The use of media language in sigur ros Hoppipolla
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This document analyzes the music video for the song "Hoppipolla" by the Icelandic post-rock band Sigur Rós. It summarizes that the music video reinforces the genre of post-rock through its minimal vocals and repetitive musical motifs. The video closely synchronizes its imagery with both the lyrics, which describe jumping in puddles and getting soaked, and the musical cues, using actions like fireworks at crescendos. It features elderly actors challenging stereotypes by acting youthfully and is edited in a vintage style resembling memories or flashbacks. Intertextually, it references works like Red that portray older individuals defying expectations of what it means to be elderly.
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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.
Different music videos for different genres
This document summarizes different music video styles based on genre. It discusses conventions for metal, rock, indie, pop, and rap music videos. For metal videos, it provides examples of Metallica and Dragonforce that use close-up shots and angles to connect with audiences. Rock videos like Guns N' Roses use black and white with close-ups. Indie videos like George Ezra and Bastille have abstract narratives. Pop videos like Justin Bieber and Shawn Mendes use choreography, lighting, and voyeurism. Rap videos by Eminem and Kanye West have sci-fi themes while Nicki Minaj and Iggy Azalea emphasize sexuality and the "male gaze."
Evaluation Question 1
Our media product is a music video for a pop/rock song. We used various conventions of the genre including the artist miming the lyrics and including a storyline with other actors. We incorporated different camera techniques like close-ups, camera movements, and lighting effects. While drawing from conventions, we also aimed to challenge them by including dancing, which is uncommon for this genre. The mise-en-scene features naturalistic settings, costumes, makeup and lighting that enhance the mood of the song and story.
OTIS Music Video Analysis
The music video for "OTIS" by Kanye West and Jay-Z features the two rappers stripping down and customizing an expensive Maybach car for fun. Throughout the video, West and Jay-Z are shown performing their verses together in medium long shots, establishing them as collaborating artists. The video amplifies the lyrics by exaggerating actions, such as West praying during a verse about never going to hell. It also illustrates lyrics briefly, like showing West's watch during a line about owning Hublots and Rollies.
Q1
Our music video uses, develops, and challenges conventions of music videos for the pop/hip-hop genre in several ways. It develops conventions by using the rap portions of the song to tell the narrative rather than showing the rapper rapping. It also challenges conventions by portraying women in a vulnerable way rather than as objects. The video develops conventions through its focus on a single artist and through techniques like close-ups that build her iconography. Overall, the video both draws from and reworks typical music video conventions for its genre.
Types & Styles of music videos
This document discusses different types and styles of music videos. The main types are narrative-based, which tell a story related to the song's lyrics; performance-based, which primarily feature the artist performing; and concept-based, which are based on a specific theme or concept. Some common styles are animation, interpretive, impressionist, intertextual, surrealist, and allusion. Examples are provided for each type and style.
R&B Music Videos
R&B music videos typically reflect the music and lyrics in several ways. Narrative videos tell a story that relates directly to the lyrics, while up-tempo songs with strong beats feature choreography unrelated to the lyrics. Artists like Usher, Chris Brown, and Neyo are known for incorporating complex dance routines into their videos. Videos also commonly feature expensive displays of wealth like luxury cars, mansions, and private jets to glamorize the artist's lifestyle and attract audiences. Models are often included to play romantic partners and enhance the artist's appearance.
Genres
Indie music genre has changed significantly over 30 years. Early 1980s indie videos used distorted colors and focused on raw band performances with uncoordinated clothing. Modern indie videos have larger budgets and incorporate both performances and abstract narratives with more fashionable clothing. While still including performances, they are more focused on the artists' image.
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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.
Different music videos for different genres
This document summarizes different music video styles based on genre. It discusses conventions for metal, rock, indie, pop, and rap music videos. For metal videos, it provides examples of Metallica and Dragonforce that use close-up shots and angles to connect with audiences. Rock videos like Guns N' Roses use black and white with close-ups. Indie videos like George Ezra and Bastille have abstract narratives. Pop videos like Justin Bieber and Shawn Mendes use choreography, lighting, and voyeurism. Rap videos by Eminem and Kanye West have sci-fi themes while Nicki Minaj and Iggy Azalea emphasize sexuality and the "male gaze."
Evaluation Question 1
Our media product is a music video for a pop/rock song. We used various conventions of the genre including the artist miming the lyrics and including a storyline with other actors. We incorporated different camera techniques like close-ups, camera movements, and lighting effects. While drawing from conventions, we also aimed to challenge them by including dancing, which is uncommon for this genre. The mise-en-scene features naturalistic settings, costumes, makeup and lighting that enhance the mood of the song and story.
OTIS Music Video Analysis
The music video for "OTIS" by Kanye West and Jay-Z features the two rappers stripping down and customizing an expensive Maybach car for fun. Throughout the video, West and Jay-Z are shown performing their verses together in medium long shots, establishing them as collaborating artists. The video amplifies the lyrics by exaggerating actions, such as West praying during a verse about never going to hell. It also illustrates lyrics briefly, like showing West's watch during a line about owning Hublots and Rollies.
Q1
Our music video uses, develops, and challenges conventions of music videos for the pop/hip-hop genre in several ways. It develops conventions by using the rap portions of the song to tell the narrative rather than showing the rapper rapping. It also challenges conventions by portraying women in a vulnerable way rather than as objects. The video develops conventions through its focus on a single artist and through techniques like close-ups that build her iconography. Overall, the video both draws from and reworks typical music video conventions for its genre.
Types & Styles of music videos
This document discusses different types and styles of music videos. The main types are narrative-based, which tell a story related to the song's lyrics; performance-based, which primarily feature the artist performing; and concept-based, which are based on a specific theme or concept. Some common styles are animation, interpretive, impressionist, intertextual, surrealist, and allusion. Examples are provided for each type and style.
R&B Music Videos
R&B music videos typically reflect the music and lyrics in several ways. Narrative videos tell a story that relates directly to the lyrics, while up-tempo songs with strong beats feature choreography unrelated to the lyrics. Artists like Usher, Chris Brown, and Neyo are known for incorporating complex dance routines into their videos. Videos also commonly feature expensive displays of wealth like luxury cars, mansions, and private jets to glamorize the artist's lifestyle and attract audiences. Models are often included to play romantic partners and enhance the artist's appearance.
Genres
Indie music genre has changed significantly over 30 years. Early 1980s indie videos used distorted colors and focused on raw band performances with uncoordinated clothing. Modern indie videos have larger budgets and incorporate both performances and abstract narratives with more fashionable clothing. While still including performances, they are more focused on the artists' image.
RESEARCH: A2 Media Music Video Analysis (Alternative Genre)
I did not find any explicit intertextual references to other films, TV programs or music videos in the "We Are Young" music video by Fun. The video focuses on depicting the song's lyrics through a narrative of a chaotic party scene. While it utilizes some common music video techniques like close-ups, slow motion and performance shots, it does not directly reference or allude to any other existing media texts.
Goodwin's Theory
The music video for Lady Gaga feat. Beyoncé's "Telephone" demonstrates several of Andrew Goodwin's theories about music videos. There is a relationship between the lyrics and visuals when images of telephones are shown. The music and visuals are also connected, with edits happening on the beat. As a pop song, the video features dance routines and changing costumes, fitting the genre. Close-ups of the artists satisfy record label demands to promote the stars. The video references voyeurism and includes intertextual nods to films with opening and end credits, as well as a reference to a TV show.
The 1975 chocolate analysis
This document analyzes and summarizes Andrew Goodwin's music video theory based on the music video for "The 1975". Some key points made:
- The music video reinforces common indie/alternative genre tropes like a black and white filter, drug references in the lyrics/visuals, and sexual scenes.
- There is a medium-paced relationship between the music and visuals, though the visuals do not change pace when the music quickens.
- As the lead singer is the face of the band, the video focuses on close-ups of him to promote him as the artist.
- Women are frequently sexualized, reinforcing gender stereotypes about vulnerability and power.
What is a music video
Music videos have been defined as short moving images that accompany pre-existing music to encourage music sales in other formats. They are often used to enhance an artist's image and establish them as part of a musical genre. There is usually a relationship between the visuals and lyrics of a music video, whether illustrating, amplifying, or contradicting the lyrics. Common elements of music videos include close-ups of the main artist, genre-specific styles and iconography, references to voyeurism and objectification of women, and intertextuality through references to other media.
Kings of leon video analysis
This document provides an analysis of the Kings of Leon music video for "Sex on Fire" using various music video and film theories:
1) The video demonstrates characteristics of the indie/alternative genre through its low-budget production, the band's ragged appearance, and lyrics about sex, drugs and alcohol.
2) While the lyrics are understandable, the visuals are disjunctured and don't relate to the lyrics, showing one band member eating chicken for no reason.
3) The sad music matches the sad lyrics and visuals that fade in and out with the beat.
4) There are many close-ups of the band, especially the singer, to build recognition for future releases.
Music video analysis
The music video for HAIM's "Finally" features the three sisters performing in a forest setting with a hazy, vintage filter. It includes many close-ups of the lead singer and has no narrative, instead focusing solely on their performance. While there is no direct relationship between the lyrics, music, and natural visuals, the slow editing and shot transitions match the slow pace of the song. HAIM's music videos are known for their consistent hazy filter and vintage clothing styles.
Katy Perry's "Rise" depicts her overcoming challenges represented through lyrics and imagery, such as "circling vultures" and rising into the air. The upbeat pop song is reflected in the bright colors, lighting
The killers – mr brightside analysis
The document analyzes the music video for "Mr. Brightside" by The Killers. It finds:
1) The video establishes a relationship between the music and visuals, showing the band playing in sync with the song, and tells a narrative of a love triangle matching the song's lyrics.
2) The lyrics about a love triangle are directly illustrated by the video's plot of two men vying for a woman.
3) The video has intertextual references to films like Moulin Rouge in its story and costumes that make it unique.
Impressionist music videos
The document discusses impressionist music videos, which use seemingly unrelated shots to express themes in a way that makes audiences feel a certain way. These shots can include people, locations, objects, and abstract features, and will usually relate to the current lyric when shown. There will be a connecting theme of synergy that brings the unrelated shots together. For example, Jay-Z's "On to the Next One" video uses the number three as its synergy theme, linking to the artist and album names. The document then discusses how it focused on a theme of love with the synergy of red for its own impressionist shots, with each shot symbolizing love in the context of passion, romance, or sensuality.
Goodwins theory
Goodwin identified several relationships between music videos and their lyrics:
1) The visuals can either complement the lyrics by amplifying their meaning, or contradict the lyrics.
2) The visuals are often edited to match the pace and beats of the song.
3) Artists establish trademarks or signature moves to make their music recognizable.
Music video analysis
The document provides an analysis of Andrew Goodwin's 7 features of music videos and then analyzes the music videos for three songs:
1) Kasabian - "eez-eh" is primarily a performance-based video that illustrates the music and amplifies its bold tone through bright colors. It includes few lyrics-image connections and close-ups.
2) Coldplay - "Adventure of a Lifetime" follows conventions of a boy-band video with a dance routine and performance. It amplifies lyrics through chimp lip-syncing and includes motifs to identify band members.
3) Jamie T - "Zombie" includes a stage performance but does not fully follow indie conventions. It creates a lyrics
Styles conventions and techniques
This document provides examples and descriptions of various styles, conventions, and techniques used in music videos. It discusses genres like indie music and live footage. It also covers animation, narrative, surrealism, pastiche, parody, referencing, homage, interpretation, impressionism, influence of commercials, lyrical interpretation, extension of meaning, allusion, links to other artists, and technical techniques like cutting to the beat, effects, miming, use of multiple images, camera work, green screen, and lighting. Examples are given for each category to illustrate common music video styles and approaches.
Andrew goodwins robbie candy
The music video for Robbie Williams' song "Candy" features visuals that generally match the lyrics and music. Robbie Williams is portrayed as an angel watching over and helping the woman, referred to as "Candice". Locations and effects used are common in pop music videos. Throughout, there are shots of Robbie Williams dancing, looking at the camera, and focusing on Candice to promote his likable artist image and connect with the audience. The increasing intensity of negative events happening to him at the end matches the rising tempo of the music.
Different Types And Styles Of Music Videos
Music videos are typically 3-5 minute promotional videos for songs that feature imagery and themes related to the song's genre. There are several common styles of music videos including performance-based videos that feature artists performing, narrative-based videos that tell a story synced to the song, and conceptual/art videos that use abstract imagery and multiple meanings to create moods and feelings. Other styles include animated, interpretive, impressionist, intertextual, pastiche, and parody videos.
13. music video worksheet
The music video for Celine Dion's song "Ashes" from the movie Deadpool 2 meets expectations for a song written for a feature film. It has a slow, sad and classical style that references the movie Titanic, where Dion also sung. There are clear links between the lyrics and visuals of making something good from something bad. Dion sings the song very dramatically in line with it being from an action romance film. The video prominently features Dion as the main character and centers on her. It also contains intertextual references to the movie Deadpool 2, Titanic, and other media texts like Spiderman and N'Sync.
Plain white t's
There are six key points to Goodwin's theory of music video analysis: 1) Relationship between lyrics and visuals, 2) Relationship between music and visuals, 3) Reflecting the musical genre, 4) Featuring the artist, 5) Referencing looking/voyeurism, 6) Intertextual references. This indie rock music video by Plain White T's for "Hey There Delilah" amplifies the song's meanings through its visuals, with many close-ups of the lead singer to satisfy the record label. However, it lacks intertextual references atypical for the genre.
Andrew goodwins theory
The document discusses several codes and conventions that are commonly found in music videos. It notes that visuals in music videos often illustrate, amplify, or contradict the lyrics being sung. Music videos also frequently use visuals that amplify or illustrate the beat and music. Additionally, certain music genres have developed signature styles and iconography in their music videos. There is also often voyeurism and close-ups of the main artist in music videos. Many music videos contain intertextual references to other music videos, films, or television shows.
Music Video Analysis
Goodwin's music video theory states that each genre has characteristics that define it. Grimes' "Kill V. Maim" demonstrates synthpop genre characteristics like a narrative-based storyline, bright colors, and fast editing. The lyrics and visuals illustrate Grimes wreaking havoc as a genderbending vampire. There are many close-ups of Grimes, developing her motif of angelic figures. The video references films, TV, and other media through costumes, settings, and intertitles. Melanie Martinez's "Pity Party" also shows its alternative pop genre through a narrative, artistic style, and focus on the artist's appearance. The lyrics and visuals follow Cry Baby's insanity at her lonely
The Style Of Music Videos
This document discusses different genres of music and their typical styles and conventions as portrayed in music videos. It begins by explaining the variety of modern music genres like pop, rock, R&B, rap, jazz, hip hop, electronic, country and metal. It then provides more detail on specific genres, describing common themes, locations, shots, and portrayals of men and women in music videos for genres like rap, rock, drum & bass, and electronic. The document also covers various music video techniques including in-concert footage, narratives, animation, and referencing/homages.
Conventions of form and genre
The document discusses three common conventions in music videos: narrative, performance, and abstract. It provides examples for each type. Narrative music videos follow a story through character experiences. Performance videos feature the artist singing and lip syncing. Abstract videos have little connection to the song lyrics and emphasize creative, unusual visuals and dancing. The document also notes that pop music videos typically feature visual references to lyrics to associate the video with the song. They often portray young characters to attract youth audiences.
Analysis report
The document describes three music videos and analyzes their genre characteristics, relationships between lyrics/music/visuals, use of close-ups, references to looking, intertextual references, and whether the video illustrates, disjoints from, or amplifies the song. For "This too shall pass" by Ok Go, the video has no connection to the song lyrics or music (disjuncture). "The Fox" by Ylvis has a literal illustration of the song lyrics through people dressed as animals. "Take on me" by a-ha relates lyrics to visuals through a comic book device and shows instruments being played (amplification).
Summer song by scarlett parade
The music video "Summer Song" by Scarlett Parade tells a story of betrayal through ambiguous flashbacks that blur the lines between reality and illusion. There are two main characters, a girl named Sophie who may or may not be alive, and a boy named Jacob who may have accidentally hit her with his car and left the scene. The narrative is told through flashbacks that take the story back in time, leaving it unclear whether certain scenes depict real events or memories. This ambiguity is meant to encourage the audience to question unreliable memory and shape their own interpretations.
Locations for music video
This document describes various locations used to film shots for a music video and the rationale for choosing each one. Location 1 was chosen for its trees providing cover and light, and fallen leaves creating a darker atmosphere. Location 2 was secluded with little traffic and referenced the film "Blue Velvet" to juxtapose suburban normalcy with the action. Location 3 had an open field suitable for multiple shots and referenced a painting by John Crome. Location 4 allowed reflection shots and a sense of unease from emptiness and a nearby road, referencing the similar narrative of the film "The River". An additional shot was taken at Location 5 for variation, referencing the message of not being consumed by social media in the video "
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RESEARCH: A2 Media Music Video Analysis (Alternative Genre)
I did not find any explicit intertextual references to other films, TV programs or music videos in the "We Are Young" music video by Fun. The video focuses on depicting the song's lyrics through a narrative of a chaotic party scene. While it utilizes some common music video techniques like close-ups, slow motion and performance shots, it does not directly reference or allude to any other existing media texts.
Goodwin's Theory
The music video for Lady Gaga feat. Beyoncé's "Telephone" demonstrates several of Andrew Goodwin's theories about music videos. There is a relationship between the lyrics and visuals when images of telephones are shown. The music and visuals are also connected, with edits happening on the beat. As a pop song, the video features dance routines and changing costumes, fitting the genre. Close-ups of the artists satisfy record label demands to promote the stars. The video references voyeurism and includes intertextual nods to films with opening and end credits, as well as a reference to a TV show.
The 1975 chocolate analysis
This document analyzes and summarizes Andrew Goodwin's music video theory based on the music video for "The 1975". Some key points made:
- The music video reinforces common indie/alternative genre tropes like a black and white filter, drug references in the lyrics/visuals, and sexual scenes.
- There is a medium-paced relationship between the music and visuals, though the visuals do not change pace when the music quickens.
- As the lead singer is the face of the band, the video focuses on close-ups of him to promote him as the artist.
- Women are frequently sexualized, reinforcing gender stereotypes about vulnerability and power.
What is a music video
Music videos have been defined as short moving images that accompany pre-existing music to encourage music sales in other formats. They are often used to enhance an artist's image and establish them as part of a musical genre. There is usually a relationship between the visuals and lyrics of a music video, whether illustrating, amplifying, or contradicting the lyrics. Common elements of music videos include close-ups of the main artist, genre-specific styles and iconography, references to voyeurism and objectification of women, and intertextuality through references to other media.
Kings of leon video analysis
This document provides an analysis of the Kings of Leon music video for "Sex on Fire" using various music video and film theories:
1) The video demonstrates characteristics of the indie/alternative genre through its low-budget production, the band's ragged appearance, and lyrics about sex, drugs and alcohol.
2) While the lyrics are understandable, the visuals are disjunctured and don't relate to the lyrics, showing one band member eating chicken for no reason.
3) The sad music matches the sad lyrics and visuals that fade in and out with the beat.
4) There are many close-ups of the band, especially the singer, to build recognition for future releases.
Music video analysis
The music video for HAIM's "Finally" features the three sisters performing in a forest setting with a hazy, vintage filter. It includes many close-ups of the lead singer and has no narrative, instead focusing solely on their performance. While there is no direct relationship between the lyrics, music, and natural visuals, the slow editing and shot transitions match the slow pace of the song. HAIM's music videos are known for their consistent hazy filter and vintage clothing styles.
Katy Perry's "Rise" depicts her overcoming challenges represented through lyrics and imagery, such as "circling vultures" and rising into the air. The upbeat pop song is reflected in the bright colors, lighting
The killers – mr brightside analysis
The document analyzes the music video for "Mr. Brightside" by The Killers. It finds:
1) The video establishes a relationship between the music and visuals, showing the band playing in sync with the song, and tells a narrative of a love triangle matching the song's lyrics.
2) The lyrics about a love triangle are directly illustrated by the video's plot of two men vying for a woman.
3) The video has intertextual references to films like Moulin Rouge in its story and costumes that make it unique.
Impressionist music videos
The document discusses impressionist music videos, which use seemingly unrelated shots to express themes in a way that makes audiences feel a certain way. These shots can include people, locations, objects, and abstract features, and will usually relate to the current lyric when shown. There will be a connecting theme of synergy that brings the unrelated shots together. For example, Jay-Z's "On to the Next One" video uses the number three as its synergy theme, linking to the artist and album names. The document then discusses how it focused on a theme of love with the synergy of red for its own impressionist shots, with each shot symbolizing love in the context of passion, romance, or sensuality.
Goodwins theory
Goodwin identified several relationships between music videos and their lyrics:
1) The visuals can either complement the lyrics by amplifying their meaning, or contradict the lyrics.
2) The visuals are often edited to match the pace and beats of the song.
3) Artists establish trademarks or signature moves to make their music recognizable.
Music video analysis
The document provides an analysis of Andrew Goodwin's 7 features of music videos and then analyzes the music videos for three songs:
1) Kasabian - "eez-eh" is primarily a performance-based video that illustrates the music and amplifies its bold tone through bright colors. It includes few lyrics-image connections and close-ups.
2) Coldplay - "Adventure of a Lifetime" follows conventions of a boy-band video with a dance routine and performance. It amplifies lyrics through chimp lip-syncing and includes motifs to identify band members.
3) Jamie T - "Zombie" includes a stage performance but does not fully follow indie conventions. It creates a lyrics
Styles conventions and techniques
This document provides examples and descriptions of various styles, conventions, and techniques used in music videos. It discusses genres like indie music and live footage. It also covers animation, narrative, surrealism, pastiche, parody, referencing, homage, interpretation, impressionism, influence of commercials, lyrical interpretation, extension of meaning, allusion, links to other artists, and technical techniques like cutting to the beat, effects, miming, use of multiple images, camera work, green screen, and lighting. Examples are given for each category to illustrate common music video styles and approaches.
Andrew goodwins robbie candy
The music video for Robbie Williams' song "Candy" features visuals that generally match the lyrics and music. Robbie Williams is portrayed as an angel watching over and helping the woman, referred to as "Candice". Locations and effects used are common in pop music videos. Throughout, there are shots of Robbie Williams dancing, looking at the camera, and focusing on Candice to promote his likable artist image and connect with the audience. The increasing intensity of negative events happening to him at the end matches the rising tempo of the music.
Different Types And Styles Of Music Videos
Music videos are typically 3-5 minute promotional videos for songs that feature imagery and themes related to the song's genre. There are several common styles of music videos including performance-based videos that feature artists performing, narrative-based videos that tell a story synced to the song, and conceptual/art videos that use abstract imagery and multiple meanings to create moods and feelings. Other styles include animated, interpretive, impressionist, intertextual, pastiche, and parody videos.
13. music video worksheet
The music video for Celine Dion's song "Ashes" from the movie Deadpool 2 meets expectations for a song written for a feature film. It has a slow, sad and classical style that references the movie Titanic, where Dion also sung. There are clear links between the lyrics and visuals of making something good from something bad. Dion sings the song very dramatically in line with it being from an action romance film. The video prominently features Dion as the main character and centers on her. It also contains intertextual references to the movie Deadpool 2, Titanic, and other media texts like Spiderman and N'Sync.
Plain white t's
There are six key points to Goodwin's theory of music video analysis: 1) Relationship between lyrics and visuals, 2) Relationship between music and visuals, 3) Reflecting the musical genre, 4) Featuring the artist, 5) Referencing looking/voyeurism, 6) Intertextual references. This indie rock music video by Plain White T's for "Hey There Delilah" amplifies the song's meanings through its visuals, with many close-ups of the lead singer to satisfy the record label. However, it lacks intertextual references atypical for the genre.
Andrew goodwins theory
The document discusses several codes and conventions that are commonly found in music videos. It notes that visuals in music videos often illustrate, amplify, or contradict the lyrics being sung. Music videos also frequently use visuals that amplify or illustrate the beat and music. Additionally, certain music genres have developed signature styles and iconography in their music videos. There is also often voyeurism and close-ups of the main artist in music videos. Many music videos contain intertextual references to other music videos, films, or television shows.
Music Video Analysis
Goodwin's music video theory states that each genre has characteristics that define it. Grimes' "Kill V. Maim" demonstrates synthpop genre characteristics like a narrative-based storyline, bright colors, and fast editing. The lyrics and visuals illustrate Grimes wreaking havoc as a genderbending vampire. There are many close-ups of Grimes, developing her motif of angelic figures. The video references films, TV, and other media through costumes, settings, and intertitles. Melanie Martinez's "Pity Party" also shows its alternative pop genre through a narrative, artistic style, and focus on the artist's appearance. The lyrics and visuals follow Cry Baby's insanity at her lonely
The Style Of Music Videos
This document discusses different genres of music and their typical styles and conventions as portrayed in music videos. It begins by explaining the variety of modern music genres like pop, rock, R&B, rap, jazz, hip hop, electronic, country and metal. It then provides more detail on specific genres, describing common themes, locations, shots, and portrayals of men and women in music videos for genres like rap, rock, drum & bass, and electronic. The document also covers various music video techniques including in-concert footage, narratives, animation, and referencing/homages.
Conventions of form and genre
The document discusses three common conventions in music videos: narrative, performance, and abstract. It provides examples for each type. Narrative music videos follow a story through character experiences. Performance videos feature the artist singing and lip syncing. Abstract videos have little connection to the song lyrics and emphasize creative, unusual visuals and dancing. The document also notes that pop music videos typically feature visual references to lyrics to associate the video with the song. They often portray young characters to attract youth audiences.
Analysis report
The document describes three music videos and analyzes their genre characteristics, relationships between lyrics/music/visuals, use of close-ups, references to looking, intertextual references, and whether the video illustrates, disjoints from, or amplifies the song. For "This too shall pass" by Ok Go, the video has no connection to the song lyrics or music (disjuncture). "The Fox" by Ylvis has a literal illustration of the song lyrics through people dressed as animals. "Take on me" by a-ha relates lyrics to visuals through a comic book device and shows instruments being played (amplification).
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RESEARCH: A2 Media Music Video Analysis (Alternative Genre)
RESEARCH: A2 Media Music Video Analysis (Alternative Genre)
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Summer song by scarlett parade
The music video "Summer Song" by Scarlett Parade tells a story of betrayal through ambiguous flashbacks that blur the lines between reality and illusion. There are two main characters, a girl named Sophie who may or may not be alive, and a boy named Jacob who may have accidentally hit her with his car and left the scene. The narrative is told through flashbacks that take the story back in time, leaving it unclear whether certain scenes depict real events or memories. This ambiguity is meant to encourage the audience to question unreliable memory and shape their own interpretations.
Locations for music video
This document describes various locations used to film shots for a music video and the rationale for choosing each one. Location 1 was chosen for its trees providing cover and light, and fallen leaves creating a darker atmosphere. Location 2 was secluded with little traffic and referenced the film "Blue Velvet" to juxtapose suburban normalcy with the action. Location 3 had an open field suitable for multiple shots and referenced a painting by John Crome. Location 4 allowed reflection shots and a sense of unease from emptiness and a nearby road, referencing the similar narrative of the film "The River". An additional shot was taken at Location 5 for variation, referencing the message of not being consumed by social media in the video "
Thriller research
The document discusses several films that use thriller conventions:
Life on Mars focuses on linking the main character Sam to the future through flashbacks and seeking what sent him to the past. Now You See Me follows an FBI squad tracking illusionists who rob corrupt executives. Olympus Has Fallen uses violence and cliffhangers during a terrorist attack on the White House. Limitless explores the psychological effects of a pill that unlocks 100% of brain ability.
Summer song by scarlett parade
The music video tells a story of betrayal, following Jacob as he drives with his girlfriend while being haunted by memories and visions of Sophie, a girl he may have hit and killed with his car in the past. Flashbacks reveal Jacob knew Sophie previously. Throughout the video, Sophie tries to hitchhike to London and appears in situations with Jacob to unsettle him, creating uncertainty over whether she is alive or what is real. The story explores themes of guilt, betrayal, and the blurred lines of reality.
Audience
The document discusses the target audience for a music video. The target audience is identified as primarily white British females aged 16-20 based on the performer in the music video and similar artists. Research was done into artists similar to the one featured to help identify the target audience, which was found to be educated girls interested in independent music. The target audience would likely shop at stores like Topshop and have a hipster identity. The target audience would also be local to Norwich where the video was filmed and be from a middle-class social background.
Locations
This document discusses various locations used to film shots for a music video and the rationale for choosing each one. Location 1 provided tree cover and light filtering through, giving an autumnal atmosphere. Location 2 was secluded with little traffic, suitable for depicting a "hit and run." Location 3 had an open field similar to a painting by a local artist, providing intertextual references. Location 4 alongside a river allowed for reflection shots and a sense of unease. An additional location provided variation with shots of a character standing alone in a busy street, linking intertextually to a video about social media.
Costumes
The costume for the character Jacob in the music video was designed to resemble casual, smart high street fashion typical of middle class male students aged 16-20. A blue color scheme was used to match the water and rain in the video, despite the summer theme of the song. A grey jumper incorporated current trends, while blue jeans provided relatability due to their ubiquity in modern fashion.
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Music Video Analysis
Music videos demonstrate genre characteristics. (e.g. stage performance in metal videos, dance routine for boy/girl band, aspiration in Hip Hop).
Goodwin’s theory states that each genre has certain characteristics that define it. The ‘Otis’ music video by Jay-Z and Kanye West follows several hip hop conventions including performances by the artists, the use of attractive scantily-clad women, low camera angles to give the artists power, and imagery showing wealth like expensive cars and watches to inspire aspiration. There are also strong relationships between the lyrics and visuals, with images amplifying and illustrating the words being rapped through gestures, lip syncing, and cuts that enhance the beat
Music video analysis
The document provides a summary of 7 key ideas from Andrew Goodwin's analysis of music videos:
1) Music videos demonstrate genre characteristics like stage performances or dance routines.
2) There is typically a relationship between lyrics and visuals, with lyrics represented through images.
3) The music and visuals usually have a reflective relationship where one mirrors the tone of the other.
4) Record labels often demand close-ups of artists and artists may develop recurring visual motifs.
5) Videos frequently reference looking through screens/mirrors and treat female bodies voyeuristically.
6) Artists continue visual styles across multiple videos.
7) Videos commonly make intertextual references to other media like films or
Textual analysis
The document analyzes genre characteristics, lyrics and visuals, music and visuals, close ups, and digipak/album designs of the music videos "The Man Who Can't Be Moved" by The Script and "Juliet" by Lawson. Some key points:
1) The videos incorporate conventions of both rock (dark colors, live performances) and pop (lead singer at front, inclusion of natural light).
2) Visuals strongly connect to lyrics through illustrative matching of scenes to words.
3) Close ups are used frequently on faces to convey emotion and build connection with viewers.
4) Digipaks and album covers/posters feature band images and information clearly while
Media work
The document analyzes Andrew Goodwin's 7 key ideas about music video analysis. It discusses how music videos demonstrate genre characteristics through imagery, how the relationship between lyrics and visuals can be illustrative, amplifying or contradictory, and how the music and visuals typically have a reflective tone. It notes that record labels often demand close-ups of artists and that artists may develop recurring visual motifs. The document provides examples from the Pulp music video "Babies" and the Blur music video "The Universal" to illustrate these points.
Alfie
The music video for "In the Name of Love" by Martin Garrix and Bebe Rexha tells a simple love story through visuals that represent the lyrics. It shows two young characters initially separated but then finding each other by a pool, representing their discovery of love. The video uses fast editing, vivid colors, and performance shots of Bebe Rexha singing to portray the emotions of the pop love song. It draws inspiration from the film The Great Gatsby through its ornate mansion setting and flashy costumes.
Textual Analysis 3
The document provides an analysis of genre characteristics, lyrics and visuals, and music and visuals in the music videos for "The Man Who Can't Be Moved" by The Script and "Juliet" by Lawson. Some key points made:
- Both videos include conventions of live performance but incorporate elements of both pop and rock genres.
- Visuals in both videos closely connect to and illustrate the lyrics being sung.
- Lighting, costumes, and close-ups of instruments follow conventions more of the rock genre.
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.
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
5 genres 3 videos
This document summarizes the genre conventions represented in various music videos. It discusses how Taylor Swift's "Shake It Off" incorporates different genres through costumes and settings. It also analyzes Olly Murs' "Beautiful to Me" for its natural lighting and relatable storyline. The document provides overviews of several other music videos and how they fit conventions of genres like pop, rock, alternative, country, and rap.
Andrew goodwin’s music video rules
There are several rules that music videos typically follow:
1) The music video style reflects the genre of music. For the alternative rock song "Amsterdam" by Nothing But Thieves, the video features the band performing in an abandoned factory alongside dancers.
2) The visuals in a music video relate to the song lyrics, whether illustrating, amplifying or contradicting them. In "Amsterdam", scenes of the dancers emphasize lyrics about craziness and living under the same sun.
3) The visuals also relate to the music itself, using elements like tempo. In "No More Sad Songs" by Little Mix, the climax of the music is reflected in an intensification of the visuals
Music video analysis
The document analyzes several music videos and their relationships to the songs:
1. A Fall Out Boy video satirizes traditional music videos by replacing elements with dog-related items to depict the song from a dog's dream perspective.
2. A Paramore video uses cinematography and lighting symbolism to portray feelings of being ignored addressed in the aggressive song.
3. A You Me At Six video symbolically shows characters regrowing lost partners from buried sentimental objects to represent reviving lost relationships mentioned in the emotional song.
Music video analysis
The document outlines 7 key ideas about music videos:
1) Music videos demonstrate genre characteristics like stage performances for rock bands.
2) There is usually a relationship between lyrics and visuals where lyrics are represented through images.
3) The tone and atmosphere of visuals usually reflects the music through illustrating or amplifying it.
Music video conventions
This document discusses various conventions commonly found in music videos across different genres. It covers conventions related to performance, narrative, concept, introductions/outros, promoting the artist, choreography, editing techniques like cuts/fades and slow motion, pace/transitions, mise-en-scene elements like costume and lighting, and how conventions illustrate the genre. Specific music video examples are provided for many different genres to show how they either meet or challenge typical conventions for that style of music.
Music Video Analysis
Wolf Alice is a four-piece alternative rock band from London. Their music video for "You're a Germ" tells a horror narrative story through exaggerated facial expressions and amplified scenes that represent the lyrics. There are clear relationships between the lyrics, music, and visuals as events in the video heighten with the music and specific shots represent lyrics. Close-ups are used to focus on lead singer Ellie Rowsell and allow the audience to follow the story from different perspectives without directly addressing the camera like a conventional performance video.
Evaluation Question 2
The document summarizes how the media product uses, develops, and challenges conventions of real music videos. It discusses using common music video conventions like including performance elements but also challenging conventions by setting the narrative in bright locations instead of stereotypical dark venues. It also discusses using conventions like a linear narrative but developing it by changing the artist's attitude during performance based on the narrative. Representation of a strong female artist is also discussed. The document then summarizes how the ancillary products like the digipak and magazine ad develop conventions through layout, images, colors, and fonts while also challenging some conventions.
Music video analysis (1)
This music video for Haim's song "Forever" demonstrates several genre characteristics of indie pop rock bands through a performance-based narrative that contrasts with their usual rock-based live shows. There are relationships between the lyrics, which reference past relationships, and the visuals, which include flashbacks to the sisters' childhood. The video focuses on close ups of the lead singer to establish her role and features eye contact with the audience. While it does not have a recurring visual motif, the band is known to use filters and vintage styling across their videos.
Analysing music videos
The music video for Bombay Bicycle Club's "Magnet" uses typical conventions of indie/rock music videos. It shows the band performing against a green screen with visual effects that relate to the lyrics. When the music is calm, the shots are longer and transitions less dramatic, and more fast-paced shots and transitions are used for up-beat parts. Close-ups of the lead singer promote the band and help establish their unique style, as this was one of their first videos. Females are shown performing in a similar style to the band to emphasize feelings of love rather than sexuality.
Andrew Goodwin’s Rules – Music Video Analysis
The document discusses several characteristics of music videos based on Andrew Goodwin's rules for different music video genres. It provides examples from the music video for Nicki Minaj's "Super Bass" to illustrate the characteristics of an image genre video, such as a focus on the artist's appearance and inclusion of choreographed dance routines. It also analyzes relationships between the song's lyrics, music, and visual elements of the video.
Evaluation question 1
The document provides an analysis of how the student's media product uses, develops, and challenges conventions of real music videos. It discusses the use of narrative through storytelling that relates to the song lyrics. Genre conventions of indie/rock music videos are explored through examples like location, clothing, and instrumentation. Representation of social class, age, and gender align with typical portrayals in indie music. Cinematography techniques, editing, mise-en-scene, and sound work to develop the narrative and reinforce the genre. Audience feedback confirmed the project achieved its goals of mirroring real music video forms and conventions.
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The use of media language in sigur ros Hoppipolla
- 1. THE USE OF MEDIA LANGUAGE IN SIGUR RὉS “HOPPΊPOLLA By Sorrel Grundy
- 2. GENRE CHARACTERISTICS Sigur Ros is a post-rock band from Reykjavik. Post-rock is a sub genre of rock characterised by the influence and use of instruments associated with rock but using rhythms not traditionally found in rock. Post-rock traditionally has no or little vocals.Another characteristic of this genre is the use of repetition of music motifs and subtle changes with an extremely wide range of dynamics.Typically, post-rock pieces are lengthy and instrumental, containing repetitive build-ups of timbre, dynamics and texture. “Hoppipolla” reinforces the characteristics of the post-rock genre as it a very instrumental piece which has minimal vocals. It also repeats motifs of the music and has many build-ups and crescendo which creates an emotional and powerful piece of music. https://www.youtube.com/watch?v=4L_DQKCDgeM
- 3. RELATIONSHIP BETWEEN LYRICS AND VISUALS Smiling Spinning 'round and 'round Holding hands The whole world a blur But you are standing Soaked Completely drenched No rubber boots Running in us Want to erupt from a shell The wind And outdoor smell of your hair I breathe as hard as I can With my nose Hopping in puddles Completely drenched Soaked With no boots on And I get nosebleed But I always get up [Hopelandic] These are the lyrics which have been translated into English as they are originally in Icelandic.There are many links between the lyrics and the visuals in this music video. For example there is a line “No rubber boots” but the characters in the video are wearing rubber boots. Also the lines “Soaked” “Completely drenched” the link with these lines are many shots of the characters jumping into puddles.This also relates to the line “Hopping in puddles” The final lines which are repeated a few time “And I get nosebleed but I always get up” has a strong relation to some of the final shots in this video. The majority of shots in this music video have a relationship to the lyrics which has helped this music video be as powerful as it is.
- 4. RELATIONSHIP BETWEEN MUSIC AND VISUALS There is a close relationship between the music and the visuals in this music video as the majority of the song is instrumental.The music video has been edited to the beat of the song and when there is a crescendo in the music the visuals mirror this by having a big bit of action happening. For example the screen shot on the right is of the first crescendo in the song and as this happens the characters throw an exploding firework near s youth. Another example of this is when another crescendo and the lyrics come, this time they have used puddles to embellish the part in the music.They have the characters jumping in puddles and at the crescendo the biggest jump happens.
- 5. VISUAL STYLE The visual style used in this music video is vintage.The music video has a frame which is common of vintage films from the 1920’s till 1940’s. The video also has a slightly rose tinted edit on it which contrasts with the action happening on the screen. This music video has a different visual style to most music videos due to the cast.The cast in most music videos will be young attractive people and usually members of the band or the artist. In this music video the cast is made up of elderly people who are acting in stereotypically teenageish ways which challenges the stereotype of elderly people and music video casts.Also non of the members of Sigur Ros make an appearance in this music video which is uncommon of a group which has had as much success. The editing reflects the convention of flashbacks as the edges of the shots are slightly blurred, they have used a slight sepiar tone and the photography is choppy.These are all indicators of flashbacks or memories. As the vintage style could be afforded to the characters remembering their childhood and re-encting some of their memories.
- 6. VOYEURISM (LOOKING) Due to things such as the visual style of this music video the traditional use of voyeurism (sexual pleasure) is not used in this music video but the idea of looking is still used as it is in most music videos according to Goodwin.They have used lots of close ups which makes the audience watch the action more closely and draws them in by spiking their interest.They have also used the rule of thirds to bring the audiences attention to the action that is happening.
- 7. INTERTEXTUALITY There is intertextuality in this music video to the film RED (Retired Extremely Dangerous) as the characters in this music video are elderly. In both pieces of media they are trying to prove that it doesn’t matter how old you are but how old you feel. And how you act because of this. This music video is the binary opposite of the film Bugsy Malone as in this film the characters are children acting like adults whereas in this music video there are elderly people acting like children. GangsterGranny is another intertextual reference as it is again about defying what it means to be elderly.This music video and the book GangsterGranny have similar themes, these themes include challenging the stereotypes of elderly people and showing that elderly people can do what people of any other age can do. Another intertextual reference that is made in this music video is to theTV show “One Foot inThe Grave” which is about a pensioner with the attitude and behaviour of an adolescent.