video of the band. Motifs like their logo and monochrome styles recur across their work. The editing and shots match the music's rhythm, creating an effective overall video.
This document provides details for a music video concept for the song "Sunshine" by the band The 99's. It would be a performance-based video that shows the band playing the song, which has elements of indie, country and rock genres. The target audience is ages 15-20 who enjoy those music styles. To represent the band's image, the video would feature simple, individual clothing styles and minimal makeup. Everyday locations like a home or street would be used for realistic settings that audiences could relate to. The video would need three male actors to play the band members and a female actor to portray a love interest, reflecting the relationship theme of the lyrics.
The document summarizes Andrew Goodwin's key aspects of analyzing music videos, including genre characteristics, relationships between lyrics and visuals, music and visuals, demands of record labels, notions of looking, and intertextuality. Specific music video examples are provided to illustrate each aspect, such as One Direction demonstrating genre characteristics of a boy band, Coldplay's "The Scientist" matching its reversed video to the lyrics "go back in time", and Beyoncé's "Crazy in Love" portraying notions of looking through fragmented shots.
This document analyzes and compares the album covers, advertisements, and music videos for several electro pop artists, focusing on how they convey style and relate to each other through visual elements. For Marina and the Diamonds, the white dress and nails in the music video are echoed by white font on the album cover, despite differences in context. Disclosure's album cover and advertisement feature the duo in checker shirts as seen in their music video. Katy B's album cover uses bright colors representative of electro pop to draw attention to her image, relating to her advertisement through similar but darker shades of those colors.
The document discusses the purposes of music videos. The three core purposes are entertainment, branding, and sales. Music videos aim to be enjoyable for fans, set the tone for an artist's music, and promote album sales. Broader purposes include conveying underlying messages about political or social issues, allowing artists to express themselves, and featuring other artists to expose them to new audiences. The document also analyzes specific music videos by One Direction, Animal Collective, and ZillaKami to illustrate how they achieve different purposes through their style, production quality, and symbolism.
This document discusses how the media product uses conventions of real indie/folk rock music videos. It shows screenshots from the music video featuring a guitarist, a narrating character, and lip syncing to the song. These conventions are exemplified through screenshots from other music videos in the genre. The costumes used also follow conventions by being casual rather than glamorous. Editing on the beat of the song and motifs linking the video and album art continue these conventions. While challenging some conventions for magazine ads, overall the media product adheres closely to typical conventions for indie music videos.
The document describes the student's music video project for the song "Blank Space" by Taylor Swift. It includes details about choosing to make a music video, conventions used in the pop music video genre, and elements of branding across the video, album packaging, and website. Key points are that the video tells a story about a relationship with a psychotic girlfriend, conventions followed include fashionable outfits and a narrative story, and branding elements like consistent colors were used to create an identity for the artist across all parts of the project.
Hannah Lortie created a music video for the song "Circus" by Britney Spears for her portfolio. She researched the codes and conventions of the pop genre. Some key conventions she included are relatable costumes, meaningful lyrics, bright colors, sexualization, and multiple locations. For her video, she chose simple black and red costumes to represent a circus theme. The locations progressed from a changing room to dance studio to outdoor amphitheater for the final performance. Overall, she aimed to create a fun and entertaining video that would appeal to her target audience.
The document discusses the effectiveness of combining a main product with ancillary texts while maintaining an underlying theme. The author's main product is a music video with a circus theme portrayed through costumes like a ringleader coat. Ancillary products like a digipak and magazine ad use circus elements like borders and matching color schemes to clearly link them to the main theme. Consistency across products helps build the brand and allows audiences to recognize related works, potentially increasing sales.
The document discusses the effectiveness of combining a main product with ancillary texts while maintaining an underlying theme. The author's main product is a music video with a circus theme portrayed through costumes like a ringleader coat. Ancillary products like a digipak and magazine ad use circus elements like borders and matching color schemes to clearly link them to the main theme. Consistency across products helps build the brand and allows audiences to recognize related works, potentially increasing sales.
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The document discusses how the author effectively combined their main music video product with ancillary texts like a digipak and magazine advert. It was important to employ continuity throughout the products to make them look professionally branded and give a unique niche appearance. Key themes from the video like freedom and self-expression were represented in the ancillary products through imagery like facial expressions and LGBT symbols. Consistent font, color schemes, and motifs linked the products together and clearly conveyed the overarching brand identity.
The document discusses how the media student's music video for "Grace Kelly" by Mika challenges and adheres to conventions of the genre.
The video challenges conventions around sexualization by keeping costumes dignified. It also challenges product placement and aims to be more relatable.
Conventions that are adhered to include use of bright colors, fast-paced editing to match the song, and settings like a bedroom that audiences can relate to. Props are also used prominently to enhance the narrative.
Overall, the student aimed to produce a unique yet professional product that both followed and pushed boundaries of typical music video conventions.
The document discusses the importance of consistency between a main product and ancillary texts. It analyzes how the overarching themes of freedom, self-expression and sexuality from an artist's music video were represented in the digipak and magazine advert through imagery like facial expressions, rainbow motifs, and typography. Maintaining continuity of themes, imagery and fonts across products creates a cohesive brand identity for the artist and company.
The document discusses costume designs for a singer named Britney in three different scenes. Costume 1 for dancers and Britney includes black leotards, tights and boots for rehearsal scenes. Costume 2 also for dancers and Britney features heels that the singer will wear in most scenes to look confident, while dancers wear them in the main dance scene. Jazz shoes are included as backups. Costume 3 for Britney alone consists of jeans and a tailcoat worn in changing room scenes that are suitable for the song's style and allow for dancing without damaging the material.
The document discusses props for a music video shoot, including a black cane with a white top to be used by the lead singer Britney in solo scenes to portray a ringleader attitude, and a black microphone also to be used by Britney in some solo and ensemble scenes to portray a performance, though the mic may not be needed during dance scenes. Neither prop is deemed absolutely essential to the production.
The document discusses four potential filming locations for a music video: 1) A performing arts studio that could be used for rehearsal shots and solo performance shots using its stage lighting and curtains. 2) A dance studio that would be good for additional rehearsal shots and allow a change in scenery. 3) A changing room that could be used for costume shots and close-ups of the singer's attitude. 4) A main hall with professional stage and lighting that would be suitable for concluding shots of a full performance.
Hannah Lortie chose herself to be the lead singer in a music video due to her confidence and experience from studying performing arts. She describes herself as having an open personality that can easily change expressions for acting. Her strong female appearance and fashionable style will suit the role of an independent lead singer. Five dancers - Libby Mellor, Jessica Bairstow, Ellie Forrester, Alice Crawshaw, and Gertrude Collins - were chosen from auditions to be secondary actors based on their ability to show attitude and technique during routines and freestyle sections of the audition. Many of the dancers have experience at external dance schools.
Holly created panels measuring 140mm by 126mm for each panel of the digipak. She imported images from her school media drive that she had previously used for a photo shoot. Holly used layer duplication and colored overlays to create a cascading effect. She added text for the logo and album title using effects like gradients and glows. The back cover, track list, label logo, and barcode were also designed. Circles were made with the shape tool to imitate a CD for the design.
The music video for Sia's "Alive" features Japanese karate star Mahiro Takano performing martial arts moves in an abandoned warehouse, symbolizing the internal struggle and fight for survival described in the song's lyrics. Through precise movements synchronized to the song and use of natural lighting, the video tells a story of overcoming challenges alone without help from others. It effectively uses the karate uniform, warehouse setting, and Mahiro Takano's talent to visually represent the themes of self-defense, discipline, and fighting through difficult times.
This music video by Will.i.am featuring Eva Simons tells a romantic story through two main locations - Tower Bridge in London and a computer screen. Tower Bridge represents a classic romantic setting for a walk, while the computer screen shows a younger party scene. The video portrays the different genders through Will.i.am in suits singing and Eva Simons dancing in party dresses. Though they are in their 20s, the partiers shown on the computer appear to be teenagers, representing the target audience. Costumes fit a middle-class party theme and props like a piano and party items advance the story without any commercial product placement.
This document considers several potential locations for filming a music video:
1) A dance studio which would provide natural lighting but may be too expensive.
2) A historic building called Piece Hall which could be used for indoor and outdoor shots but availability depends on the local council.
3) A friend's bedroom that could serve as a mock dressing room but may have scheduling issues.
4) An abandoned mill that would suit the artist's image but could only be used during the day for safety and lighting reasons.
5) A public park that would require extra lighting if shot at night and may be too disconnected from the song. The document analyzes the pros and cons of each location.
This document discusses props for a music video including makeup, a laptop, and a microphone. Makeup props like lipstick and eyeshadow will be used and dirty to reflect the chaotic nature of the industry. A laptop will show a video of a woman and represent the materialism of the pop industry. A microphone will be used by the artist to show them performing and relate to both older and younger audiences, though using a microphone stand could appeal more to older viewers.
The document discusses costume choices for a music video that aims to rebel against pop music conventions. It describes five costumes: a black leather jacket, black jeans, a white t-shirt, Doc Martens boots, and a black floral dress. The black leather jacket, jeans, boots, and ripped white t-shirt are meant to portray the artist's defiance of the pop genre. The black floral dress for the actress alludes to elegance and femininity commonly associated with older cinema. Most of the costumes were chosen because they are casual, relatable items that younger audience members could identify with while still conveying the song's anti-pop message.
Nathan Coulson will play the artist Mika in the production. Nathan matches Mika's flamboyant and outgoing personality, and has experience in school musical productions. His thin, tall build and curly hair would make him memorable onscreen.
Holly Morsley will play the woman quoting Grace Kelly during the song. She has experience in school musicals and an outgoing personality that allows her to lip sync songs well. Her thick lips and hair relate to 1950s beauty ideals, connecting her to the decade of Grace Kelly's career.
The music video for Katy Perry's "Chained to the Rhythm" is set in a fictional theme park called Oblivia that represents modern society. While presented as idealistic, the theme park highlights the dark nature of constant distraction in modern life. The video uses various elements like costumes, gender roles, and ethnic representation to portray how society enforces illusion and false ideals.
The document reviews 20 music videos and discusses elements from each that provide inspiration or ideas for the reviewer's own music video. Some common elements that many of the videos inspired for the reviewer's video are the use of outdoor locations, natural lighting, costumes, camera shots that capture emotion, and storylines that intrigue the target audience. Elements from specific videos that influenced the reviewer's ideas include using a dull outdoor setting from "Yellow" by Coldplay, close-up shots from "Diamonds" by Rihanna, and including an actor's vulnerabilities by changing their appearance through lighting effects like in "Human" by Christina Perri.
This document discusses how a film title and opening sequence represents the social group of young adults aged 18-24. Costumes like jeans, tops, and folders were used to depict this age group. Props like phones, household items, and folders were included because they are relatable items used daily by 18-24 year olds. The sales girl character, though inexperienced, pushes products in an arrogant stereotypical way associated with teenagers and young adults. Overall, the film aims to create a true representation of attitudes and styles of the target 18-24 age group through acting and visual elements.
2. The song was written by Mika for his debut album,
Life in Cartoon Motion.
The song was written as a response to Mika’s music
label as they asked him to conform to the pop genre
more by changing his sound. Therefore it is likely
that a lot of the stylistic features of the music video
have been used out of irony or in order to mock the
genre as this song was written in a negative
response to it.
The song expresses Mika’s frustration at the music
industry for not allowing artists to be themselves.
Context
3. The music video for Grace Kelly by Mika
is a performance music video, which
means that the artist performs the actual
song within the music video. The video
not only shows the singer performing
vocally but playing the piano and other
musicians performing instruments such
as drums and guitars.
It could also be argued that the music
video for this song is disjuncture as the
video’s content has nothing to do with
the song’s lyrics.
What type of music video
is it?
4. The setting for this music video is in one location. It is set in a
studio that is made to look like a living area, complete with
fireplace, couches and a piano.
Setting – Brief Description
5. This could have been done in order to mockingly
conform to the music industry as it represents the
luxurious lifestyle of the music executives as the
setting is lavishly furnished with oil paintings.
The use of the furniture such as couches and beds
could be used to represent the laziness of the music
industry as they are willing to conform to genre so
easily. Alternatively, the video could also created the
impression of being a casual artist who, while taking
music seriously, wants to appear down to earth.
The setting, as much content as there is, is
stylistically plain, which could highlight how plain
the music industry is by forcing artists to conform to
the convention of pop.
The setting is evocative of 1960’s styles, looking old-
fashioned and having background props such as
posters for bands such as The Beatles, who were
pioneers of the pop genre. This could reflect Mika’s
message as he wants the music industry to have an
old-fashioned approach.
Setting – Mocking the
industry
6. Throughout the music video,
the main artist Mika has 3
major costume changes.
1. His red outfit
2. His blue shirt outfit
3. His purple jumper outfit.
Costumes – Mika
7. The usage of bright colours within his costumes is also a
common convention of the pop genre, showing that he is
conforming to the codes and conventions of the genre.
As stated before, this may be done ironically as the message
of the song is about not conforming to the genre. Therefore,
by doing so, he is mocking the genre that he is trying to
conform to.
The costumes worn by Mika could be used to represent the
different sides of his personality that he wants the music
industry to take note of. For example the red jumpsuit could
represent his passionate side while his blue outfit could
represent his melancholy side.
As we can see, the trousers that Mika wears contain a white
stripe down the seem of the pants. While this may be simply
stylistic, it may also highlight the unconventional nature of
Mika’s style.
Costumes - Mika
8. The little girl in the beginning of the music video is shown to
be wearing a bright, yellow, seemingly old fashioned dress
and red shoes.
This child is used for voicing the extracts of placed at the
beginning and the end of the song.
This outfit could be used to represent innocence in the child,
which is something that the pop genre likes to play on in
order to relate to a younger audience and to appease
secondary older audiences.
This could also be done to represent the style of Grace Kelly,
the actress of whom the song is named after. The actress was
known to have worn dresses with a similar look. As the little
girl is used to give a voice to lines by the actress, this could be
a potential reason.
Again, the bright colours conform to the music video genre,
which could be an attack on the industry on Mika’s part or a
genuine attempt to conform.
There is also another little girl present that wears a similar
ensemble. This could be done for the same reasons.
Costumes – Little Girl
9. Much like the main artists, there is variety in the costumes
worn by the extras.
There is variety in the different styles worn by the
background character, some choosing casual clothing such
as jeans and t-shirt,while others choose more formal
clothing.
This could be used to represent the differences between
artists in the pop genre, showing that artists should be
allowed their individuality despite their chosen genre.
Nevertheless, some may argue that these various costumes
link to the genre as pop videos try to be relatable to the
audience. The difference in costume allows for different
audience members to relate to the costumes
However as there is no other factor that allows the
audience to relate, it could just be a stylistic choice.
Costumes –
Musicians/Extras
10. The musical instruments used in this video include:
• Guitars
• Pianos
• Drums
• Microphone Stands
This could be used in order to show how serious Mika
is about music and how he wants to be seen as a
serious music artist.
This also could be a way of mocking how some artists
don’t use the instruments that are used in producing
the song, setting himself above other artists.
Props – Musical
instruments
11. There is a small scene during the bridge of the song in which
people are dancing and holding props such as umbrellas and
light sticks.
The reason for this is unclear, potentially allowing it to be
linked to the disjuncture category.
However it may also used to represent how pop music videos
are focused on the visuals of a video rather than the meaning
by placing meaningless props in.
The brightness of the light sticks could also represent the
happy nature of the song, making it conform to the genre.
This effect is also done with fairy-lights too, which have
connotations of innocence.
The usage of the umbrella could be seen as a reference to Gene
Kelly, who is famous for appearance in “Singing In The Rain”
as is seen as a classically popular artist. It could also refer to
the process of music videos being made.
Props – Light sticks and
umbrellas
12. Towards the end of the video, the studio plays host to a
party and several props are seen that are linked to
parties such as:
• Confetti
• Party food (on top of the piano)
• Drinks.
This could present Mika as being a fun artist, drawing
in younger listeners to his music.
This could also link to the common convention of fun
being used as a theme in most music videos, with a lot
of modern videos portraying party scenes to represent
this convention.
It also allows for younger members of the audience to
relate to the artist as parties are often linked with youth
culture.
Props – Party props
13. The lighting within this music video is, while not
being completely pitch black, is quite dark, making
reference to an old movie lighting technique from
the 50s which was used to allow to focus to be made
of the faces of “beautiful” characters.
This could be used to intentionally contrast
brightness used in most pop videos to represent
happiness.
Due to the slightly sad nature of the lyrics of the
song, the darker lighting could be used to represent
that.
Lighting
14. The body language of the characters is shown to be happy
and energetic. Throughout the video, Mika dances and moves
his body to the beat of the music in an upbeat manor.
Mika’s interactions with the little girl are almost as if he is
playing with her, doing dance moves that link to the lyrics (I.e.
“So I tried a little Freddie” – does a Freddie Mercury style
pose).
This is used to make Mika seem fun to the viewer and to link
with the upbeat tone of the song, which is common in most
music videos.
The extras, while being less animated than Mika, also have
positive body language,, smiling and being generally upbeat.
This becomes more energetic during the party seen.
Again, this is used for the same reasons.
Body Language
15. Camera Angles – Close-up
• The majority of the close-up shots used
within the video are of Mika himself.
This is usually done during important
sections of the song such as the pre-
chorus and the bridge. Therefore these
shots highlight the importance of these
moments in the video.
• The poses that Mika is in reflect the
stylistic features of 1950s cinema
16. Wideshots are used for two main
purposes.
The first main purpose of the wide shot
is to be able to see larger aspects of the
location.
The wideshot could also be used to show
the amount of people in the room,
highlighting that it isn’t just the main
artist working on the song but lots of
other people as well.
Camera Angle – Wide
shots
17. There is no example of sexualisation in this
music video as the song has no sexual
connotations. This could be used to go against
the general pop mould, which is what Mika
was aiming to do this music video.
C&C - Sexualisation
18. As mentioned previously, this does utilise bright
colours in certain aspects of the video such as in the
confetti and in Mika’s costumes.
Regardless, the rest of the setting of the music video
is bleak and has a colour palette consisting of
browns and blacks.
This could be a stylistic choice on behalf of Mika that
could allow for these bright colours to stand out.
However it may also be used to allow the light-
hearted personality of the artist to be evoked, rather
than to conform to the codes and conventions of the
genre.
C&C – Bright Colours
19. Narratively, the video offers very little in terms of the
relatablity as there is very little aspects for an audience
member to relate to.
However one could argue that the message behind the
lyrics of the song and the frustration demonstrated in
the video could be relatable as the audience may feel
the same frustration of being told how to act. This
could be relatable to all of audience members as this
could be taken in a personal or professional context.
The costumes are arguably relatable as they are
everyday clothing for a regular, working class audience
in their mid-20s. The same could be said about the
body language and the party props as this reflects the
video’s demographic as being young adults.
C&C - Relatability
20. The message behind the song is about being told
how to act in order to fit into a specific mould. This,
therefore, doesn’t correlate to the genres’ usual
music video themes such as friendship, romance,
and freedom. Thus, one could argue that Mika fails
to conform to the genre codes and conventions.
However the idea of being able to do what you want
could link to the theme of freedom and rebellion as
the video is inadvertently telling the audience to be
themselves. As a result, this would mean that Mika
does, in fact, conform to the genre. This decision
could be done intentionally to ironically conform or
done unintentionally as the song’s intentions was to
ignore the genre codes and conventions.
C&C - Themes
21. To conclude, Mika chooses to both employ and ignore certain
characteristics of the pop genre in order to degrade the music
industry and to impart the message to the audience.
The video does this by showing the progression from a
structured and organised video to more free form and chaotic,
giving a metaphorical victory over the structure of the music
industry.
The expression of “walk out the door” could also present a
more literal method of degrading the music industry, saying
that if the music industry won’t take the artist, they can’t have
him.
Therefore, in conveying this message, the video is successful.
However as the song is supposed to fall into the pop genre, it
could be argued that the lack of codes and conventions
utilised could mean that the video is unsuccessful in
conforming to the genre. This, nevertheless, was done for
intentionally.
Is this music video
successful?