2. Textual Analysis : NCT U – The 7th sense
Representation: NCT U is a subunit of the group NCT consisting of five members,
each assigned with a number of roles such as lead dancer, lead rapper, sub vocalist
and visual, to contribute towards the band’s synergy. Despite the tendency for each
comeback to have drastically different concepts, all NCT members are represented to
be trendy, and extremely talented in dance and their area(s) of speciality. With their
high calibre of talent, looks and skill, NCT U are positioned above the audience.
3. Institution: NCT is a South Korean boy
group formed by S.M. Entertainment. Their
name stands for the Korean Wave localization
project Neo Culture Technology, a term coined
by S.M. Entertainment founder Lee Soo-man to
describe the group's concept of having an
unlimited number of members divided into
multiple sub-units based in various cities
worldwide.
S.M is one of South Korea’s three
conglomerates in the music entertainment
industry, with some of the biggest kpop artists
signed to them such as EXO, Red Velvet and
Super Junior. The company boasts about it’s
‘unparalleled producing system’ which enables
them to ‘create successful outcomes by
planning and developing content and artists for
the global stage’.
Textual Analysis : NCT U – The 7th sense
4. Textual Analysis : NCT U – The 7th sense
Audience: NCT U’s target audience consist of young women between the age of
15-20 years old.
Psychographic- Aspirers
Narrative: The song is about being in an ongoing ‘tortured dream’, where the artist
is feeling disjointed. This concept is represented throughout the mv through artificial
coloured lighting, occasional shots with canted angles, and the mis-en-scene of the
glass tanks (with the artists performing inside of them). This subtly adheres to
Andrew Goodwin’s theory that the lyrics are reflected in the visuals.
The music video is primarily performance based (with dancing and lip syncing),
however the themes of the mv follows a concept.
5. Textual Analysis : NCT U – The 7th sense
Editing : The editing consistently reflects the rhythm and the dream-like concept of
the song, with slow cuts to match the slow beat.
In addition, graphic matches were extremely common between cuts which would
often change on the beat of the song.
6. Time: 0:01
Music: Slow, deep prominent baseline
Shot type/ camera movement: slow moving
canted angle
The slow camera movement which reflects the
music is explained by Carol Vernallis to give more
rhythm to the song. It also strengthens the
mysterious and dream-like vibe of the song
which is anchored by the mis-en-scene of the
artificial red lighting and tropical plants.
Time: 0:05
Music: Slow rhythm, deep and prominent baseline
Shot type/camera movement: Very Wide/ dolly shot.
This shot of the group dancing adheres to genre’s code
and convention of having shots of the group dancing,
as it is expected by the audience for the members to be
highly skilled dancers. In doing so, the music video also
adheres to Andrew Goodwin’s theory that music
videos show genre characteristics.
This shot is also what Carol Vernallis would describe as
the ‘Master shot’, giving the mv structure, as well as
highlighting the band’s ability to dance, which would
appeal to the target audience.
7. Time: 0:10
Music: Rhythm speeds up slightly with a new
added element of beats, but still relatively slow.
Shot type/camera movement: Cut away, Close
up, Zoom in
The ‘amplification’ of the music by the visuals is
followed in meticulous detail; the slow rhythm is
illustrated through the slow zoom in (carol
Vernallis) as well as the movements of the
subject, and the new, faster element of sound is
reflected by the faster moving shards of glass
(Andrew Goodwin).
Time: 0:20
Music:
Shot type/camera movement: cut away,
Mis-en-scene: Artist in glass tank, almost like an
exhibiton- voyeurism which also highlight the
attractiveness of the idol and his clothes- high
fashion which resonates with the ideologies of
the target audience.
Costume and props are in cohesion with the set
to create an overall aesthetically pleasing shot.
Lack of movement- makes idol seem effortless
8. Time: 1:05
Lyrics: ‘Quietly open your eyes’
Shot type/camera movement: A close up, hand
held tracking shot
Lyrics are represented in the visuals, again
adhering to Andrew Goodwin's theory.
Time: 2:04
Lyrics: ‘Long ass ride’
Shot type/camera movement: Close up, cutaway
The special effects of the road imposed on the artist is
what Andrew Goodwin theorises as ‘illustrative’ of the
lyrics, as ‘ride’ is a colloquial term for car journey,
which is displayed in the imposition. In addition, the
frame composition and the colours achieved through
lighting and editing all contribute towards an
aesthetically pleasing visual within its own right. Carol
Vernallis states that this is an editing technique that is
commonly featured in music videos.
9. Creating aesthetically pleasing visuals is a common trait in music videos (as theorised by Carol Vernallis).
However, I observed that is especially prominent in Kpop music videos where the artists are performing in high
fashion costumes, on sets that appear expensive and ornate, with carefully chosen lighting to accentuate these
features as well as create the desired ambiance. This appeals and engages the target audience as Korean
society, especially the younger generations, highly value beauty. Therefore in order to sell the ‘star image’, it is
almost a code and convention of Kpop music videos to be aesthetically pleasing.
Also, a code and convention of music videos of artists who are signed to SM Entertainment is for there to be
the SM logo on the screen during the music video.
OVERALL ANALYSIS
10. • Close up shots of the artists profile in the mv was
something that was repeated a lot in this video- these
shots looks professional and I think that it will be fairly
easy to replicate and so I will use shots like this to add
to my mv.
• I will emulate the high fashion costumes that the artists
wear to gratify my target audience’s desire for
materialistic wealth.
• I will also ensure that my artists have different outfits
on each set as this is a code and convention of music
videos.
How will my research contribute
towards production?
11. • I will use the technique of having a master shot in order to give my music video structure and to create
an understanding for the audience.
• I will prioritise creating a music video that is aesthetically pleasing as is it seems that it is an extremely
important feature of Kpop music videos.
How will my research contribute
towards production?
