Smells like teen spirit
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This music video features dark lighting and grunge-themed instrumentation that matches the dark lyrics. The dark atmosphere connects the lyrics and visuals. Close-ups of each band member were likely demanded by the record label to showcase each musician to fans. The video focuses only on the band's performance without additional narrative or concepts.
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Little lion boy
This indie music video features the band performing on stage, showing various instruments typical of the genre. The lighting brightens during lyrics about light, matching the music and visuals. Each band member is shown individually and together as a group, fulfilling demands from the record label. It is a performance-based video without narrative or intertextual references, focusing on the band playing their song.
Codes and conventions of music video
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History of Music Video - Group 35
The document discusses the history of music videos and analyzes two specific music videos: Radiohead's "Creep" from the 1990s and Lawson's "Taking Over Me". It finds that Radiohead's video focuses entirely on representing the band and their music, while Lawson's more recent video combines scenes of the band performing with a narrative story. Overall, the document examines how music videos have evolved over time to incorporate additional genre elements like narratives alongside representations of the artist.
Difference between pop and rock
This document compares and contrasts the codes and conventions of pop and rock music videos. It notes that pop videos typically feature brightly colored costumes and lighting to create a party atmosphere, while rock videos often show neutral colored clothing and use spotlights. The document also explains that pop focuses more on vocals and beat, while rock emphasizes instruments; and that rock has evolved into various subgenres while pop tends to appeal across audiences. It concludes by stating the author has chosen to make a rock music video that fits the genre's conventions of featuring two singers who also play instruments.
Music video analysis 3
The document analyzes the music video for "Something Good Can Work" by Two Door Cinema Club. It summarizes that the video displays some characteristics of an indie rock music video through its many shots of the lead singer and band playing instruments, but lacks a narrative storyline or variety of scenery. There is a weak relationship between the lyrics and visuals, and only a limited relationship between the music and visuals through the band's performance. The video focuses on performance shots of the band in keeping with possible record label demands.
G324: Media Studies: Conventions of Rock Music Videos
Rock music videos often feature dark costumes and makeup, with sharp camera movements and editing to match the tempo of the music. There are three main types of rock music videos: performance videos focus entirely on the artist playing; narrative videos tell a story with minimal artist footage; and mixed videos combine footage of the artist with clips telling a narrative story. Common conventions include use of strobes, establishing shots, montages, and high/low camera angles.
Conventions of form and genre NATALIE WYKE MEDIA
Country music originated in the southern US in the 1920s and is characterized by acoustic guitar and vocals. While it maintains some traditional conventions like rural settings, it has modernized over time by incorporating other genres and appealing to wider audiences. Common conventions of music videos include narratives, rural settings, and featuring the artist. As genres blend, conventions are adapting with more urban locations, different editing styles, and varied cinematography. Core conventions remain, such as showcasing the artist, song, costumes, and live or lip-synced performances.
History of Form
This document discusses conventions of alternative rock music videos. It notes that alternative rock music videos typically feature a strong storyline, include both lip-syncing and live performance elements, use a range of normal and abandoned locations as backdrops, and include dramatic editing that matches the pace of the song. They also commonly feature multiple artists or performers and include women in the storyline, while typically being sung by male artists. Dark clothing is also common in alternative rock music videos.
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Little lion boy
This indie music video features the band performing on stage, showing various instruments typical of the genre. The lighting brightens during lyrics about light, matching the music and visuals. Each band member is shown individually and together as a group, fulfilling demands from the record label. It is a performance-based video without narrative or intertextual references, focusing on the band playing their song.
Codes and conventions of music video
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Difference between pop and rock
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Music video analysis 3
The document analyzes the music video for "Something Good Can Work" by Two Door Cinema Club. It summarizes that the video displays some characteristics of an indie rock music video through its many shots of the lead singer and band playing instruments, but lacks a narrative storyline or variety of scenery. There is a weak relationship between the lyrics and visuals, and only a limited relationship between the music and visuals through the band's performance. The video focuses on performance shots of the band in keeping with possible record label demands.
G324: Media Studies: Conventions of Rock Music Videos
Rock music videos often feature dark costumes and makeup, with sharp camera movements and editing to match the tempo of the music. There are three main types of rock music videos: performance videos focus entirely on the artist playing; narrative videos tell a story with minimal artist footage; and mixed videos combine footage of the artist with clips telling a narrative story. Common conventions include use of strobes, establishing shots, montages, and high/low camera angles.
Conventions of form and genre NATALIE WYKE MEDIA
Country music originated in the southern US in the 1920s and is characterized by acoustic guitar and vocals. While it maintains some traditional conventions like rural settings, it has modernized over time by incorporating other genres and appealing to wider audiences. Common conventions of music videos include narratives, rural settings, and featuring the artist. As genres blend, conventions are adapting with more urban locations, different editing styles, and varied cinematography. Core conventions remain, such as showcasing the artist, song, costumes, and live or lip-synced performances.
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Media music video presentation
This document provides an overview for a music video presentation for the song "Another Way Out" by Hollywood Undead. The video will tell a narrative story of a protagonist who gets in trouble with loan sharks and attempts to escape them in an elongated chase scene. Performers will be located randomly throughout locations to appear as if they are following the protagonist. The video will focus more on the storyline than typical music video performance conventions seen in rap rock genres. It will synchronize lyrics and visuals to depict the protagonist's situation and attempted escape from the mess he is in.
Avenged sevenfold analysis
The video demonstrates characteristics of the rock genre through shots of the band playing with a focus on the drums as the tempo changes. The lyrics and visuals match the theme of death and the afterlife, showing darkness and escaping. The style is mostly a performance, but also has elements of a narrative as the song progresses through time. The music speed increases as the lyrics become about breaking free from the afterlife, corresponding to the determination expressed in the lyrics. Intertextual references include themes of moving on from issues and struggles to overcome problems.
Ho hey lumineers (1)
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1. initial plans mv 2018
The document outlines Oscar Gibb's initial plans for generating music video ideas for a class assignment. It provides 3 potential music video ideas for different songs: 1) A dancer walking through a city and countryside to the song "Renegade - Friends Within" exploring different aspects of their identity. 2) A portrayal of Logic where the student poses as him writing and performing his song "Midnight" while hinting at themes of abuse and bullying. 3) A parody version of Post Malone's "Candy Paint" set on a countryside farm showing tools and tractors instead of flashy clothes and objects. Strengths and weaknesses of the ideas are discussed, along with potential research topics like other cinematic rap music videos.
Goodwin presentation
The document summarizes Goodwin's theory on the relationship between music videos and their songs. It discusses how the visuals in Foster the People's music video for "Call It What You Want" relate to the lyrics through strange and imaginative situations representing problems. It also notes how the music matches the peculiar visuals, and how the video demonstrates characteristics common to indie rock music videos through its colorful, spontaneous scenes.
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Digipak analysis
This digipak for the album "Sinner's Never Sleep" by the band You Me at Six has a punk style that continues the criminal theme from their "Loverboy" music video. The cover features a mugshot-style photo holding an ID board with the title. Interior panels include fingerprints of band members, photos set in abandoned buildings, and mugshot-style photos of each band member paired with inaccurate photofits on the back. While continuing the criminal theme throughout, many elements are quite predictable for a rock album.
Photography Planning
This document outlines photography plans for different sections of a magazine spread featuring an upcoming artist. The front cover plan calls for a long, eye-level shot of the posed artist with a grunge costume in a dark studio setting. The contents page plan is for a live, low-angle, handheld long shot of people at a festival viewing the artist. The double page spread plan again features a medium, eye-level shot of the posed artist in a grunge costume in a dark studio to link visually to the cover.
Kenny rogers
This documentary analyzes Kenny Rogers' career through a mix of interviews, observational footage, and narration. It has a circular narrative structure beginning and ending in the present day with footage of Kenny performing with his band, with the middle sections exploring his past bands and rise as a solo artist. Camera work includes the rule of thirds for interviews and establishing/mid shots when showing stadium performances or Kenny greeting fans. Mise-en-scene features relevant backgrounds for interviews and uses newspapers/images to provide context. Sound includes non-diegetic narration and music, as well as diegetic interviews and observational footage, with soundbridges to link sections together. Editing covers up jump cuts, uses cutaways, and repeats
Indie rock codes and conventions
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What Is A Music Video?
A music video is a videotaped performance of a recorded song that usually includes dancing and visuals interpreting the lyrics, produced for promotional or artistic purposes. Music videos originated much earlier but came to prominence in the 1980s with MTV's format centered around them. Music videos use various filmmaking styles like animation, live action, documentaries, and abstract forms. They can also blend styles and some merely film a song's live performance.
The Kooks Digipack Analysis
The digipack features 4 members of an indie rock band called The Kooks rehearsing in a cramped space. Their messy hairstyles and clothing represent stereotypical indie style. Iconic instruments like acoustic guitars link to indie music. The monochrome black and white images with red text have a gritty look that is popular in indie music videos and represent the band's low budget. Overall the digipack analyzes how the band's visual style signifies their indie rock genre through their youthful appearances and connections to iconic musicians within a setting that reflects their financial struggles.
Saul Bass
Saul Bass was an American graphic designer and film title sequence designer who was notable for his use of simple geometric shapes and animation to capture the mood and essence of films. He is best known for his imaginative title sequences and logo designs that used minimalist graphics to deliver powerful messages about the themes and tones of movies. His titles for films like West Side Story employed shifting colors and faint lines to represent the setting and build dramatic tension through the music, foreshadowing the film's romantic and dramatic elements.
Task 1.5
This document analyzes and compares the camera angles, mise-en-scene, editing, sound, and film theory used in music videos across different genres including rock, pop, indie rock, rap, and dance. For each genre and music video example, it describes the technical elements as well as references relevant film theorists like Richard Dyer, Rick Altman, and Andrew Goodwin to analyze how the visual components relate to the music and genre conventions.
Conventions of Indie Rock Music Videos
The document discusses conventions of indie rock music videos. It notes that costume, location, and editing conventions include casual clothing, studios or small venues, and jump cuts or long edits. It defines indie rock as having a balance of pop and loud rock emerging in the 1980s. It describes two common video types - performance videos focusing on the artist, and narrative videos containing a visual story that may relate to lyrics. It provides examples of each type and videos that combine both.
Rock & roll picturing punk
This documentary follows photographer Bob Gruen's career capturing the rock and roll scene from 1970-1980. It has a linear narrative structure as Gruen recounts his experiences meeting famous musicians like Alice Cooper and documenting the emerging punk and alternative styles. The documentary uses a variety of camera angles during interviews and incorporates archive photos and footage from Gruen's work to illustrate the themes of rock culture and lifestyle during this era.
Music video analysis beatles
The Beatles music video for "Don't Let Me Down" features abstract, animated visuals rather than showing the band performing, distinguishing it from their conventional music videos. This artistic approach separates the performance from the conceptual elements of the video. The video's art style draws from the anti-war Dada movement, reflecting John Lennon's growing peaceful ideology. While the band does not appear in the video, the song marked a transition in the Beatles' music towards a more experimental, studio-based sound.
Oasis wonderwall
The music video for Oasis' "Wonderwall" uses black and white film and vintage effects to create a 1960s indie/rock aesthetic. It starts with a shot of a vinyl record to set the retro style before showing the singer playing guitar from a distance. Throughout, it cuts between close-ups of the band members and matches the editing to the song's rhythm. Special effects like hand tinting make certain shots stand out in an unusual way. The video also employs voyeurism by including a shot of the singer singing through a mirror.
Codes and conventions - country music
This document outlines several common codes and conventions for country music videos. It discusses elements of mise-en-scene like costumes, hair, makeup and props. It notes that female singers are often presented in revealing clothing while males wear jeans and shirts. It also explores common settings, camera framing focused on the artist, low-key lighting, inclusion of dancers and love interests, and narratives about love and relationships. Examples are provided of videos that illustrate these conventions.
Mumford and sons music video analysis
The music video demonstrates conventions of the indie music genre through iconography like guitars and costumes. Low lighting and warm colors create a rustic atmosphere. Long shots show the band performing on stage without an audience, possibly relating to the song's apology theme. The up-beat music matches energetic visuals of band members playing instruments. The artists involve themselves to showcase their indie style. There is no female presence, focusing attention on their music instead of sexualization. Intertextual references may relate to Shakespeare's Richard III about a father affecting his son. The video presents a performance rather than narrative, emphasizing the apology through an empty stage.
Arctic monkeys i bet that yoou look good on the dancefloor
The music video is performance-based, with multiple shots of the indie rock band Arctic Monkeys playing their musical instruments on a stage. It has a low-budget, simplistic production with minimal lighting and camerawork, focusing only on capturing the band's performance of the song. There is no complex narrative; the video simply shows the band singing and playing their instruments to accompany the song.
The promise
The document summarizes the genre characteristics and elements of a music video. It is a performance-based video that frequently shows the artist singing and playing guitar on stage. The visuals illustrate and correspond to the lyrics, showing a girl in bed when the song talks about not wanting to get out of bed. The video aims to appeal to teenagers by featuring a teenage girl and focusing on close-ups of the artist, meeting the demands of the record label.
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Media music video presentation
This document provides an overview for a music video presentation for the song "Another Way Out" by Hollywood Undead. The video will tell a narrative story of a protagonist who gets in trouble with loan sharks and attempts to escape them in an elongated chase scene. Performers will be located randomly throughout locations to appear as if they are following the protagonist. The video will focus more on the storyline than typical music video performance conventions seen in rap rock genres. It will synchronize lyrics and visuals to depict the protagonist's situation and attempted escape from the mess he is in.
Avenged sevenfold analysis
The video demonstrates characteristics of the rock genre through shots of the band playing with a focus on the drums as the tempo changes. The lyrics and visuals match the theme of death and the afterlife, showing darkness and escaping. The style is mostly a performance, but also has elements of a narrative as the song progresses through time. The music speed increases as the lyrics become about breaking free from the afterlife, corresponding to the determination expressed in the lyrics. Intertextual references include themes of moving on from issues and struggles to overcome problems.
Ho hey lumineers (1)
This document analyzes the music video for the song "Ho Hey" by The Lumineers. It discusses several genre characteristics of the indie folk video including the use of acoustic instruments, a low-budget setting, costumes, and warm lighting. The relationship between the lyrics, visuals, and music is explored. Demands of the record label to portray typical iconography are also examined. The video primarily focuses on the band's performance with little narrative elements.
1. initial plans mv 2018
The document outlines Oscar Gibb's initial plans for generating music video ideas for a class assignment. It provides 3 potential music video ideas for different songs: 1) A dancer walking through a city and countryside to the song "Renegade - Friends Within" exploring different aspects of their identity. 2) A portrayal of Logic where the student poses as him writing and performing his song "Midnight" while hinting at themes of abuse and bullying. 3) A parody version of Post Malone's "Candy Paint" set on a countryside farm showing tools and tractors instead of flashy clothes and objects. Strengths and weaknesses of the ideas are discussed, along with potential research topics like other cinematic rap music videos.
Goodwin presentation
The document summarizes Goodwin's theory on the relationship between music videos and their songs. It discusses how the visuals in Foster the People's music video for "Call It What You Want" relate to the lyrics through strange and imaginative situations representing problems. It also notes how the music matches the peculiar visuals, and how the video demonstrates characteristics common to indie rock music videos through its colorful, spontaneous scenes.
Level 1 Audio Production wk5-music
This document discusses different music genres such as pop, rock, jazz, and classical. It also mentions that music can be played by big groups or small groups together. The document reminds the reader about elements from last week like music, sound effects, and dialogue. It suggests thinking of each music instrument as the voice of a character and asks how the instruments might be chosen for each character.
Digipak analysis
This digipak for the album "Sinner's Never Sleep" by the band You Me at Six has a punk style that continues the criminal theme from their "Loverboy" music video. The cover features a mugshot-style photo holding an ID board with the title. Interior panels include fingerprints of band members, photos set in abandoned buildings, and mugshot-style photos of each band member paired with inaccurate photofits on the back. While continuing the criminal theme throughout, many elements are quite predictable for a rock album.
Photography Planning
This document outlines photography plans for different sections of a magazine spread featuring an upcoming artist. The front cover plan calls for a long, eye-level shot of the posed artist with a grunge costume in a dark studio setting. The contents page plan is for a live, low-angle, handheld long shot of people at a festival viewing the artist. The double page spread plan again features a medium, eye-level shot of the posed artist in a grunge costume in a dark studio to link visually to the cover.
Kenny rogers
This documentary analyzes Kenny Rogers' career through a mix of interviews, observational footage, and narration. It has a circular narrative structure beginning and ending in the present day with footage of Kenny performing with his band, with the middle sections exploring his past bands and rise as a solo artist. Camera work includes the rule of thirds for interviews and establishing/mid shots when showing stadium performances or Kenny greeting fans. Mise-en-scene features relevant backgrounds for interviews and uses newspapers/images to provide context. Sound includes non-diegetic narration and music, as well as diegetic interviews and observational footage, with soundbridges to link sections together. Editing covers up jump cuts, uses cutaways, and repeats
Indie rock codes and conventions
Indie rock bands tend to have low budget music videos that feature the band playing their instruments, with the frontman positioned centrally. Their costumes are usually all black and reflect their target audience. Camerawork uses close-ups and angles that reflect the pace of the song, while settings are low-budget areas like studios that allow for creativity within limited space.
What Is A Music Video?
A music video is a videotaped performance of a recorded song that usually includes dancing and visuals interpreting the lyrics, produced for promotional or artistic purposes. Music videos originated much earlier but came to prominence in the 1980s with MTV's format centered around them. Music videos use various filmmaking styles like animation, live action, documentaries, and abstract forms. They can also blend styles and some merely film a song's live performance.
The Kooks Digipack Analysis
The digipack features 4 members of an indie rock band called The Kooks rehearsing in a cramped space. Their messy hairstyles and clothing represent stereotypical indie style. Iconic instruments like acoustic guitars link to indie music. The monochrome black and white images with red text have a gritty look that is popular in indie music videos and represent the band's low budget. Overall the digipack analyzes how the band's visual style signifies their indie rock genre through their youthful appearances and connections to iconic musicians within a setting that reflects their financial struggles.
Saul Bass
Saul Bass was an American graphic designer and film title sequence designer who was notable for his use of simple geometric shapes and animation to capture the mood and essence of films. He is best known for his imaginative title sequences and logo designs that used minimalist graphics to deliver powerful messages about the themes and tones of movies. His titles for films like West Side Story employed shifting colors and faint lines to represent the setting and build dramatic tension through the music, foreshadowing the film's romantic and dramatic elements.
Task 1.5
This document analyzes and compares the camera angles, mise-en-scene, editing, sound, and film theory used in music videos across different genres including rock, pop, indie rock, rap, and dance. For each genre and music video example, it describes the technical elements as well as references relevant film theorists like Richard Dyer, Rick Altman, and Andrew Goodwin to analyze how the visual components relate to the music and genre conventions.
Conventions of Indie Rock Music Videos
The document discusses conventions of indie rock music videos. It notes that costume, location, and editing conventions include casual clothing, studios or small venues, and jump cuts or long edits. It defines indie rock as having a balance of pop and loud rock emerging in the 1980s. It describes two common video types - performance videos focusing on the artist, and narrative videos containing a visual story that may relate to lyrics. It provides examples of each type and videos that combine both.
Rock & roll picturing punk
This documentary follows photographer Bob Gruen's career capturing the rock and roll scene from 1970-1980. It has a linear narrative structure as Gruen recounts his experiences meeting famous musicians like Alice Cooper and documenting the emerging punk and alternative styles. The documentary uses a variety of camera angles during interviews and incorporates archive photos and footage from Gruen's work to illustrate the themes of rock culture and lifestyle during this era.
Music video analysis beatles
The Beatles music video for "Don't Let Me Down" features abstract, animated visuals rather than showing the band performing, distinguishing it from their conventional music videos. This artistic approach separates the performance from the conceptual elements of the video. The video's art style draws from the anti-war Dada movement, reflecting John Lennon's growing peaceful ideology. While the band does not appear in the video, the song marked a transition in the Beatles' music towards a more experimental, studio-based sound.
Oasis wonderwall
The music video for Oasis' "Wonderwall" uses black and white film and vintage effects to create a 1960s indie/rock aesthetic. It starts with a shot of a vinyl record to set the retro style before showing the singer playing guitar from a distance. Throughout, it cuts between close-ups of the band members and matches the editing to the song's rhythm. Special effects like hand tinting make certain shots stand out in an unusual way. The video also employs voyeurism by including a shot of the singer singing through a mirror.
Codes and conventions - country music
This document outlines several common codes and conventions for country music videos. It discusses elements of mise-en-scene like costumes, hair, makeup and props. It notes that female singers are often presented in revealing clothing while males wear jeans and shirts. It also explores common settings, camera framing focused on the artist, low-key lighting, inclusion of dancers and love interests, and narratives about love and relationships. Examples are provided of videos that illustrate these conventions.
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Similar to Smells like teen spirit
Mumford and sons music video analysis
The music video demonstrates conventions of the indie music genre through iconography like guitars and costumes. Low lighting and warm colors create a rustic atmosphere. Long shots show the band performing on stage without an audience, possibly relating to the song's apology theme. The up-beat music matches energetic visuals of band members playing instruments. The artists involve themselves to showcase their indie style. There is no female presence, focusing attention on their music instead of sexualization. Intertextual references may relate to Shakespeare's Richard III about a father affecting his son. The video presents a performance rather than narrative, emphasizing the apology through an empty stage.
Arctic monkeys i bet that yoou look good on the dancefloor
The music video is performance-based, with multiple shots of the indie rock band Arctic Monkeys playing their musical instruments on a stage. It has a low-budget, simplistic production with minimal lighting and camerawork, focusing only on capturing the band's performance of the song. There is no complex narrative; the video simply shows the band singing and playing their instruments to accompany the song.
The promise
The document summarizes the genre characteristics and elements of a music video. It is a performance-based video that frequently shows the artist singing and playing guitar on stage. The visuals illustrate and correspond to the lyrics, showing a girl in bed when the song talks about not wanting to get out of bed. The video aims to appeal to teenagers by featuring a teenage girl and focusing on close-ups of the artist, meeting the demands of the record label.
The kooks music video analysis
The video uses a narrative storyline to express personal relationship issues through the characters' facial expressions and scenarios of being together and apart. While drawing on indie music genre conventions, it aims to make the story and lyrics more personally relatable to the audience. The artist is highly involved as the main character working through personal issues, hoping viewers will find the music similarly personal. The video primarily tells a narrative story through the relationship between lyrics and visuals without other references or band performances.
Ho, hey
The indie music video has musky colors and dim lighting typical of the genre. It features performances of the band playing instruments like guitar and banjo in everyday, low-budget settings. The music and visuals create a calm atmosphere, with subtle connections to the lyrics. The video focuses on showing the artists performing without sexualization and does not include any intertextual references.
Research into past students work
The document summarizes and analyzes three music videos based on their creative choices, media language, editing, and overall successfulness. For the first video, "A-Ha" by Imogen Heap, it notes the use of a music box, bright lighting, and slowed down overlay that help create atmosphere and hold audience attention. The second video, "Seventeen Candles" by The Pink Spiders, is critiqued for its slow pacing, lack of close-ups, and out-of-sync lip syncing that detract from its professionalism. The third video, "Just Like Tiger" by Steel Panther, effectively uses a tiger costume, golf setting, and metal conventions like moshing
Genre music video analysis 2
The music video is analyzed across several elements:
The genre is pop rock, shown through the band's casual clothing and focus on their live performance. Settings include a bleak riverbank and town, fitting conventions of the rock genre. Costumes are casual attire, mirroring the characters' and appealing to the target audience. Props help convey the sad theme of a relationship ending through a girl destroying items in her ex's home. Body language aims to capture the realism of a live show. There is a narrative of a girl getting her boyfriend's name tattooed before discovering his infidelity.
Music video analysis
The music video for All-American Rejects' "Dirty Little Secret" combines performance and concept elements. It focuses on close-ups of the band playing alongside cards held by people revealing their darkest secrets, directly linking the lyrics to the visuals. The dark clothing and lighting also symbolize the song's lyrics. The video primarily features the band's energetic live performance in a dark room, consistent with expectations of the rock genre.
TOBY- Assignment 2 performance music video conventions
The document contains summaries of 4 music videos:
1) A country music video showing the singer performing and interacting with others to convey the emotions of the song.
2) A grime music video using rapid camera angles and scenes of violence to match the fast tempo genre.
3) A rap music video focusing on the rapper and lyrics with a crime-related mask and setting.
4) A rock music video focusing on close-ups of the band members in costume playing their instruments at a live performance.
Assignment 2 music video conventions
The document contains summaries of 4 music videos:
1) A country music video showing the singer performing and interacting with others to convey the emotions of the song.
2) A grime music video using rapid camera angles and scenes of violence to match the fast tempo and crime-associated genre.
3) A rap music video focusing on the rapper and supporting actor to keep attention on the lyrics.
4) A rock music video focusing on close-ups of the band members playing their instruments at a live performance recorded for the video.
Music video analysis 4
This document analyzes the music video for "Same Jeans" by The View. It summarizes that the video displays many characteristics of an indie music video, including shots of the lead singer and sections of stage performance. While the lyrics do not directly relate to the visuals, they tell an amplified narrative story. The relationship between the music and visuals is also generally amplifying, mirroring increases in tempo. The record label likely influenced close-up shots of the band through demands. The video primarily takes a narrative approach with some performance elements.
Lumineers music video analysis
The video is mainly a performance of the band playing their music for an audience. It reinforces the indie genre through elements like low lighting, casual costumes, and guitar instrumentation. While there is no narrative, the performance intensifies as more band members and audience join in, matching the increasing tempo and dynamics of the song. Women are portrayed equally alongside men without sexualization.
Madihah's Hall of fame presentation
The document analyzes a music video and discusses several elements:
- The narrative, lyrics, and camera movement are closely intertwined throughout the video.
- The theme running through the lyrics and narrative is represented, with the artist seemingly singing for those who have faced hardship.
- The camera movement and editing are synchronized with the music in an interesting way, with handheld shots merging the audience and action.
1. initial plans mv 2018 (1)
The document provides initial plans and ideas for three music videos. The first idea is for the song "Water" by Jack Garratt and involves shots of the singer in the rain with the rain freezing and going upwards. The second idea is for "Monster" by Imagine Dragons and depicts a person being chased by inner demons. The third idea is for "Song 2" by Blur and mainly shows the band playing with bright colors and varying camera shots. Strengths and weaknesses of the ideas are discussed. The document then focuses on developing the idea for "Song 2" with details about the song, band, and a final idea that mirrors Blur's original video with coverage of punk style conventions and filming techniques. Potential
Task 2 conventions (two)
The document summarizes the mise-en-scene, editing, and camera techniques used in the Parkway Drive music video "Dark Days". It notes that the casual clothing, lack of other people, and instrumental props are meant to give a live feeling. Unlike other heavy metal videos, it uses varied locations that reflect the lyrics but keeps the editing simple. The camerawork features mid shots and long shots instead of close-ups to decrease intensity while the audio remains intense.
Indie Rock
This document discusses indie rock music videos. It notes that indie rock videos often feature live performances to show the artist's passion. It also mentions that many indie rock videos tell a narrative that relates to the song's lyrics, which can engage audiences beyond just fans of the music. The document provides examples of performance-based and narrative indie rock music videos from 30 Seconds to Mars and Arctic Monkeys. It then analyzes the music video for "Demons" by Imagine Dragons, noting its hybrid style with both performance and narrative elements, and technical aspects like editing, sound, and camerawork.
Indie Rcok
This document discusses indie rock music videos. It notes that indie rock videos often feature live performances to show the artist's passion. It also mentions that many indie rock videos tell a narrative that relates to the song's lyrics, which can engage audiences beyond just fans of the music. The document provides examples of performance-based and narrative indie rock music videos from 30 Seconds to Mars and Arctic Monkeys. It then analyzes the music video for "Demons" by Imagine Dragons, noting its hybrid style with both performance and narrative elements, and technical aspects like editing, sound, and camerawork.
Skin Textual Analysis
This music video for Sabrina Carpenter's song "Skin" tells a narrative story while also being a performance-based video featuring Carpenter and actor Gavin Leatherwood. The video is set in the 1980s, shown through various location shots of a house and costumes accurate to the era. The narrative follows a couple dealing with jealousy and judgment from outsiders about their relationship, though their bond remains strong. Lyrics discuss dealing with public scrutiny since childhood as a celebrity but not letting others negatively impact her sense of self. Camera shots and editing emphasize the emotions in the lyrics through close-ups and beat-synced changes. The soundtrack enhances the feelings of anger and loneliness through instrumental choices and volume.
Initial genre research rock
This document provides information about common conventions in rock music videos. It discusses elements like band members wearing black, use of low-key lighting to match mood, inclusion of outdoor settings, incorporation of storylines through lyrics and visuals, use of faster editing and jump cuts to match upbeat tempos, featuring of live performances, and use of close-ups and wide shots. It then analyzes two specific music videos, noting how they employ conventions like changing shot duration to match drum beats and use of black clothing to represent death for Queen's "Bohemian Rhapsody", and inclusion of dark colors, wide shots, and high angles to depict power and audience perspective for U2's "Sunday Bloody Sunday."
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Arctic monkeys i bet that yoou look good on the dancefloor
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TOBY- Assignment 2 performance music video conventions
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The document contains 5 questions for a focus group about common elements in indie music videos, whether the identified conventions are typical of the genre, what changes participants would make to the videos, who the target audience is perceived to be, and what participants feel is the most important convention of an indie pop music video.
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The document discusses elements that can be included in a rap music video to create identity for the artist and fit with rap music genre conventions, such as stereotypical clothing, common transportation props, and typical scenery backdrops seen in other rap videos. It also mentions the use of a black and white filter to give the video an aesthetic feeling.
Stage 1 research n1
The music video for Eminem's "Headlights" shows some characteristics of typical rap videos like drinking and smoking but does not focus heavily on money or guns. There are some connections between the lyrics and visuals, such as Eminem writing lyrics on a plane as shown. However, there is not a strong correlation between the music and visuals overall. Unlike typical demands, Eminem is only shown in one medium shot and the video focuses more on his mother than close ups of the artist. It does not contain voyeuristic treatment of women or frequent references to looking. It includes an intertextual reference to one of Eminem's older songs criticizing his mother to add authenticity to his apology in
Stage 1 research 3
The document discusses characteristics common in music videos, including portraying elements typical of the genre like younger people in hoodies and gangs for rap videos. It also notes the visuals in a music video usually relate to both the lyrics and music, and record labels often want close-ups of the artist while artists may develop recurring motifs. Frequent references are made to looking and treating the female body voyeuristically, as well as intertextual references between videos.
Stage 1 research 2
The document summarizes and analyzes the music video for R. Kelly's song "Ignition". It notes that the video shows two different house party scenes, appropriate for the hip hop genre. It also finds a relationship between the lyrics "Beep Beep" and scenes of a car driving. The video frequently shows closeups of R. Kelly, demonstrating the record label's demand to highlight the artist. It presents voyeuristic treatment of scantily-clad women. The video is primarily a performance-based promotion of the artist and song, without a narrative story. Formal analysis cites Strauss' formal vs informal distinction and references Todorov's and Propp's narrative theories.
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- 2. GENRE CHARACTERISTICS • Dark lighting • Shows instruments • Grunge themed location
- 3. RELATIONSHIP BETWEEN THE LYRICS AND THE VISUALS • Quite dark/grunge lyrics which matches the location
- 4. RELATIONSHIP BETWEEN THE MUSIC AND THE VISUALS • The lyrics are quite dark at places which the scenery and atmosphere of the video connects with • Dark lighting is used which follows the thrme of the genre and lyrics
- 5. DEMANDS OF THE RECORD LABEL • There are close ups of each individuial member of the band which could be a demand of the record label as their fans want to see each member/their favourite
- 6. NOTION OF LOOKING • There is no sexualsisation of women’s bodies • There is no referencee to the notion of looking
- 7. INTERTEXTUAL REFERENCES • There are no intertextual references in this video
- 8. PERFORMANCE BASED, NARRATIVE BASED. CONCEPT BASED. • This video is purely performance based