Music video styles
•Download as PPTX, PDF•
1 like•68 views
This document discusses three main styles of music videos: performance, conceptual, and narrative. Performance videos focus heavily on showing the artist performing and include close-ups. Conceptual videos are based around a single idea or concept and use symbols and lighting to create meaning. Narrative videos tell a visual story that relates to the song lyrics, with some including a performance element. Examples are provided for each style.
Report
Share
Report
Share
Recommended
Andrew Goodwin's Music Video Theory
Andrew Goodwin developed a theory that most music videos today follow at least one of his six ideas: 1) Demonstrating genre characteristics, 2) Having a relationship between lyrics and visuals, 3) Having a relationship between music and visuals, 4) Including close-ups of the artist to promote them, 5) Developing visual motifs across their work, and 6) Referencing the notion of looking or including intertextual references. Goodwin's theory suggests that effective music videos link aspects of the music, lyrics, genre conventions and visual storytelling.
Music video styles
The document discusses three main styles of music videos: performance, narrative, and conceptual. Performance videos typically feature footage of an artist singing and performing live on stage. Narrative videos tell stories that relate to the song's lyrics, often following a basic love story structure. Conceptual videos rely on specific concepts or themes rather than linear narratives, aiming to evoke moods or feelings open to various interpretations. Examples are provided for each style.
Types of music videos
The document discusses three main types of music videos:
1. Performance-based videos feature the artist(s) performing the song throughout the video. These are commonly used in pop and rock genres to showcase the talents and star image of the artist.
2. Narrative-based videos tell a story or plot related to the song, sometimes featuring the artist and other times using actors. These can appear as short films with music.
3. Conceptual-based videos are based on an unusual or obscure idea that may not relate directly to the song's meaning, appealing to niche audiences. They often combine surreal elements with some performance aspects.
Evaluation Question 1
This document discusses how a student's media project, a music video for the song "riptide" by Emma Stevens, uses and develops conventions of real music videos in the pop/country genre. Specifically, it includes:
- A narrative that matches the song's theme of love/relationships
- Casual clothing and lack of formal dress, as is typical in pop/country videos
- Frequent jumps cuts that are on beat to keep the video fast-paced and match the upbeat song
- Focus on the artist and locations through long shots, close-ups, and mid shots
Pop Genre research - A2 Media
Music videos accompany songs and tell visual stories. The first music video aired on MTV in 1980. Music videos can be categorized based on their style, such as performance videos that primarily feature the artist performing, or narrative videos that tell a story. They use various camera shots and editing techniques to engage audiences. Elements like lighting, costumes, locations, and colors create moods and represent characters. Sound is also carefully crafted, using both diegetic sounds from the environment and non-diegetic versions of the song.
Andrew goodwin’s theory
Andrew Goodwin created a theory identifying 7 key aspects that make a successful music video. These include: 1) A relationship between lyrics and visuals, 2) A narrative performance, 3) Star iconography with close-ups, 4) Voyeurism, 5) Intertextuality, 6) Technical elements, and 7) Genre conventions. Goodwin believed lyrics could illustrate, disjuncture from, amplify, or abstract from visuals. Narratives help audiences connect to artists. Iconography and close-ups make artists recognizable. Voyeurism uses intimacy and sexuality. Intertextuality references other works. Technical and genre aspects round out successful music videos.
In what way does your media product use
My media product both conforms to and challenges conventions of real media products. It develops conventions by matching lyrics to visuals, amplifying Goodwin's theory. It also challenges conventions by having the actress indirectly look at the audience, making her seem mysterious. The product further develops conventions through techniques like lip syncing and using isolated shots to represent lyrics. There are similarities to other music videos in conventions used, like location, lip syncing, and visual representations of lyrics or themes. However, there are also differences, such as my video using a lighter colorization than a comparable video.
Music video basics
This document discusses different types of music videos, including performance, conceptual, and narrative videos. It provides examples and analysis of specific music videos to illustrate each type. A performance video features the artist singing and/or playing their song, such as One Direction's "That's What Makes You Beautiful" which shows the band singing in different beachside locations while wearing the same costumes. Conceptual videos are built around an idea rather than featuring a narrative story, such as REM's "Everybody Hurts" which depicts various people in cars on a highway dealing with problems. Narrative videos tell a story with a beginning, middle, and end that may or may not relate to the song's lyrics, like Sia's "Titanium
Recommended
Andrew Goodwin's Music Video Theory
Andrew Goodwin developed a theory that most music videos today follow at least one of his six ideas: 1) Demonstrating genre characteristics, 2) Having a relationship between lyrics and visuals, 3) Having a relationship between music and visuals, 4) Including close-ups of the artist to promote them, 5) Developing visual motifs across their work, and 6) Referencing the notion of looking or including intertextual references. Goodwin's theory suggests that effective music videos link aspects of the music, lyrics, genre conventions and visual storytelling.
Music video styles
The document discusses three main styles of music videos: performance, narrative, and conceptual. Performance videos typically feature footage of an artist singing and performing live on stage. Narrative videos tell stories that relate to the song's lyrics, often following a basic love story structure. Conceptual videos rely on specific concepts or themes rather than linear narratives, aiming to evoke moods or feelings open to various interpretations. Examples are provided for each style.
Types of music videos
The document discusses three main types of music videos:
1. Performance-based videos feature the artist(s) performing the song throughout the video. These are commonly used in pop and rock genres to showcase the talents and star image of the artist.
2. Narrative-based videos tell a story or plot related to the song, sometimes featuring the artist and other times using actors. These can appear as short films with music.
3. Conceptual-based videos are based on an unusual or obscure idea that may not relate directly to the song's meaning, appealing to niche audiences. They often combine surreal elements with some performance aspects.
Evaluation Question 1
This document discusses how a student's media project, a music video for the song "riptide" by Emma Stevens, uses and develops conventions of real music videos in the pop/country genre. Specifically, it includes:
- A narrative that matches the song's theme of love/relationships
- Casual clothing and lack of formal dress, as is typical in pop/country videos
- Frequent jumps cuts that are on beat to keep the video fast-paced and match the upbeat song
- Focus on the artist and locations through long shots, close-ups, and mid shots
Pop Genre research - A2 Media
Music videos accompany songs and tell visual stories. The first music video aired on MTV in 1980. Music videos can be categorized based on their style, such as performance videos that primarily feature the artist performing, or narrative videos that tell a story. They use various camera shots and editing techniques to engage audiences. Elements like lighting, costumes, locations, and colors create moods and represent characters. Sound is also carefully crafted, using both diegetic sounds from the environment and non-diegetic versions of the song.
Andrew goodwin’s theory
Andrew Goodwin created a theory identifying 7 key aspects that make a successful music video. These include: 1) A relationship between lyrics and visuals, 2) A narrative performance, 3) Star iconography with close-ups, 4) Voyeurism, 5) Intertextuality, 6) Technical elements, and 7) Genre conventions. Goodwin believed lyrics could illustrate, disjuncture from, amplify, or abstract from visuals. Narratives help audiences connect to artists. Iconography and close-ups make artists recognizable. Voyeurism uses intimacy and sexuality. Intertextuality references other works. Technical and genre aspects round out successful music videos.
In what way does your media product use
My media product both conforms to and challenges conventions of real media products. It develops conventions by matching lyrics to visuals, amplifying Goodwin's theory. It also challenges conventions by having the actress indirectly look at the audience, making her seem mysterious. The product further develops conventions through techniques like lip syncing and using isolated shots to represent lyrics. There are similarities to other music videos in conventions used, like location, lip syncing, and visual representations of lyrics or themes. However, there are also differences, such as my video using a lighter colorization than a comparable video.
Music video basics
This document discusses different types of music videos, including performance, conceptual, and narrative videos. It provides examples and analysis of specific music videos to illustrate each type. A performance video features the artist singing and/or playing their song, such as One Direction's "That's What Makes You Beautiful" which shows the band singing in different beachside locations while wearing the same costumes. Conceptual videos are built around an idea rather than featuring a narrative story, such as REM's "Everybody Hurts" which depicts various people in cars on a highway dealing with problems. Narrative videos tell a story with a beginning, middle, and end that may or may not relate to the song's lyrics, like Sia's "Titanium
conventions
Music videos use various camera techniques, editing styles, mise-en-scene, and conventions to represent the song and artist. Common camera techniques include long shots, close-ups, and mid shots to emphasize the artist, location, and emotions. Close-ups also reflect the lyrics through the artist's mouth movements. Mise-en-scene arranges performers and props to highlight representation, such as isolation or depression. Jump cuts and transitions like fades are prominent editing techniques used to transition between scenes quickly or create different effects. The style of the music video should align with the music to create a cohesive package that reflects the tone, such as bright colors for upbeat songs or darker tones for sadder songs.
A2 Media - Similar Product Analysis
The document analyzes and summarizes the music video for Selena Gomez's song "The Heart Wants What It Wants". It discusses several aspects of the video including the camera shots, narrative, mise-en-scene, and how it relates to music video analysis theories. Specifically, it notes that the video uses many close-up shots of Gomez singing to focus on her emotions. It also has a narrative element showing Gomez's character torn between acting happy in public but hurting privately after a breakup. The black-and-white and low-key lighting style reflects the sad mood of the song.
Sven E Carlsson - Music Video Theorist
Sven E Carlsson developed a theory categorizing music videos into two main types: performance and conceptual. Performance videos focus on the artist, and may feature them as a commercial exhibitionist, televised bard, or electronic shaman. Conceptual videos tell a narrative story either through clips (silent movies synchronized to the song) or art clips with no narrative. Both types of videos often use binary opposites to drive the narrative forward, such as light vs dark. The document provides examples of videos that fit each category and discusses their characteristics.
Conventions of music videos (2)
The original purpose of music videos was to advertise and promote an artist's song in order to increase sales and boost their reputation. Music videos provide visual entertainment beyond just the music itself and are sometimes used to reinforce an artist's outrageous or flamboyant public image, such as Lady Gaga. While the earliest forms of music videos date back to the 1860s, the genre truly began emerging in the mid-20th century through musical films and movies that featured hit songs. Most modern music videos utilize similar conventions like various camera shots, movements, arrangements of performers and props, and editing techniques to both represent the mood or message of the song and set the artist and performance visually apart from other genres.
Music videos basics
The document discusses different categories of music videos including performance, conceptual, and narrative styles. Performance videos focus on the artist performing, conceptual videos are based on an idea rather than performance, and narrative videos tell a story. Popular genres like pop often use narrative styles while rock may use conceptual or performance. Examples are provided for each category to illustrate their distinguishing characteristics.
Sven E Carlsson
Sven E Carlsson proposes a theory that music videos can be categorized as either "performance" or "conceptual" based on their narrative elements. For performance videos, the artist is prominently featured singing and dancing, exemplified by Rihanna's "Rude Boy" video. Conceptual videos emphasize artistic elements beyond just the performer, like Lil Wayne's "Lollipop" video which uses candy props and settings to tell a story beyond his performance. Carlsson also describes three types of performers commonly featured - the commercial exhibitionist, televised bard, and electronic shaman.
Music video types
The document describes three types of music videos:
1. Performance videos focus on the artist singing and playing their song, conveying the live concert experience.
2. Narrative videos tell a story through a sequence of events, commonly a love story.
3. Conceptual videos rely on metaphor and poetic form to create a mood rather than tell a linear story, allowing for multiple interpretations.
Music video types
There are three main types of music videos: performance videos, narrative videos, and conceptual videos. Performance videos typically show the artist performing live on stage or in a location. Narrative videos tell a story that relates to the song's lyrics through various storytelling shots edited together. Conceptual videos may also tell a story but have no real connection to the song, and can be experimental in style through animation or unusual editing techniques. Both performance and narrative elements are often combined for maximum effect in conveying the artist's identity and relating visually to the song.
Goodwin Everybody's Fool
The music video for Evanescence's "Everybody's Fool" synchronizes the music and visual elements, with cuts coinciding with drops in the beat. Scenes of the artist, who plays the main character, are shown when the lyrics mention "Everybody's Fool" and she bows down when it says "bow down". Close ups of the lead singer throughout, and her as the protagonist, demonstrate the record label's influence over crafting her image. The character is portrayed as voyeuristic through tight clothing and looking through mirrors in different personas.
Types and Styles of music videos
This document summarizes different types and styles of music videos. It discusses three main types: narrative based videos that tell a story related to the song's lyrics, performance based videos that primarily feature the artist singing and dancing, and concept based videos that are based on a particular theme. It then describes various styles of music videos including animated, interpretive, impressionist, using intertextuality, surrealist, and allusion. Examples are provided for each type and style.
Ideas and notes on evaluation question 1
The document discusses conventions used in media products and evaluates how the student's music video did or did not follow certain conventions. It examines Laura Mulvey's male gaze theory and how shots in the video only somewhat followed this convention by having one twirling shot of the covered up artist. Carol Vernallis' convention of structuring editing based on the song's beat was closely followed. Andrew Goodwin's conventions of having the artist look at the camera and repetition of locations were also adopted for the up-beat urban pop genre video. The student's video can be considered a "disjuncture video" as it did not follow a narrative and locations/costumes did not have cohesion.
Types and styles of music videos
This document discusses different types and styles of music videos. There are three main types: narrative-based videos that tell a story related to the song's lyrics, performance-based videos that primarily feature the artist(s) performing, and concept-based videos that are based on a particular theme or concept. Some common styles discussed are animation, interpretive, impressionist, intertextual, surrealist, and allusion. Examples are provided for each type and style.
Types and styles of music videos
This document discusses different types and styles of music videos. There are three main types: narrative-based videos that tell a story related to the song's lyrics, performance-based videos that primarily feature the artist(s) performing, and concept-based videos that are based on a particular theme or concept. Some common styles discussed are animation, interpretive, impressionist, intertextual, surrealist, and allusion. Examples are provided for each type and style.
Types and styles of music videos
This document discusses different types and styles of music videos. There are three main types: narrative-based videos that tell a story related to the song's lyrics, performance-based videos that primarily feature the artist(s) performing, and concept-based videos that are based on a particular theme or concept. Some common styles discussed are animation, interpretive, impressionist, intertextual, surrealist, and allusion. Examples are provided for each type and style.
Types and styles of music videos
This document discusses different types and styles of music videos. There are three main types: narrative videos that tell a story related to the song's lyrics, performance videos that primarily feature the artist singing and dancing, and concept videos based on a specific theme. Some common styles are animation, where the video uses cartoons, and interpretive, impressionist, intertextual, surrealist, and allusion styles that use abstract visuals open to audience interpretation. Examples are provided for each type and style.
Andrew analysis Olly Murs
The document analyzes Andrew Goodwin's music video theory by applying it to Olly Murs' music video for "Heart Skips a Beat". It finds:
1) A match between the lyrics and visuals in the video.
2) A relationship between the music and visuals that cuts between drums playing and the artists.
3) Genre characteristics like casual clothing, dancing, and bright locations that represent the pop genre of the song.
4) Frequent looks at the camera to connect with viewers.
5) Promotion of the artist through branding and appealing to a young audience.
Types and Styles of music videos
This document discusses different types and styles of music videos. The main types are performance-based, narrative-based, and concept-based videos. Narrative videos attempt to tell a story related to the song's lyrics through visuals. Performance videos primarily feature the artist singing and dancing. Concept videos are based on a specific theme. Styles include animation, interpretive, impressionist, intertextual, surrealist, and allusion videos, which use techniques like references to other works, abstract visuals, and dream-like elements.
Codes and conventions of an indie music video
This document summarizes some common codes and conventions used in indie music videos. It discusses how indie music originated in the UK in the 1980s. It also outlines how indie music videos typically tell narratives that relate to but don't literally illustrate the song, use low-budget settings like studios and parks, feature live performances by the artist, employ simple props and costumes, incorporate dialogue and diegetic sound, utilize close-ups and establishing shots, and edit with filters and cuts between shots to match the pace of the music.
Analysis of twenty one pilots' Stressed Out
The music video for "Stressed Out" by twenty one pilots uses handheld camera work and static shots to create a sense of realism for the audience. It features settings like bedrooms and residential areas that are relatable to the audience and portray the nostalgia in the song's lyrics. The video also introduces the character of "Blurryface" and has a muted color scheme with an emphasis on red. The band's movements sync with the song and the video theme explores nostalgia and childhood to relate to the lyrics. Both band members are prominently featured conforming to genre conventions but in a way that is relatable to audiences.
Music Video research (taylor & bridgit)
This document analyzes the music videos for Taylor Swift's "22" and Bridgit Mendler's "Ready or Not" in terms of mise-en-scène elements like location, costumes, props, makeup, and camera work. It finds that both videos feature beach locations, layered accessories, and props like sunglasses and confetti poppers to convey a youthful, fun theme. Natural makeup and outfits like loose skirts also help establish the pop genre and target audience. Through the use of multiple locations, costumes, angles and shots, the videos maintain an upbeat, fast-paced visual style to match the songs.
What is a dance music video
The document discusses what a dance music video is and the different styles and techniques involved in creating music videos. It explains that a music video is primarily a promotional tool to encourage sales of a song and artist. There are three main subgenres of music videos: narrative videos which tell a story, performative videos which mainly feature the artist performing, and conceptual videos which follow an abstract theme without a clear story. The document also outlines other styles like mixture videos and cameo videos, as well as important technical elements like camera shots, angles, movements, editing, and mise-en-scene considerations.
Media evaluation Question 1
The document discusses conventions of music videos including editing clips to match the beat of the song, using visual effects, lip syncing/miming, different camera shots and movements, and various camera angles. It provides examples for each convention from specific music videos. The response discusses including conventions of lip syncing/miming, different camera shots and angles, and visual effects in their own music video while also learning about typical conventions from real music videos and genres.
More Related Content
What's hot
conventions
Music videos use various camera techniques, editing styles, mise-en-scene, and conventions to represent the song and artist. Common camera techniques include long shots, close-ups, and mid shots to emphasize the artist, location, and emotions. Close-ups also reflect the lyrics through the artist's mouth movements. Mise-en-scene arranges performers and props to highlight representation, such as isolation or depression. Jump cuts and transitions like fades are prominent editing techniques used to transition between scenes quickly or create different effects. The style of the music video should align with the music to create a cohesive package that reflects the tone, such as bright colors for upbeat songs or darker tones for sadder songs.
A2 Media - Similar Product Analysis
The document analyzes and summarizes the music video for Selena Gomez's song "The Heart Wants What It Wants". It discusses several aspects of the video including the camera shots, narrative, mise-en-scene, and how it relates to music video analysis theories. Specifically, it notes that the video uses many close-up shots of Gomez singing to focus on her emotions. It also has a narrative element showing Gomez's character torn between acting happy in public but hurting privately after a breakup. The black-and-white and low-key lighting style reflects the sad mood of the song.
Sven E Carlsson - Music Video Theorist
Sven E Carlsson developed a theory categorizing music videos into two main types: performance and conceptual. Performance videos focus on the artist, and may feature them as a commercial exhibitionist, televised bard, or electronic shaman. Conceptual videos tell a narrative story either through clips (silent movies synchronized to the song) or art clips with no narrative. Both types of videos often use binary opposites to drive the narrative forward, such as light vs dark. The document provides examples of videos that fit each category and discusses their characteristics.
Conventions of music videos (2)
The original purpose of music videos was to advertise and promote an artist's song in order to increase sales and boost their reputation. Music videos provide visual entertainment beyond just the music itself and are sometimes used to reinforce an artist's outrageous or flamboyant public image, such as Lady Gaga. While the earliest forms of music videos date back to the 1860s, the genre truly began emerging in the mid-20th century through musical films and movies that featured hit songs. Most modern music videos utilize similar conventions like various camera shots, movements, arrangements of performers and props, and editing techniques to both represent the mood or message of the song and set the artist and performance visually apart from other genres.
Music videos basics
The document discusses different categories of music videos including performance, conceptual, and narrative styles. Performance videos focus on the artist performing, conceptual videos are based on an idea rather than performance, and narrative videos tell a story. Popular genres like pop often use narrative styles while rock may use conceptual or performance. Examples are provided for each category to illustrate their distinguishing characteristics.
Sven E Carlsson
Sven E Carlsson proposes a theory that music videos can be categorized as either "performance" or "conceptual" based on their narrative elements. For performance videos, the artist is prominently featured singing and dancing, exemplified by Rihanna's "Rude Boy" video. Conceptual videos emphasize artistic elements beyond just the performer, like Lil Wayne's "Lollipop" video which uses candy props and settings to tell a story beyond his performance. Carlsson also describes three types of performers commonly featured - the commercial exhibitionist, televised bard, and electronic shaman.
Music video types
The document describes three types of music videos:
1. Performance videos focus on the artist singing and playing their song, conveying the live concert experience.
2. Narrative videos tell a story through a sequence of events, commonly a love story.
3. Conceptual videos rely on metaphor and poetic form to create a mood rather than tell a linear story, allowing for multiple interpretations.
Music video types
There are three main types of music videos: performance videos, narrative videos, and conceptual videos. Performance videos typically show the artist performing live on stage or in a location. Narrative videos tell a story that relates to the song's lyrics through various storytelling shots edited together. Conceptual videos may also tell a story but have no real connection to the song, and can be experimental in style through animation or unusual editing techniques. Both performance and narrative elements are often combined for maximum effect in conveying the artist's identity and relating visually to the song.
Goodwin Everybody's Fool
The music video for Evanescence's "Everybody's Fool" synchronizes the music and visual elements, with cuts coinciding with drops in the beat. Scenes of the artist, who plays the main character, are shown when the lyrics mention "Everybody's Fool" and she bows down when it says "bow down". Close ups of the lead singer throughout, and her as the protagonist, demonstrate the record label's influence over crafting her image. The character is portrayed as voyeuristic through tight clothing and looking through mirrors in different personas.
Types and Styles of music videos
This document summarizes different types and styles of music videos. It discusses three main types: narrative based videos that tell a story related to the song's lyrics, performance based videos that primarily feature the artist singing and dancing, and concept based videos that are based on a particular theme. It then describes various styles of music videos including animated, interpretive, impressionist, using intertextuality, surrealist, and allusion. Examples are provided for each type and style.
Ideas and notes on evaluation question 1
The document discusses conventions used in media products and evaluates how the student's music video did or did not follow certain conventions. It examines Laura Mulvey's male gaze theory and how shots in the video only somewhat followed this convention by having one twirling shot of the covered up artist. Carol Vernallis' convention of structuring editing based on the song's beat was closely followed. Andrew Goodwin's conventions of having the artist look at the camera and repetition of locations were also adopted for the up-beat urban pop genre video. The student's video can be considered a "disjuncture video" as it did not follow a narrative and locations/costumes did not have cohesion.
Types and styles of music videos
This document discusses different types and styles of music videos. There are three main types: narrative-based videos that tell a story related to the song's lyrics, performance-based videos that primarily feature the artist(s) performing, and concept-based videos that are based on a particular theme or concept. Some common styles discussed are animation, interpretive, impressionist, intertextual, surrealist, and allusion. Examples are provided for each type and style.
Types and styles of music videos
This document discusses different types and styles of music videos. There are three main types: narrative-based videos that tell a story related to the song's lyrics, performance-based videos that primarily feature the artist(s) performing, and concept-based videos that are based on a particular theme or concept. Some common styles discussed are animation, interpretive, impressionist, intertextual, surrealist, and allusion. Examples are provided for each type and style.
Types and styles of music videos
This document discusses different types and styles of music videos. There are three main types: narrative-based videos that tell a story related to the song's lyrics, performance-based videos that primarily feature the artist(s) performing, and concept-based videos that are based on a particular theme or concept. Some common styles discussed are animation, interpretive, impressionist, intertextual, surrealist, and allusion. Examples are provided for each type and style.
Types and styles of music videos
This document discusses different types and styles of music videos. There are three main types: narrative videos that tell a story related to the song's lyrics, performance videos that primarily feature the artist singing and dancing, and concept videos based on a specific theme. Some common styles are animation, where the video uses cartoons, and interpretive, impressionist, intertextual, surrealist, and allusion styles that use abstract visuals open to audience interpretation. Examples are provided for each type and style.
Andrew analysis Olly Murs
The document analyzes Andrew Goodwin's music video theory by applying it to Olly Murs' music video for "Heart Skips a Beat". It finds:
1) A match between the lyrics and visuals in the video.
2) A relationship between the music and visuals that cuts between drums playing and the artists.
3) Genre characteristics like casual clothing, dancing, and bright locations that represent the pop genre of the song.
4) Frequent looks at the camera to connect with viewers.
5) Promotion of the artist through branding and appealing to a young audience.
Types and Styles of music videos
This document discusses different types and styles of music videos. The main types are performance-based, narrative-based, and concept-based videos. Narrative videos attempt to tell a story related to the song's lyrics through visuals. Performance videos primarily feature the artist singing and dancing. Concept videos are based on a specific theme. Styles include animation, interpretive, impressionist, intertextual, surrealist, and allusion videos, which use techniques like references to other works, abstract visuals, and dream-like elements.
Codes and conventions of an indie music video
This document summarizes some common codes and conventions used in indie music videos. It discusses how indie music originated in the UK in the 1980s. It also outlines how indie music videos typically tell narratives that relate to but don't literally illustrate the song, use low-budget settings like studios and parks, feature live performances by the artist, employ simple props and costumes, incorporate dialogue and diegetic sound, utilize close-ups and establishing shots, and edit with filters and cuts between shots to match the pace of the music.
Analysis of twenty one pilots' Stressed Out
The music video for "Stressed Out" by twenty one pilots uses handheld camera work and static shots to create a sense of realism for the audience. It features settings like bedrooms and residential areas that are relatable to the audience and portray the nostalgia in the song's lyrics. The video also introduces the character of "Blurryface" and has a muted color scheme with an emphasis on red. The band's movements sync with the song and the video theme explores nostalgia and childhood to relate to the lyrics. Both band members are prominently featured conforming to genre conventions but in a way that is relatable to audiences.
Music Video research (taylor & bridgit)
This document analyzes the music videos for Taylor Swift's "22" and Bridgit Mendler's "Ready or Not" in terms of mise-en-scène elements like location, costumes, props, makeup, and camera work. It finds that both videos feature beach locations, layered accessories, and props like sunglasses and confetti poppers to convey a youthful, fun theme. Natural makeup and outfits like loose skirts also help establish the pop genre and target audience. Through the use of multiple locations, costumes, angles and shots, the videos maintain an upbeat, fast-paced visual style to match the songs.
What's hot (20)
Similar to Music video styles
What is a dance music video
The document discusses what a dance music video is and the different styles and techniques involved in creating music videos. It explains that a music video is primarily a promotional tool to encourage sales of a song and artist. There are three main subgenres of music videos: narrative videos which tell a story, performative videos which mainly feature the artist performing, and conceptual videos which follow an abstract theme without a clear story. The document also outlines other styles like mixture videos and cameo videos, as well as important technical elements like camera shots, angles, movements, editing, and mise-en-scene considerations.
Media evaluation Question 1
The document discusses conventions of music videos including editing clips to match the beat of the song, using visual effects, lip syncing/miming, different camera shots and movements, and various camera angles. It provides examples for each convention from specific music videos. The response discusses including conventions of lip syncing/miming, different camera shots and angles, and visual effects in their own music video while also learning about typical conventions from real music videos and genres.
Codes and conventions of a music video
This document discusses the codes, conventions, and considerations that go into making a successful music video. It explains that technical codes refer to lighting and props while symbolic codes refer to meaning. Conventions are habits expected in music videos. Key aspects of music videos include mise-en-scene, camera work, editing, performance/narrative, voyeurism, intertextuality, and advertising product placement. Editing and camera work are especially important for joining scenes and influencing audience perspective.
A2 Media Studies (Music Video) - Evaluation Question 1 Part 1
This document discusses the codes and conventions of music videos. It defines codes and conventions as techniques used to construct meaning. It then examines several common technical and symbolic codes and conventions, including camera shots/angles/movement, editing/special effects, sound, and mise-en-scene elements like costume, lighting, makeup, props, and setting. Specific music video examples are provided to illustrate each convention. The document aims to analyze how a music video may use, develop, or challenge these typical forms and conventions.
In what ways does your media product use, develop or challenge forms and conv...
The document discusses how a student's media product uses, develops, and challenges conventions of real media. The student created a narrative music video that used typical camera shots and movements, purposeful mise-en-scene elements, and editing techniques like dissolves. However, it challenged conventions by not including ambient sound and having a non-stereotypical storyline. The student believes the video both uses conventions like representations of gender roles, but also challenges norms by subverting expectations of what a pop music video should be. The student also discusses how their digipak and poster for the album release both use and develop conventions to promote the artist.
Codes and Conventions of Music Videos
Music videos use codes and conventions in their cinematography, editing, sound, mise-en-scene, and genre-specific techniques to promote artists and connect with audiences. Cinematography employs shots like close-ups and angles that suit different genres and songs. Editing cuts rhythmically to the beat. Mise-en-scene reflects lyrics through locations, costumes, and instruments. Genres have recognizable styles - R&B features wealth, rock uses dark colors for live performances, while pop uses bright colors and some voyeurism targeted at teens.
Music video conventions
The document discusses several conventions of music videos, including narrative, performance, cameos, sound, and mise-en-scene. Narrative videos tell a story that relates to the lyrics, with a beginning, middle and end. Performance videos focus on the artist lip syncing or performing. Cameos feature celebrity appearances to promote the video. Sound should relate to the visuals per theorist Andrew Goodwin. Mise-en-scene encompasses props, costumes, lighting, location, and more to set mood and theme.
Conventions of a music video
The document discusses various conventions used in music videos, including performance-based videos that solely feature the artist performing, narrative-based videos that tell a story through the song's lyrics, and mixture videos that combine both. It also covers elements like camera angles, movements, editing, mise-en-scene, and sound design that are important for crafting an effective music video. Examples are provided for different types and how certain conventions are applied.
Music video analysis powerpoint file
This document provides an analysis of Aiden Grimshaw's 2015 music video for his song "Virtually Married" according to Andrew Goodwin's 7 key areas for analyzing music videos. It finds that the video demonstrates several characteristics of its indie dance genre, including its color scheme, editing style, and visual aesthetic. It also establishes relationships between the lyrics and visuals, as well as between the music and visuals, with the tone and pacing of the video reflecting the song. As a relatively new artist, the video aims to develop motifs for Grimshaw through many close-ups and medium shots of him to establish his style. Finally, the analysis finds no clear intertextual references to other works in the video,
Codes and conventions music video’s
The document provides information on different types of music videos, including narrative-based videos, performance-based videos, and videos that combine both narrative and performance elements. It discusses conventions for each type and provides examples. Key points include that narrative-based videos tell a story that corresponds to the song lyrics, while performance-based videos focus on dance routines. However, most successful videos include both narrative and performance elements to engage audiences on multiple levels.
Research into music videos
This document discusses different types of music videos and their key characteristics. It begins by describing narrative music videos, which tell a story through a sequence of events that parallel the song. Performance music videos capture a live performance to give audiences an authentic view of the artist. Conceptual music videos are more abstract and focus on visuals over narrative or lyrics. The document then provides examples and analyses of different music videos to illustrate these styles. It also covers technical aspects like camera angles, shots, editing, and the production process.
Q1
The document discusses conventions of indie music videos. It notes that typical conventions include a focus on love and break-ups, shots of young artists, scenic natural backgrounds, a mixture of narrative scenes and performance shots, close-ups of the artist, and references to instruments like guitars. However, the author chose to challenge some conventions for their own video. They focused heavily on linking the lyrics and visuals, unlike many other indie videos, to tell a clear narrative through the video.
Andrew goodwin media
Andrew Goodwin identified 5 codes and conventions of music videos: thought beats, narrative and performance, star image, relation of visuals to song, and technical codes. Music videos visually represent the structure, beat, and tempo of songs through footage of verses and choruses. They also represent an artist's image and brand identity. Music videos mainly attempt to tell the story of the song and can be used to promote the artist. They must engage audiences to watch repeatedly without getting bored. Videos can make artists seem more genuine by having them perform and narrate their own songs or portray characters. Music videos primarily promote artists and increase their profiles, fans, and record company profits.
Ellie andrew goodwins theory
The document discusses several perspectives on the purpose of music videos. Andrew Goodwin's perspective is that music videos are primarily a promotional form rather than an artistic commodity meant for simple enjoyment. However, some music videos can also tell stories or be considered artistic works. The document then analyzes several music videos and discusses whether they aim to promote artists, songs, or other products versus telling a story or being considered a creative work for viewer enjoyment.
Conventions of a music videos
There are three main types of music videos: narrative videos which tell a story, conceptual videos based around a single idea, and performance videos featuring the artist. Music videos use various camera shots and angles like close-ups and tracking shots to focus attention. They also utilize editing techniques, lighting, costumes, sets and props to match the genre and mood of the song.
Types and Conventions of Music Videos
There are three main types of music videos: performance, narrative, and concept-based. Performance videos feature the artist performing live on stage. Narrative videos tell a story that relates to the song's lyrics or genre through illustration, amplification, or disjunction of the narrative from the lyrics. Concept-based videos are based on a single idea or concept and are often abstract, leaving interpretation up to the viewer. They may use themes or symbols. Successful music videos typically show a relationship between the visuals and lyrics, are edited to the beat of the music, incorporate genre-related styles, and promote the artist.
Forms and Conventions of my Music Video
This document discusses common forms and conventions of music videos in the indie pop genre. It notes that indie pop music videos typically have low budgets and are filmed in isolated locations like studios, empty cities, parks, and woods. They also commonly include live performances by the artist. While live performances are a convention, the author's music video challenges this by not including one. The document provides details on common narrative techniques, production elements like mise-en-scene, sound, camerawork, and editing seen in indie pop music videos.
Andrew Goodwin's Theory
Andrew Goodwin's theory states that there are five key aspects to an effective music video: 1) Thoughtful analysis of the song's beat and lyrics, 2) A relationship between the visuals and song, 3) A narrative and performance of the song by the artist, 4) Emphasizing the star image of the protagonist through camera shots, 5) Technical elements like lighting, editing, and effects that enhance the video. Goodwin believed visuals should illustrate, amplify, or sometimes contradict the lyrics and that the artist's involvement improves engagement. Technical aspects like mise-en-scene are also important to produce a professional, entertaining video.
Types of music videos
There are three main types of music videos:
1) Performance-based videos feature the artist(s) performing the song, typically on stage or in a studio. These allow the artist to showcase their talents and are common for pop singers.
2) Narrative-based videos tell a story or follow plot/characters, either acted by the artist or other actors. They can appear as short films with music. Taylor Swift's "We Are Never Ever Getting Back Together" is an example.
3) Conceptual-based videos are based on an unusual or obscure idea that may not relate to the song's meaning, appealing to niche audiences. The Vaccines' "Handsome" uses aliens and explosions in a
Codes and conventions of a music video 2
This document discusses various codes and conventions used in music videos. It covers different styles of music videos including narrative, performance, and mixtures of the two. It also discusses important technical elements like camera work, editing, sound, and mise-en-scene. Examples are provided to illustrate different techniques like the use of camera angles to portray emotions or lighting and setting to match the mood of a song's lyrics. Elements like costumes and props are also explained as ways to convey a music video's genre through visual cues.
Similar to Music video styles (20)
A2 Media Studies (Music Video) - Evaluation Question 1 Part 1
A2 Media Studies (Music Video) - Evaluation Question 1 Part 1
In what ways does your media product use, develop or challenge forms and conv...
In what ways does your media product use, develop or challenge forms and conv...
More from hanaa_m
Short film proposal: Clara Barroso
The document is a proposal for a short film called "Producer(s): Clara Barroso Production Title: Short Film" by Haydon Media. It will be a 5.5 minute drama/family film shot in Portugal using a cinema verite style. It will have two main characters and incorporate different age groups and locations to appeal to a wide "PG" audience internationally, while conveying a message about humanity and love. The film draws inspiration from short animated films like "In a Heartbeat" as well as live action shorts like "I Just Sued The School System".
Character mise-en-scene: Clara Barroso
The document discusses the character mise-en-scene for the filmmaker's short film. It describes the two main characters, Joana and Margarida Goncalves, who are sisters. Joana, age 9, represents next generation kids and was chosen for her colorful dress that helps her stand out in nature scenes. Margarida, age 13, represents today's teenagers and was chosen for a dark blue dress that adds shadows as she walks alone near water. The filmmaker wanted the characters to be themselves but represent specific groups for the audience to relate to.
Location-mise en-scene: Clara Barroso
This the location mise-en-scene for the chosen locations that I will be shooting in for my short film. I have chosen four different locations in Portugal to shoot in.
Side by Side -Comparison -Clara Barroso
This is comparison work between my first drafts and my final products with my film poster(s) and my double page magazine article. Work by Clara Barroso.
Editing Process -Final Magazine Article: Clara Barroso
The document discusses the editing process for a final magazine article. It focuses on an article written by Clara Barroso that will undergo editing before publication. The editing process will refine and polish the article to ensure it meets standards for clarity, concision, flow, and interest before being published in the magazine.
Image manipulation- Clara Barroso
Clara Barroso took a portrait photograph of a child at sunset in Portugal to use as the main image for her film poster. She used Lightroom to add a filter and adjust the image. However, the photograph was a portrait orientation and she needed a landscape version. So in Photoshop, she edited the portrait photograph to transform it into a landscape version for the film poster by cropping parts of the sun and child's body and using various tools while trying not to overedit the image.
Side by side
This document compares the first draft and final product of a magazine advertisement and a digipak. The digipak section shows three iterations of "FIRST DRAFT VS FINAL PRODUCT" while the magazine advertisement shows the text "FIRST DRAFT VS FINAL PRODUCT" laid out differently from the digipak versions.
Call sheet- Clara Barroso
This call sheet provides details for the short film "Believe" to be shot from August 19th to September 4th 2017 in Portugal. It outlines the production team including Clara Barroso as producer and director, locations in Barcelos, Apulia, Fatima/Leiria, and Praia Fluvial de Merelim. The main cast and their roles are listed along with required equipment, scenes to be shot, clothing needs, and transportation plans.
Rushes log for short film- Clara Barroso
This document provides a rushes log for the short film "Believe" with descriptions and technical notes for various video clips. It contains over 30 video clips ranging from 1 second to 1 minute 30 seconds in length, with descriptions of the camera angles, subjects, and technical issues like focus, lighting, or shakiness. The notes provide instructions on how to trim, speed up, or stabilize clips for optimal use in the final short film product.
Shot list- Clara Barroso
This document provides a shot list for the short film "Believe" with details on 65 shots including location, shot type, focus, movement, subjects, and timing. The shots cover a range of types including close-ups, medium shots, long shots, and establish establishing shots. Subjects include candles, people, instruments, beaches, churches and more. Shot lengths vary from 2 to 25 seconds with most between 2-10 seconds. The shot list shows coverage of multiple scenes and characters to tell the story.
Short film script
This is the script for my short film, I wrote the short film script from scratch. Work done by Clara Barroso.
Stages/Processes
The document outlines stages in a production process including drafting, magazine advertisements, and digipaks. It refers to different formats for promotional materials like advertisements and packaged media like digipaks. The stages are part of a larger workflow or production cycle.
Rushes log
This document contains a rushes log for the music video production of AKMU's Dinosaur by producer Mina Yakinya. It lists 20 video clips by filename, duration, description, and any relevant comments on usage. Most clips will be used after trimming or fixes like stabilization, color correction, or reducing shakiness. A few clips are deemed not usable due to issues like being out of focus, cutting off subjects, or unstable footage.
Creating my title
Creating my title requires planning during the pre-production phase. This initial stage involves determining the overall vision and scope for the project, including researching the topic, developing a treatment, creating a schedule and budget, and assembling a team.
Image manipulation
Editing involves two main processes - production editing and post-production editing. Production editing occurs during filming and ensures the shots and scenes being filmed will effectively tell the story. Post-production editing assembles all of the filmed material into the final cut by organizing shots, removing unwanted footage, and determining pacing and flow.
Editing processes
Editing involves careful planning and consideration. The editor must first analyze the document to understand its key points and structure. They then determine how to best refine and improve the content to make it clear, concise, and effective for the intended audience.
Brand guidelines
The document provides an overview of the brand guidelines the student created for an indie artist named Samina Roka. The guidelines focused on conveying authenticity, linking the magazine ad, digipak, and music video visually and conceptually, and presenting the materials in a natural style. For the magazine ad and digipak, the student used similar imagery of the artist at St. Paul's Cathedral and a mix of fonts to look polished yet personal. Shots of the same location and color palette were used in the music video to further link the elements while maintaining a feeling of authenticity through natural poses, fades between shots, and consideration of the music.
Personnel for short film
Clara Barroso is producing a short film called "Believe" and has assembled a crew. She will serve as the producer and director to ensure smooth production. Bernardo Lima will model for the film poster representing young characters. Margarida and Joana Goncalves will play main characters representing teenagers and young kids. Roger Bulkeley will provide voiceover by reading the script. Fernando Valezquez's song may be used if permission is granted. Pedro Barroso will assist with lighting using a reflector.
Location recce 4- Praia Fluvial de Merelim
This document provides location details for Praia Fluvial de Merelim beach in Portugal. It will be used to photograph the film poster and shoot footage to include at the end of the short film. The beach has no waves, warm water, and is busy in the summer. Shooting there around sunset provided clear water and shadows, making it the perfect location for the poster image. Permission is not required as it is a public beach. Safety and ensuring the crew does not get injured needs to be considered. It is an hour drive but transporting equipment was not an issue.
Location recce 3-Apulia
This document provides location details for Apúlia beach in Portugal to be used for shooting a short film. The beach is a public location that is 30 minutes from the producer's home, offering different areas to film by the beach and rocks. As it is a public beach, no permissions are needed but safety precautions must be taken around the cliffs and when filming young models. Weather could impact the shoot so planning will be needed to use the location on good days.
More from hanaa_m (20)
Editing Process -Final Magazine Article: Clara Barroso
Editing Process -Final Magazine Article: Clara Barroso
Recently uploaded
Azure Interview Questions and Answers PDF By ScholarHat
Azure Interview Questions and Answers PDF By ScholarHat
PCOS corelations and management through Ayurveda.
This presentation includes basic of PCOS their pathology and treatment and also Ayurveda correlation of PCOS and Ayurvedic line of treatment mentioned in classics.
clinical examination of hip joint (1).pdf
described clinical examination all orthopeadic conditions .
What is the purpose of studying mathematics.pptx
Students often ask about what the purpose is for their learning. This PowerPoint highlights some really important reasons to study Mathematics.
The History of Stoke Newington Street Names
Presented at the Stoke Newington Literary Festival on 9th June 2024
www.StokeNewingtonHistory.com
RPMS TEMPLATE FOR SCHOOL YEAR 2023-2024 FOR TEACHER 1 TO TEACHER 3
RPMS Template 2023-2024 by: Irene S. Rueco
How to Fix the Import Error in the Odoo 17
An import error occurs when a program fails to import a module or library, disrupting its execution. In languages like Python, this issue arises when the specified module cannot be found or accessed, hindering the program's functionality. Resolving import errors is crucial for maintaining smooth software operation and uninterrupted development processes.
How to Add Chatter in the odoo 17 ERP Module
In Odoo, the chatter is like a chat tool that helps you work together on records. You can leave notes and track things, making it easier to talk with your team and partners. Inside chatter, all communication history, activity, and changes will be displayed.
Executive Directors Chat Leveraging AI for Diversity, Equity, and Inclusion
Let’s explore the intersection of technology and equity in the final session of our DEI series. Discover how AI tools, like ChatGPT, can be used to support and enhance your nonprofit's DEI initiatives. Participants will gain insights into practical AI applications and get tips for leveraging technology to advance their DEI goals.
Chapter 4 - Islamic Financial Institutions in Malaysia.pptx
Chapter 4 - Islamic Financial Institutions in Malaysia.pptxMohd Adib Abd Muin, Senior Lecturer at Universiti Utara Malaysia
This slide is special for master students (MIBS & MIFB) in UUM. Also useful for readers who are interested in the topic of contemporary Islamic banking.
DRUGS AND ITS classification slide share
Any substance (other than food) that is used to prevent, diagnose, treat, or relieve symptoms of a
disease or abnormal condition
Advantages and Disadvantages of CMS from an SEO Perspective
Advantages and Disadvantages of CMS from an SEO Perspective
Digital Artifact 1 - 10VCD Environments Unit
Digital Artifact 1 - 10VCD Environments Unit - NGV Pavilion Concept Design
Thesis Statement for students diagnonsed withADHD.ppt
Presentation required for the master in Education.
Pollock and Snow "DEIA in the Scholarly Landscape, Session One: Setting Expec...
Pollock and Snow "DEIA in the Scholarly Landscape, Session One: Setting Expec...National Information Standards Organization (NISO)
This presentation was provided by Steph Pollock of The American Psychological Association’s Journals Program, and Damita Snow, of The American Society of Civil Engineers (ASCE), for the initial session of NISO's 2024 Training Series "DEIA in the Scholarly Landscape." Session One: 'Setting Expectations: a DEIA Primer,' was held June 6, 2024.Recently uploaded (20)
Azure Interview Questions and Answers PDF By ScholarHat
Azure Interview Questions and Answers PDF By ScholarHat
RPMS TEMPLATE FOR SCHOOL YEAR 2023-2024 FOR TEACHER 1 TO TEACHER 3
RPMS TEMPLATE FOR SCHOOL YEAR 2023-2024 FOR TEACHER 1 TO TEACHER 3
Executive Directors Chat Leveraging AI for Diversity, Equity, and Inclusion
Executive Directors Chat Leveraging AI for Diversity, Equity, and Inclusion
Chapter 4 - Islamic Financial Institutions in Malaysia.pptx
Chapter 4 - Islamic Financial Institutions in Malaysia.pptx
Advantages and Disadvantages of CMS from an SEO Perspective
Advantages and Disadvantages of CMS from an SEO Perspective
Thesis Statement for students diagnonsed withADHD.ppt
Thesis Statement for students diagnonsed withADHD.ppt
Pollock and Snow "DEIA in the Scholarly Landscape, Session One: Setting Expec...
Pollock and Snow "DEIA in the Scholarly Landscape, Session One: Setting Expec...
Music video styles
- 1. Music Video Styles PERFORMANCE, CONCEPTUAL, NARRATIVE
- 2. Performance Features a heavy performance element This can be from the artist themselves or dancers (For example: Sia’s videos often feature Maddie Ziegler and not Sia herself) A most effective way of advertising the artist’s talent Can be the artist performing the song or just ‘fooling around’ Often include lots of close ups of the artist For example: Bruno Mars’ ‘That’s what I like’ This is a good example of a performance video as it shows only the artist performing the song for the duration of the video. However, illustrations have been added throughout the video, this helps to tie the lyrics in to the video. As well as this, the artist appears to have been slightly sped up to match the tempo, this helps keep the video fast paced and therefore more interesting.
- 3. Conceptual Concept videos are based around a single idea or concept Usually are combined with one of the other two styles as the market demands for greater accessibly rather than the somewhat niche that is pure concept art A successful video will keep the audience entertained and constantly looking and what/who is on the screen Symbols, montages, lighting, and tempo are all specially used to create a certain atmosphere/meaning For example: Sia’s ‘The Greatest’ This is not purely a conceptual video. It is a narrative embedded in a concept. The director (Daniel Askill) and Sia use dancers to show a video vaguely similar to Sia’s other videos. Absent of any social context, it's all striking, beautiful and sad. With the knowledge that it was inspired by queer youths and friends gunned down in the act of coming together and enjoying themselves (a shooting in an Orlando nightclub shortly before the video), it becomes almost unbearably poignant.
- 4. Narrative A video that features a visual story that is easy to follow A pure narrative video will feature no lip-syching at all. The narrative will often relate to the song in some way- the lyrics are often reflected in the story The most common type of narrative video is Performance/Narrative: these show a performance from the artist but also have a plot to it For example: Taylor Swift’s ‘Everything Has Changed (ft Ed Sheeran)’ This would be considered a narrative video as the entire video revolves around the story of the two children. The artists never show up in the video except for at the end; and even here, it is merely for a few moments. The story of the video does relate to the lyrics as it follows the story of two children meeting and the evolution of their love story. However, it could also be considered slightly conceptual as the actors have been stylised to look like the artists.