Narrative and Performance
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Music videos often cut between a narrative storyline and a performance of the song, leaving viewers wanting more. They may include carefully choreographed dances by the artist or band. While lip syncing and miming playing instruments remain central, the videos also allow audiences novel perspectives of the performer through close-ups and roles in narratives not possible in live shows. Directors use the mise-en-scene, or visual style, to convey authenticity through rehearsals or shows, relate to genres, suggest sexuality through settings, or emphasize aspirational lifestyles.
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Applying Goodwin's theory to music videos - Beyonce single ladies
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To produce a successful music video, you must follow several rules. Videos must be 3-5 minutes long and feature elements like costume changes, location changes, and varied camera work. They must also suit the artist's style and genre through techniques like linking visuals to lyrics and music or including characteristic genre locations. Additionally, videos often include voyeuristic shots of artists and intertextual references to engage audiences. Overall, videos aim to promote the artist through performance or narrative frameworks that maintain interest on repeated viewings.
Presentation3
There are several conventions that are typically followed in music videos. They include establishing a relationship between the lyrics and visuals, having many close-ups of the main artist, relating the music and visuals, representing particular music genres through style and iconography, including elements of voyeurism, developing the artist's star iconography, and making intertextual references. Genre, cinematography, editing, intertextuality, narrative, and performance all play roles in how meaning is constructed in a music video. Conventions are often used to authenticate the artist and genre, relate to familiar genres, or emphasize an aspirational lifestyle.
Codes,convention’s and research of music videos
Music videos serve several purposes: to attract a wider audience by visualizing the song's narrative; to craft a public image for the artist and manipulate audience perception; and to entertain the target audience and increase engagement. Research shows that early music videos consisted mainly of live performance clips. To stand out, modern videos often use unusual locations or settings. Societal stereotypes are frequently reinforced through common portrayals in genres and gender roles. The typical structure of a music video is 3-4 minutes with fast cuts, close-ups, motifs, and colors to connect visuals to lyrics and meaning. Narratives may include beginnings, middles, ends or flashbacks related to the lyrics.
Detailed Analysis of Music Videos
This document provides an analysis of conventions in music videos according to 7 features identified by Andrew Goodwin. It then analyzes 4 music videos based on Goodwin's features:
1. Ben Howard's "I Forget Where We Were" defies conventions by not showing the artist and having no clear relationship between lyrics and visuals.
2. Earl Sweatshirt's "Whoa" follows conventions by showing the artist prominently and having dreary visuals matching the song's feel.
3. Modern Baseball's "The Weekend" matches lyrics to visuals unlike typical indie videos and shows the band, fitting the indie genre.
4. The videos analyze reference to "looking", motifs, and
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
Conventions of a music video
The document discusses conventions used in music videos. It explains that camera shots like long shots, close-ups, and mid shots are used to focus on artists and establish the mood. Mise-en-scene, or the visual elements of a video, reflect the song's emotions and message through settings and costumes. Genres also influence conventions - love videos depict relationships through bright colors and fashion, while indie videos emphasize authenticity with live performances. Edits switch between locations, artists, and scenes to tell the story and match the music. Lighting and sound also reflect the genre through bright versus dark tones and fast versus slow pacing.
Concept narrative performance screenshots homework
The document discusses three music videos and analyzes whether they are examples of concept, narrative, or performance videos. The first video about bouncing balls traveling down a street is described as highly conceptual with no distracting performance or narrative elements. The second video solely focuses on a band's live rehearsal performance without an audience to create intimacy. The third video tells the narrative of a relationship ending through the duet performance of the song's artists portraying the characters in the lyrics, blending narrative and conceptual elements.
Andrew goodwin
This document discusses key aspects of music videos including thought beats, narrative and performance, the star image, narrative types, and technical aspects. It provides examples of different narrative types in specific music videos. Illustration videos directly relate the images to the song lyrics, amplification adds new meaning while still connecting to the song, and disjuncture contradicts the lyrics and creates an unrelated new narrative. Technical aspects like editing, effects, lighting, and mise-en-scene are discussed in relation to emphasizing parts of the song. Conventions like following the song structure and the role of the artist as performer/narrator are also covered.
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.
Music Video Analysis
The document provides an overview of Andrew Goodwin's theory on characteristics found in music videos. It lists 7 main points: 1) Music videos demonstrate genre characteristics, 2) There is a relationship between lyrics and visuals where lyrics are represented through images, 3) The relationship between music and visuals where the visual tone reflects the music, 4) Record labels demand close ups of artists and artists develop recurring motifs, 5) Frequent references to looking through screens and mirrors and voyeuristic treatment of female bodies, 6) Artists develop recurring motifs that establish their visual style, 7) Intertextual references to other media like films and other music videos.
Music video analysis
The document provides an overview of Andrew Goodwin's theory on characteristics commonly found in music videos. It lists 7 key points: 1) Music videos demonstrate genre characteristics, 2) There is a relationship between lyrics and visuals, with lyrics typically being represented illustratively, amplifyingly, or contradictingly through images, 3) The tone and atmosphere of visuals typically reflects that of the music illustratively, amplifyingly, or contradictingly, 4) Record labels demand close-ups of artists, and artists may develop recurring visual motifs, 5) Videos frequently reference notions of looking and may treat the female body voyeuristically, 6) Artists often develop recurring visual motifs, and 7) Videos sometimes include intertextual references to
Music video genre’s
The document discusses different genres of music videos: performance, narrative, and conceptual. Performance videos focus on the artist singing or playing music. Narrative videos tell a story that may illustrate, amplify, or be disjointed from the song's lyrics. Conceptual videos have ambiguous meanings and symbolism without a clear narrative. They require interpretation. The genres can overlap, and performance/narrative hybrids are popular for indie rock in drawing audiences through both the artist and story.
Goodwins theory
The video demonstrates several of Goodwin's points about music videos: it shows a relationship between the lyrics and visuals by literally representing the lyrics with images; the atmosphere and editing of the visuals represents the music and cuts in time with the beat; and it sticks to the alternative genre characteristics through its abstract and slightly odd style, angles, and fashion. Additionally, there are frequent close ups of the lead singer as record labels typically demand, and shots that reference the notion of looking through suggestive shots of a dancer.
Evaluation Question One
The document summarizes how the music video for "Freddy & The Letdowns – Ike & Tina" uses and challenges conventions of real music videos. It discusses applying Goodwin's theory of illustrating lyrics visually and promoting the star image. It also describes how the editing uses disjunctive techniques, and how the camerawork and narrative employ both conventional and unconventional approaches. Tropes of the music genre are explored, as well as instances of voyeurism compared to other music videos.
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Pre production: Storyboard
The storyboard is a key part of pre-production as it allows notes to be made and provides a visual representation of what each scene will look like. The document then shares that it has created a storyboard for an editing task and a final storyboard for a music video project.
Treatment feedback from audience
The document asks 3 questions to gauge a respondent's reaction to a narrative treatment for a song, asking if they liked the narrative, if the narrative matched the song, and if the narrative sufficiently explained what occurred in the accompanying video.
Narrative and Performance
Music videos often cut between a narrative storyline and a performance of the song. They leave viewers wanting more by presenting storylines or scenes in a non-linear fashion. Additionally, choreographed dances may be included to aid in visualizing and rewatching the video. Sometimes the artist will act as both a narrator and participant in the story. However, lip syncing and miming of instruments remain central to communicating the song in music videos. The close-ups allow audiences more intimate access to observing performers than live shows, and role playing within a narrative provides variety not seen on stage.
Band Logos
This document presents a logo design for a band consisting of a record with a guitar layered around the edges and the band name added to the record. The logo uses traditional music props like a guitar and record to represent the authentic style of the band's music and image. Effective layering was used to position the guitar around the record.
Explanation Of A2 Course
There are two units that make up 50% each of the final grade for A2: G324 Advanced Portfolio in Media coursework and G325 Critical Perspectives exam. For G324, students complete a promotional package including a music video up to 3 minutes and two ancillary tasks. For G325, the exam consists of a 2-hour paper assessing skills development and one production, as well as contemporary media issues. Both units provide grading criteria for work at a high Level 4 standard, focusing on technical skills, planning, creativity, and group contribution.
Evaluation question 3
The document discusses what type of media institution would be best suited to distribute a low-budget, independent film targeting 15-21 year old males. While a large, mainstream distributor like Warner Bros could widely advertise the film, an independent distributor may be more interested given the film's budget. An independent distributor could also quickly reach the target audience through social media. Ultimately, the film could promote itself through social media and posters without needing a major distributor.
Representation of ethnicity in TV drama
This document discusses the representation of ethnicity in TV dramas. It notes that non-white ethnic groups, especially black men and women, have often been portrayed through racial stereotypes. For example, a majority of crime or bad behavior shown on UK television is committed by people of black ethnicity, reinforcing the stereotype that black people are perceived as the "bad guys." Additionally, newspapers like The Sun often portray criminals and "most wanted" lists as predominantly ethnic minorities, suggesting they are more dangerous than white people. While police are hesitant to shoot black suspects over whites, media coverage of crimes still often features non-white perpetrators, portraying them as lower class and the main cause of gangs and negative perceptions of
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Narrative and Performance
- 1. Narrative in songs, as in poetry, is rarely complete and often fragmentary (David Bowie is renowned for writing words and then jumbling them up sporadically to create his lyrics). The same is true for music promos , which tend to suggest storylines or offer complex fragments in a non-linear order, leaving the viewer with the desire to see them again. Often, music videos will cut between a narrative and a performance of the song by the band. Additionally, a careful choreographed dance might be a part of the artist’s performance or an extra aspect of the video designed to aid visualisation and the ‘repeatability’ factor. Sometimes, the artist (especially the singer) will be a part of the story, acting as a narrator and participant at the same time. But it is the lip sync close-up shots and the miming of playing instruments that remains at the heart of music videos. The video allows the audience more varied access to the performer than a live stage performance can. The close-up, allowing the eye contact and close observation of facial gestures, and role play, within a narrative framework, present the artist in a number of ways not possible in a live performance. The mise en scene in particular can be used:
- 2. As a guarantee of ‘Authenticity’ of a band’s musical virtuosity by showing them in a stage performance or a rehearsal room To establish a relationship to familiar film or TV genre in a narrative based video. As part of the voyeuristic context by suggesting a setting associated with sexual allure, such as a sleazy night club or boudoir. Or as John Stewart from the Oil Factory suggests, to emphasise an aspirational lifestyle.