This document analyzes the representation of artists in music videos from the electronic dance music genre. It examines videos from artists Markus Schulz, Angerfist, and W&W. The analysis finds that an artist's representation usually reflects their musical style and is meant to elicit emotion from the audience. Specifically, Markus Schulz is depicted relaxed to match his trance style, while Angerfist uses an aggressive persona and editing to align with his high-tempo gabba music. Both videos also employ stereotypes and hyper-realism to promote the artists. The conclusion maintains that following genre conventions is important for a successful music video, while acknowledging some representations may not be entirely fair.

1. Representation of artists

2. Introduction
• In this piece of research I will be looking at the
representations of artists classified in one or
more subgenres of the electronic dance genre
in music videos. The reason for this is I will
need to find out the general conventions of
the genre to create a successfully conventional
music video in this genre.

3. Markus Schulz - Tempted
A
B
C

4. Representation
• The music video for tempted only features two
characters: Markus Schulz and the more heavily
featured female. Whilst the female is represented
as a stereotypical voyeuristic figure, used for the
purposes of male gaze (Mulvey), Markus Schulz is
only shown to be relaxing accompanied by the
female. The reason for this maybe as his
particular style is reminiscent of trance (a very
laid back and one or the more relaxing subgenres
of electronic music) so this may be a reflection of
his style in human form.

5. • Camerawork – Markus Schulz is represented almost in a
misogynistic light for example in shot B on the previous slide and in
particular in the shot where the camera pans across to show
Markus Schultz between the women's legs (shot A on previous
slide). This may be unintentional as in is not unconventional to
show the artist with an attractive female, however I will assume
that the intended representation was to evoke envy amongst the
male viewers rather that to represent him in a negative light.
• Use of stereotypes – The main stereotype shown in the music video
is the female represented as a stereotypical voyeuristic figure for
the purposes of male gaze. The idea of the male gaze is that the
female in the video is shown only for the purposes of the male
viewing pleasure.
• Mise en scene – The artist in the video is represented as highly
successful, due to his surroundings. For example his is shown sitting
by a pool with a scenic view. A possible reason for this
representation may lie in the hypodermic needle theory where the
audience are forced the idea that if someone's successful they must
be good.

6. Angerfist – Burn This MF Down

7. Representation
• In contrast to Markus Schulz, Angerfist’s “Gabba,”
has a much higher tempo and this is reflected in
the representation of him in this performance
based video. Throughout the video he is
portrayed in his trademark hockey mask and also
accompanied by aggressive adjectives such as
“you were f**cking amazing”. All these culminate
in a representation of Angerfist similar to his style
of music as relatively aggressive and full on. This
may be an example of hyper reality (Baudrillard).

8. • Editing – An interpretation of the representation of the artist in this video
is possibly unstable. For example towards the end of the video the camera
and lights seem to lose focus and shake slightly, another example of this is
the fast paced editing style and common use of pyrotechnics. The reason
for this may be to create a hyper realism of the character, to promote him
as a brand.
• Mise en scene – In this video the artist in question could be interpreted as
being represented as aggressive due to costume he wears. For example
the hockey mask he wears is reminiscent of the mask Jason Voorhees
wears in Friday the 13th. The reason for this may be to match the tone of
the music as Gabba has one of the highest tempo’s of the electronic music
genre as is also characterised by an aggressive bass line.
• Use of stereotypes – Part of Angerfists costume is the wear either a black
or white hoodie (latter in this particular video) which could be a
representation that he is a young artist. However youth culture also has a
reputation of being delinquent, so there is an inadvertent representation
due to his attire that he may also be a delinquent.

9. W&W – The Code

10. Representation
• The artists were only shown in the final stages
of the video, in which footage from a live
performance is shown. Similar to the Angerfist
video the artist representation is shown
vicariously with a majority of the footage
being of the large audience showing
admiration towards to artists with several
performing the “w”. This represents the artists
as highly important and very good in their
field.

11. • Camerawork – In this video the artist in question could be
interpreted as being represented as highly important . An
example of this is the use of a close up of an audience
members hands mimicking the “W”. The reason for this may
be just to copy a conventional aspect of this genres music
videos, as a majority of these types of video feature a live
performance piece and it would not be very successful if it
showed the audience being bored or uninterested.
• Editing – The artists are represented as energetic which can
be seen through the use of an increase in the pace of editing
between the concept section (with the free running) and the
performance piece from in general a few seconds down to
one or fewer seconds. The reason for this may be just to
mimic the tempo of the song and to express the vibrancy of
the live performance.

12. Conclusion
• In conclusion I have found that in this particular style of music
the representation of the artist is usually dependant on the
subgenre of the artist, and should reflect his/her style and
also should evoke some form of emotion in the audience
whether it be admiration in a performance piece from a live
audience or envy in a narrative/concept piece due to their
perceived lifestyle. My opinion on this representation is
probably not entirely fair on any of the parties involved,
however the inclusion of hyper reality in all cases does not go
so far as to put me off following the conventions in our video.
• As far as theories go there seems to an abundance of the use
of the male gaze & hyper reality, the former leading to a
further inclusion of Dyer’s theory that stereotypes legitimise
inequality.