Textual Analysis 3 Seashore
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The document summarizes and analyzes the music video for the song "Seashore" by the band The Regrettes. It notes that the song protests against gender stereotypes. It highlights that the video cuts between the narrative story and performance shots of the band, a structure that could be useful for the author's own music video. It also comments that the high production value would be difficult to emulate but that historical references could still be used to connect to the song's message in a low-budget video.
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Detailed music video analysis – rockstar – nickleback
This document analyzes the music video for "Rockstar" by Nickelback in terms of mise-en-scene, editing techniques, camera work, and how it relates to various film theories. It finds that the video supports theories about the objectification of women in rock videos and the use of jump cuts between different singers. However, it only shows the band at the very end, challenging conventions. The video also both supports and challenges theories about how viewers relate characters to the singer and song.
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The music video pitch proposes a video for the song "Da Vinci Riot Police" that tells a narrative story and incorporates the song's themes of perseverance. The narrative will follow several characters experiencing difficult family lives who run away and meet up. Scenes will be filmed in houses, along the beach, and streets of Weston-super-Mare, possibly including the famous pier. The performance elements will show the artist singing and playing guitar both inside and outside, representing being confined and free. The video will connect the narrative and performance through editing techniques and ending with the characters and artist looking at the sunset.
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The music video for "Misery Business" by Paramore depicts a narrative involving a jealous girl causing destruction and being stereotypically horrible to the naive boy and lead singer, visually representing the song's lyrics. The video uses quick cuts and angle changes synchronized to the beat of the drums to keep up the fast pace of the alternative rock song. While including band performances, it also tells a story through its portrayal of typical American high school stereotypes and interactions between characters.
Andrew goodwin
The document summarizes Andrew Goodwin's key points about common features found in music videos. These include: a relationship between the visuals and lyrics/music, often amplifying or illustrating the content; voyeurism in the treatment of women; close ups of the artist; and references to other media. It then provides frame-by-frame analysis of a music video, finding examples that support Goodwin's points such as illustrating the song lyrics, focusing on the artist, and voyeurism.
Tinie tempah 2
Tinie Tempah is an English rapper from South London. His first music video "Wifey" from 2006 became an underground hit, holding the top spot on a chart for 10 weeks. His third single "Written in the Stars" from his 2010 debut album topped the charts upon its release. The two music videos have differences in costumes, locations, and camerawork that reflect Tinie Tempah's growth as an artist from an up-and-coming newcomer to an established star.
Eval 2
The document discusses consistency between a music video and ancillary materials. It notes that images used in ancillary talks were similar to shots in the music video, with the same angles and poses of the actor Tyler. Both the music video and ancillary tasks used an urban city location to convey loneliness and troubled feelings, as done in the Blink-182 video "All the Small Things". Clothing of the actors was smart but casual to relate to the target audience and fit alternative genre conventions. The narrative of a failing relationship in the music video was continued through metaphorical underwater shots expressing feelings of being overwhelmed by emotions. Overall themes of loneliness and strong emotions were consistent throughout the video and ancillary tasks.
The Neighbourhood - Daddy Issues
1) The video challenges Propp's narrative theory as there are no clear character archetypes and instead shows a girl's frustration towards her father through the destruction of a car.
2) It analyzes the video through the lenses of several narrative and music video theories, finding it both conforms to and subverts expectations for the indie rock genre.
3) The video uses a mix of performance-based elements like lip-syncing, a three-point narrative structure, and conceptual metaphorical meaning around a girl's "daddy issues."
Evaluation activity 1
This document contains 9 examples of shots from various music videos that demonstrate different techniques used in real music videos. These include shots that: 1) link lyrics to visuals, 2) represent the artist in a way the record company would want, 3) illustrate the music genre, 4) show intertextual references, 5) demonstrate camera work, 6) use lighting techniques, 7) employ mise-en-scene, and 8) demonstrate influences from other music videos through techniques like jump cuts or actors behaving naturally between takes. Each example shot is described and analyzed in terms of how it fits the stated technique.
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Tinie tempah 2
Tinie Tempah is an English rapper from South London. His first music video "Wifey" from 2006 became an underground hit, holding the top spot on a chart for 10 weeks. His third single "Written in the Stars" from his 2010 debut album topped the charts upon its release. The two music videos have differences in costumes, locations, and camerawork that reflect Tinie Tempah's growth as an artist from an up-and-coming newcomer to an established star.
Eval 2
The document discusses consistency between a music video and ancillary materials. It notes that images used in ancillary talks were similar to shots in the music video, with the same angles and poses of the actor Tyler. Both the music video and ancillary tasks used an urban city location to convey loneliness and troubled feelings, as done in the Blink-182 video "All the Small Things". Clothing of the actors was smart but casual to relate to the target audience and fit alternative genre conventions. The narrative of a failing relationship in the music video was continued through metaphorical underwater shots expressing feelings of being overwhelmed by emotions. Overall themes of loneliness and strong emotions were consistent throughout the video and ancillary tasks.
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3) The video uses a mix of performance-based elements like lip-syncing, a three-point narrative structure, and conceptual metaphorical meaning around a girl's "daddy issues."
Evaluation activity 1
This document contains 9 examples of shots from various music videos that demonstrate different techniques used in real music videos. These include shots that: 1) link lyrics to visuals, 2) represent the artist in a way the record company would want, 3) illustrate the music genre, 4) show intertextual references, 5) demonstrate camera work, 6) use lighting techniques, 7) employ mise-en-scene, and 8) demonstrate influences from other music videos through techniques like jump cuts or actors behaving naturally between takes. Each example shot is described and analyzed in terms of how it fits the stated technique.
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2) Levi-Strauss saw narratives as organized around binary opposites like good vs evil.
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4) Goodwin also noted demands for close-ups of artists and focus on the female body.
Music video deconstruction moz
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Question 1
The document discusses conventions of R&B music videos, including objectifying women through revealing outfits and shots that represent the male gaze. It describes two outfits worn in a sample music video - a lace babydoll and see-through blouse. Mise-en-scene elements like candles, bra decorations, and teddy bears were included to add romance and sexuality. The video also follows conventions identified by theorist Goodwin, such as relationships between lyrics/music and visuals, and use of close-ups of the artist.
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The music video for Radiohead's "Knives Out" features unconventional elements for a rock music video. It tells the story of a relationship through surreal metaphors and conceptual imagery in a single continuous shot. These metaphors - like an anatomically correct heart replacing a head and cold feet representing relationship doubts - represent both the positive and negative aspects of love. Though challenging to film, the technical aspects of the single shot add to the surreal narrative being portrayed.
The xx - On hold
The video for "On Hold" by The xx incorporates elements of performance, narrative, and concept. It features close-ups of the band members performing the song alongside scenes depicting teenage relationships and parties to illustrate the themes of love and breakups addressed in the lyrics. Intertextual references to films and other music videos from the 1980s help set a retro atmosphere reflecting the song's sample of a 1981 Hall and Oates track. The video uses voyeurism and depicts the intimacy of teenage life to subvert expectations of the music genre.
Evaluation question 1
The document discusses the production of a music video for the song "Riptide" by Emma Stevens. It describes how the song has both country and pop elements, allowing them to incorporate conventions from different genres. Since Emma Stevens is similar to Taylor Swift, some of Swift's costumes and love story narratives were imitated. The video pays close attention to editing on the beat and showing the relationship between the song and visuals, as "Riptide" is about love. London landmarks were included to set an atmosphere and the final video length was 3:18.
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Evaluation activity 1
This document contains 9 examples of shots from various music videos that demonstrate different techniques used in real music videos. The shots show things like linking lyrics to visuals, representing the artist in a way the record label would want, illustrating the music genre, demonstrating intertextual references, and showing the use of camerawork, lighting, mise-en-scene, cutting techniques between shots, and natural acting. The examples are analyzed and explained in terms of how they employ techniques seen in other professional music videos.
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Plan B
The music video for Plan B's "She Said" uses editing techniques like jump cuts and flashbacks to keep the audience engaged as the narrative unfolds. Shots are cut on the beats of the song. Cinematography includes long shots, close-ups, and mid shots to showcase the star, Plan B, and give insight into the locations. Plan B is often framed from low angles to present him as powerful despite being the accused in a courtroom setting. The video matches cuts and interactions to the soundtrack, and Plan B lipsyncs during rapping verses. The mise-en-scene of different contrasting locations like the courtroom, bedroom, and taxi advance the narrative message of different perspectives being heard.
Taylor swift love story
The video starts with an establishing shot of a school where some of the action will take place, suggesting the protagonists are students. The main character is seen walking outside the school in medium shot, referencing typical American high school romance films. She sees a guy sitting under a tree and they exchange glances, with quick shots foreshadowing future events. Shot-reverse-shot is used to show the characters looking at each other, both wearing black outfits like stereotypical fairy tale prince and princess costumes. The music video features many locations, costumes, and animals typical of fairy tales but would be too expensive to replicate. Closeups of the artist's face are important for promotion and establishing a fan base. This research
Eval question 1
The document discusses the production of a music video for the song "Riptide" by Emma Stevens. Key points included mixing genres from country and pop due to the song's style, drawing inspiration from Taylor Swift's love story narratives and appearances, and focusing on editing on the beat and showing the relationship between the song and visuals through a developing romance between characters. London landmarks were included to set a lively atmosphere, and basic costumes were intended to make the target audience easily relate to the teenage girl protagonist. The completed video length of 3:18 fit conventional expectations.
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This document analyzes and summarizes conventions used in music videos. It discusses how flashbacks are used to establish narratives, the inclusion of performances to show the band, and close-ups of instruments in rock videos. While rock videos focus on musicians actually playing, pop videos conform to the convention of not showing instruments being played.
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The genre of the song is house music, which is reflected in the fast cuts in the video that sync with the dance beat, keeping viewers engaged. There are many establishing shots that provide context and close-ups of the couple laughing and having fun. The images in the video relate to the lyrics, with 5 examples given of visuals matching the words. Close-ups are important as they allow the audience to focus on key parts of the story. The female is presented as the male's wife and is not portrayed in a voyeuristic way. There is no obvious intertextual references. The video uses natural lighting and jump cuts between locations to show the couple's past and present.
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Narrative theorists Todorov and Propp identified common structures and character roles in narratives. Todorov described a five stage structure: equilibrium, disruption, recognition, attempt to repair, reinstatement of equilibrium. Propp identified eight main character roles including hero, villain, donor, and princess. Levi-Strauss observed that narratives are arranged around binary opposites like good vs evil. Vernallis' theory of music videos centers around four concepts: narrative, editing, camera techniques, and diegesis. Goodwin described characteristics of music videos such as demonstrating musical genres, relationships between music/lyrics and visuals, and frequent references to looking and the female body.
Poker face
The video consists entirely of Lady Gaga performing the song. As she is the only main character, she receives the most screen time. The editing matches dance moves and lyrics but lacks continuity. It emphasizes the beat through short shots. There are long shots that promote Gaga but also close-ups of her emotions and mid shots to show space. Gaga breaks the fourth wall to address the audience. The narrative is only hinted at through shots and not fully explained.
Bastille good grief
This document proposes a music video concept for the song "Good Grief" by Bastille. The concept contrasts the upbeat music with dark themes in the lyrics like death and mourning. It will be both a performance video and concept video. Scenes of fire and smoke will represent themes in the lyrics, and the band will wear black suits to suggest they are at a funeral, matching the theme of death. Flashback scenes will show the deceased female character in white to represent her innocence. Camerawork will include shots of the band and high angle shots of the female character to convey her virtue and lack of dominance.
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The document discusses several theories of narrative structure and techniques used in music videos:
1) Todorov and Propp's theories identify common stages and character roles in narratives, such as establishing equilibrium, disrupting it, then attempting to restore order.
2) Levi-Strauss saw narratives as organized around binary opposites like good vs evil.
3) Vernallis and Goodwin analyzed how music videos use techniques like genre characteristics, relationships between lyrics/music and visuals, and intertextual references.
4) Goodwin also noted demands for close-ups of artists and focus on the female body.
Music video deconstruction moz
This music video features Morrissey walking through streets alone while singing to the camera. It has a simple, stripped back style with few camera shots and no visual indicators of the music's genre. The lyrics and visuals sometimes contradict, such as when Morrissey sings of being embraced but is alone. While the music has an upbeat melody, the visuals of Morrissey walking match its tempo but don't fully connect to the music. There are a few moments where Morrissey's movements sync to the music's beat. The video focuses entirely on Morrissey, highlighting his recognizable style and motifs. It references the notion of looking through Morrissey looking at the camera and behind himself.
Music video conventions
The music video portrays the artist as a gang leader followed by members wearing drooping jeans and jewelry signifying they are rappers. This depicts how rappers in the streets look tough with friends. The swearing in the lyrics matches the swearing in the video. Most shots are medium close-ups to see hand gestures during signing. The video takes place in a backstreet with motorbikes and weapons where no one can pass, similar to Russian artist also featured. There is no performance, just hand swinging in the USA, which loves rap, behind a back garden.
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.
Music Video Analysis
The music video for One Night Only's song "Say You Don't Want It" uses several techniques to appeal to its target indie pop audience. It features close-ups of the band members, particularly the lead singer, to help viewers identify with them. It also includes shots of the full band performing to establish them as a band. The location of New York City and themes of fleeting love and unrealistic dreams subtly connect to the lyrics. There are also references to the Lady and the Tramp movie that longtime indie fans would recognize.
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Concept narrative performance screenshots homework
Concept narrative performance screenshots homework
Similar to Textual Analysis 3 Seashore
Question 1
The document discusses conventions of R&B music videos, including objectifying women through revealing outfits and camera shots aligned with the male gaze. It also discusses the use of mise-en-scene props like candles and teddy bears to further themes of romance and longing. The author analyzes their own student music video project in light of these conventions, finding they incorporated conventions like close-ups of the artist but challenged conventions by leaving out a male presence and implied submissiveness.
Question 1
The document discusses conventions of R&B music videos, including objectifying women through revealing outfits and shots that represent the male gaze. It describes two outfits worn in a sample music video - a lace babydoll and see-through blouse. Mise-en-scene elements like candles, bra decorations, and teddy bears were included to add romance and sexuality. The video also follows conventions identified by theorist Goodwin, such as relationships between lyrics/music and visuals, and use of close-ups of the artist.
Evaluation Question 1
The document discusses conventions used in an R&B music video created as a university project. It objectifies the female subject according to the male gaze by showing her in revealing outfits and poses that emphasize her body but not face. Shots were included just showing her body to appeal to the male gaze. Elements like candles, lingerie, and teddy bears were incorporated for their romantic or sexual symbolism. The video followed conventions like close-ups of the artist and matching lyrics to visuals identified by theorist Goodwin to make it recognizable as an R&B music video.
Final Evaluation
The document summarizes and analyzes a music video called "Demanding Eyes- Lips Like Braille" according to conventions of successful music videos put forth by Andrew Goodwin. The summary analyzes how the music video represents the artist/record label, links the visuals to lyrics, reflects the genre through style and iconography, relates the music and visuals, includes intertextual references and voyeurism. Audience feedback from surveys and YouTube comments found the video was unique, matched the song well, and made people interested in the band and downloading the track.
2. final research mv 2018 (1) 6
The document provides guidance for stage 2 of a research and experiments project. It discusses researching potential production techniques and analyzing at least 3 related music videos or products. The document instructs the student to collect clips, images, guides, and get feedback from potential audiences. It also advises assessing whether techniques can be used or employed for the student's intentions and production.
The document then provides an analysis of 3 music video products. The first is analyzed to understand the artist's typical storylines and productions. The second is chosen for its illustrative style. Details are provided on shot types, scene changes, and literal interpretations of lyrics. The third video is analyzed for its realistic portrayal of a story through consistent close-up shots.
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The document analyzes and provides feedback on several music videos. It discusses the effective use of close-ups, matching edits to the beat of the music, setting mood through lighting and camera angles, portraying settings and atmosphere through low angle shots and cutaways, and engaging audiences through contrasts and interpreting meaning from visuals. Overall, the document examines how various technical and directorial choices can effectively match the genre, story, and tone of different songs.
Music Video Evaluation
The music video matches the conventions of the alternative rock genre through its lyrical references, slow pacing, and desaturated color scheme. Audience feedback found that most understood the theme of forbidden love and matched the video to the song. Suggested improvements included improving the lead singer's miming and stabilizing camera shots. New media technologies used included YouTube for research, Adobe software for editing and design, and online surveys for evaluation.
Music Video Evaluation (Demanding Eyes- Lips Like Braille)
The student created a music video for the song "Demanding Eyes - Lips Like Braille" and several ancillary texts to accompany it. The music video follows conventions for successful music videos outlined by Andrew Goodwin, such as focusing on close-ups of the artist, linking the visuals to the lyrics, and maintaining a style fitting for the alternative rock genre. Feedback was collected through an online survey and focus group, finding that the blindfold motif was impactful but the narrative could be clearer. Viewers responded positively to the intertextual references and cohesive design across the music video and ancillary texts.
Textual Analysis of Boom Clap
1. The video for "Boom Clap" by Charli XCX uses cinematography and editing to connect the song to the film The Fault in Our Stars. It features locations and scenes from the movie through archive footage.
2. The lighting and costumes in the video also reflect the changing tone of the song, with darker lighting and edgier costumes used for the alternative portions of the song.
3. Cinematography techniques like shot types, location shots, and effects are used intentionally to match the mood and genre of the different parts of the song.
Ev 1
The music video challenges some conventions of music videos but also uses several conventions:
- It tells a narrative story rather than showing a performance, though it uses point-of-view shots like music videos.
- The visuals have a loose relationship to the lyrics, showing some literal interpretations but focusing more on reflecting the song's tone.
- It includes intertextual references to Shrek to enhance the humor.
- It employs techniques like match cuts, split screens, and rhythmic editing associated with music videos.
The digipak challenges some conventions like numbering tracks but maintains others like listing the artist and title on the cover and including interior artwork and images. Overall, it aims to maintain
The General Conventions of Music Videos
The document discusses several general conventions of music videos across different genres and over time. It covers factors like the effect of music genre, lyrics, camerawork, editing techniques, intertextuality, and exhibitionism. Examples are provided to illustrate how various conventions are used, such as matching editing to a song's climax or referencing other works through costumes and settings.
A2 Media Studies Evaluation - Leanne, Bethan and Faye
1) The music video breaks conventions by not including the band and focusing solely on the story and characters. It presents a relationship with stereotypical gender roles that are subverted as the female character gains independence.
2) Mood and meaning are conveyed through the use of different weather conditions - sunny for happy memories and foggy for the unclear present state. Black and white is also used for a romantic tone.
3) The narrative is in third person so the audience can witness the story unfold without direct involvement. Conventions are both followed and broken in telling the relationship story.
Evaluation
The document discusses conventions in music videos and how the student's media product compares to examples from Green Day and Paramore. The student analyzes technical, symbolic, and audiovisual conventions as well as relationships between visuals and lyrics/music. Their music video uses some conventions like a red coat symbolizing love and danger but struggles to clearly portray the male character as imaginary. Feedback would help the student improve clarity and matching visuals to lyrics/music.
Conventions of Form
This document discusses conventions that are commonly found in music videos, including narrative structure, performances, lip syncing, changes in costumes/makeup, locations, lighting, cinematography techniques, and characters. It analyzes several example music videos and draws inspiration from their use of these conventions. The document aims to apply lessons learned from these examples to create an effective narrative structure and engaging visuals in the author's own music video.
Applying Andrew Goodwin’s theory
This document analyzes Shinedown's music video for "Bully" using Andrew Goodwin's six key features of music videos. It finds that the video amplifies the lyrics through editing and visuals depicting bullying. Scenes illustrate specific lyrics of being hung and pushed to the dirt. The music and visuals are edited to amplify each other. Close-up shots of the lead singer engage the audience but also convey fear and hurt relating to the anti-bullying theme. The video lacks voyeurism and intertextual references, which is common for rock music videos.
Shannon media
This music video for "The Ghost of You" by My Chemical Romance uses several techniques from Andrew Goodwin's music video theory. It draws on conventions of the rock genre but subverts expectations by being narrative-driven rather than focused on performance. The video is set in 1940s-era America during war time and contrasts scenes of dancing with scenes of battle. It establishes characters and relationships through costumes, lyrics, and music tempo that link to the narrative. Close-ups of the band members also help develop their iconic styles.
Evaluation 1
The document discusses how the music video for The Killers' "For Reason Unknown" uses and challenges conventions of real music videos. It includes two main parts - band performance and narrative - following conventions. However, the narrative is unconventional by using non-chronological editing. Camerawork in the band performance uses close-ups and angles to introduce the band members, while the narrative focuses on storytelling over close-ups. Overall, the video draws on conventions but aims to be unique through its ambiguous narrative structure and interpretation of lyrics.
Treatment sheet
1. The document proposes a concept for a music video for the song "Hey Soul Sister" by Mathew Bray. The concept involves a love story between a male vocalist/protagonist and a female protagonist who break up but later reunite.
2. The video will begin with a band performance to introduce the members, then show the couple in love originally before breaking up. Scenes will portray the male still having feelings for the female through shots from his perspective.
3. Actual band members will perform in the performance sections for authenticity, while an actress will portray the female protagonist in narrative sections to show the relationship in a realistic way. The male protagonist will be the lead vocalist to link
Evaluation question 1
The document discusses conventions of music videos and how they were applied in the student's music video project. It begins by outlining several common conventions like the link between music and visuals, camera angles/movement, and performance characteristics. It then examines how the student incorporated these conventions in their video for the song "Sail" by Awolnation. Specific examples are provided of how close-ups, cuts on the beat, genre-appropriate camera work, and a lone dancer were used. The student also discusses challenging conventions by not including a band performance. Overall, the document analyzes the application of music video conventions in the student's project and how it both followed and subverted expectations.
Q1
The document provides details about the planning and research process for a final music video production. It discusses researching existing pop music videos from artists like Cheryl Cole, Little Mix, and Katy Perry to understand conventions. Elements like costumes, locations, lighting, and editing techniques were analyzed. A questionnaire was used to determine the target demographic of 15-19 year olds. Storyboarding and test screenings helped finalize ideas. Costumes and props were chosen to fit the narrative and autumn season. Filming involved using different shot types from the storyboard, though some shots were altered for pacing.
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- 1. Textual analysis 3 Seashore by The Regrettes
- 2. The third video I decided to look at is Seashore by the Regrettes, as the song protests against gender stereotypes, and I like the aesthetic of the video. The song is about lead singer Lydia Night’s feelings towards people who have put her down just because she is a young girl. Across the next few slides is a storyboard showing some key shots from the video.
- 6. After watching this video, I am still a fan of the aesthetic, but it appears to have quite a high production value (with all the different sets and costumes), so it might not be something I can emulate in my video. I also liked the structure of the video, with cuts between the narrative and the performance montage – this structure is something I could use in my music video. If I do include a performance montage, I will try to make sure it clearly links in with the narrative (like the video I’ve just looked at) by using the same location/costume or something else that makes sure both aspects are clearly linked. This video also uses historical references to get it’s message across clearly, which could be something I use in my video, but due to the lack of budget it wouldn’t be as extreme as this, but it could just be something small, like a clip from a old advert or movie that relates to the topic/message of my music video.