Jake Nava is an example of an auteur music video director. His videos for "Crazy in Love" and "My Prerogative" share many similarities that reflect his artistic vision. Both videos feature extreme close-ups, sexualized imagery of the artists, scenes using cars and their destruction, use of lighting for drama, dance routines, inclusion of other actors, urban settings, and editing techniques like fast cuts and slow motion. When creating his own music video, the student will need to consider theories around audience effects, gratification, and narratives to effectively convey the song's meaning.

1. MEDIA THEORIES: MUSIC VIDEOS
Brontë Vickery

2. • The Auteur Theory was established by Film Director and
Critic, Francois Truffaut, in 1954.
• It states that the Director of a film (or here, a music video) is the
main creative force behind it, much like the "author" of a text.
• The director oversees and “writes” both the film's audio and visual
scenario and therefore is considered more responsible for its
content than the screenwriter. Their influence would show through
all other aspects of production.
• This would result in all of a certain producer's works recognisably
bearing their distinctive mark and giving it a personal feel.
• The end product would therefore be highly creative.

3. Jake Nava:
• Jake Nava is an example of an Auteur. He is an English
music video director who has won numerous awards
and has worked with many of the top famous artists.
• He mostly focus on the genre of RnB, and so one would
expect his videos to bare not only his personal mark
but the conventions of music videos in that genre.
• Nava usually works with female artists.
• Here I will consider the similarities between two of his
music videos, which portray his artistic vision and
make the videos recognisable as his work.

4. Similarities in his work: A comparison of
“Crazy in Love” and “My Prerogative”
There are extreme
close ups of the
artists’ face and
body parts- this
arguably
objectifies the
artist.
The artists are
presented in a
sexualised manner;
they wear revealing
outfits and dance
provocatively, often
gesturing to draw
attention to their
bodies.

5. Both videos begin with scenes involving cars- this suggests a “road trip” style narrative
and captures the attention of the audience who are made to wonder where the car
may be heading and why. The car is often used as a status symbol, suggesting that the
artists are successful.
The cars shown in each of the videos are later destroyed as part of the
narrative, which adds interest as it creates a dramatic and shocking scene, whilst
suggesting a rebellious attitude and extravagance reflective of the glamourized waste
often found in iconic action films such as James Bond.

6. There is use of
bright artificial light
at times, often
flashing in time with
the music to
emphasise the beat
and create a
dramatic
atmosphere.
There are also
numerous scenes
with low lighting,
creating a sense
of mystery and
drama.

7. Both of the videos
include shots with
sexual connotations.
An example of this
found in both is the
use of shots of the
artist’s soaked in
water.
Both of the videos
show the artists
performing a dance
routine with most of
the moves performed
lying down; on the
floor, on the bonnet
of a car, or on a bed.
During these scenes
there is also a lot of
direct address from
the artist, drawing in
the audience.

8. Both of the videos make use of actors/ dancers to perform alongside
the artist, creating a more interesting and varied video with the
sense of inclusion.
There are also lots of low angle shots, implying that the artist is in
control and is someone to look up to and idolise.

9. With regards to mise-en-scène, both of the videos are shot in an obviously
urban setting. A number of settings are used in each video, to add variation in
order to keep the video interesting. This is also achieved through numerous
costume changes.
Both videos also combine fast cuts (to emphasise the pace of the music
and hold audience interest) with some slow motion style shots (to draw
attention to the artist and create suspense).

10. • This is a theory on audience affect. It suggests that the audience
passively accept what is presented to them through the media and
are powerless to resist.
• This would allow the mass media to have a direct impact on our
thoughts and behaviour.
• The model has sparked concerns about the or portrayal of violent
or delinquent behaviour in the media, as these would be imitated
and accepted as “normal”.
With this in mind, it is important to ensure that my music video does
not contain any behaviour which could negatively effect the audience.

11. • However, it has been argued that this is an outdated theory; rather, the
audience’s reception of a media text would be shaped by their own
personal background.
• Theories suggest that the audience effect will be different depending on the
individual’s social, economic and cultural background, as well as their age,
gender and sexuality.
• The audience’s reception of the media text can be put into one of three
categories:
• A Hegemonic reading- wherein the audience shares the dominant
embedded meaning and ideas in the text.
• A Negotiated reading- where the audience shares some of the encoded
ideologies of the text.
• A Counter-Hegemonic reading- where the audience rejects the embedded
ideologies of the text, rejecting the intended perspective.
Therefore, I will need to keep my audience in mind whilst planning my video
and consider their background as this will help me to produce a video that
will be received positively by my target audience.

12. • The Gratification theory was developed by Blumer and Katz
in 1974. It is useful to consider in the production of my
music video as it provides a lists of aims that it must meet.
• It assumes that the audience are active and states that in
order to be successful, a media text must enable the
audience:
 To be informed and educated
 To be able to identify with characters and situations
 To be entertained
 To use it for social interaction with others
 To escape daily troubles

13. • Many music videos tell a story, to add interest or meaning to
the song. If my music video is to present a narrative, I will also
need to consider predominant narrative theory.
• Todorov said that narrative begins with equilibrium. There is
then a rupture of verisimilitude or disruption, which is then
sorted out; leaving the story to return back to
equilibrium, producing variations on the typical “happy ever
after”.
• Therefore, the possible narrative for my music video must
either conform to this pattern, or deliberately subvert it.

14. • Propp said that the characters within the narrative will always be a
variation on a certain character role. The possible roles for the characters
according to Propp are:
 The Hero – a character that seeks something and protects the others
 The Villain – who opposes or actively blocks the hero’s quest
 The Donor – who provides an object with magical properties
 The Dispatcher – who sends the hero on his/her quest via a message
 The False Hero – who disrupts the hero’s success by making false claims
and pretences of assistance
 The Helper – who aids the hero
 The Princess – she needs rescuing and acts as the reward for the hero and
the object of the villain’s plots
 Her Father – who acts to reward the hero for his effort
• According to the theory, the character can also switch roles during the
narrative; for example the hero may turn into a villain.
• So, if my video is used to tell a story, the “artist” must be portrayed as
playing one or more of these character roles.