The document discusses several factual inaccuracies presented in the movie Bohemian Rhapsody. Some key differences include:
- Freddie Mercury did not learn he was HIV-positive until 1987, not before Live Aid like depicted.
- Queen's first US tour was in 1974 supporting Mott the Hoople, not the large crowds shown.
- Brian May did not record "Another One Bites the Dust" in 1980 as shown.
- John Deacon was not the original bassist for Queen as implied.
- The band did not split up as dramatically portrayed before reuniting for Live Aid. They had been actively recording and touring together.
- Live Aid was not actually a
This document provides summaries of the narratives, genres, audiences, purposes, messages and values, and levels of success for the films Zombieland, 2am, and Sing Street.
Zombieland follows a linear narrative structure and focuses on a group of strangers banding together for survival in a post-apocalyptic zombie world. It blends horror and comedy genres and was largely successful commercially and critically. 2am is a short horror film with a limited cast that builds tension as a man is chased. It was a calling card for its director. Sing Street follows a boy who forms a band to impress a girl and incorporates musical elements and fantasy sequences into its coming of age story. It aims to entertain
The document provides an introduction to key concepts for analyzing music videos, including six features identified by Andrew Goodwin and discussing genre, audience, narrative, and representation. Students are instructed to choose a music video, analyze it using these concepts in a blog post, and may include images and embed their slideshare analysis. The concepts are genre characteristics and their relationship to music and visuals, the demands of record labels, references to looking, and intertextuality. Students should discuss the music video's genre, intended audience, narrative elements like time and any enigmas, and how any stereotypes or the star image are represented.
The document discusses several technical codes and elements used in popular music videos, including camerawork, editing, visual effects, and how they construct representations and meanings. It also covers how music videos contribute to constructing and maintaining artists' star images through narrative, voyeurism, and intertextuality. Music videos frequently reference cinema, television, art, fashion and more to spark recognition and pleasure in audiences through familiar visual references.
Thinking of you ā katie perry A2 music video analysishollylaverick
Ā
The video provides a narrative story that aligns with the song's lyrics. It depicts a woman grieving the loss of her lover who went off to war. There are flashbacks showing her happiness with him before, contrasted with her sadness after his death. The video uses many close-ups of the artist to connect emotionally with the audience and tell the story. It references other romantic films and stories to appeal to its target teenage female demographic. Overall it uses a narrative format accompanied by the artist's own performances of the song to market the artist and her music.
This document discusses various marketing methods for motion pictures, including advertising, branding, posters, photo shoots, websites, and social media. It provides examples of how each method was used to market the film Jurassic Park and other films. The document also includes mock-ups of a film noir poster, website, social media page, and interviews that incorporate these marketing techniques to hypothetically promote a film noir movie.
The music video for Katy Perry's "Thinking of You" tells the narrative story depicted in the song's lyrics of a couple separated by war. It follows Goodwin's theory by including performance elements of Perry singing and using techniques like fades and cuts common in pop music videos. The video illustrates the lyrics through various story elements and has a strong relationship between the music, visuals, and lyrics. It also focuses on close-ups of Perry as the artist, treats the female body and character in a voyeuristic a somewhat sexual way, and references the war-separation plot of the film "Dear John" to appeal to Perry's target audience.
Gorrilaz, Clint Eastwood- Music video analysisRBurke199
Ā
This document provides an analysis of the Gorillaz music video for the song "Clint Eastwood". It discusses several key aspects of the video:
1. The target audience is young adults who can relate to themes in the lyrics like drugs, death, sex, and mental illness.
2. Visual elements like animated characters and distinctive art style are important for constructing the band's image.
3. Intertextual references to films and songs enhance audience appeal by creating a surreal world that comments on real issues.
4. Strong links between the lyrics, music, and visuals immerse viewers but require listening closely to understand the meaning. Overall the video is an effective example of using imagery to
Case Study of a Music Video Director - Anton CorbijnSam Hopkins
Ā
Anton Corbijn is a Dutch photographer and music video/film director known for his stark black and white portraits of rock stars over the past 30 years. His photographic style, with high contrast images showing raw emotion rather than glamour, translates directly into his music videos. Notable videos include Joy Division's "Atmosphere" and Nirvana's "Heart Shaped Box". Corbijn also directed the Ian Curtis biopic "Control" and maintains a recognizable visual style across his varied creative works, teaching the importance of personal style without overshadowing the subject.
This document provides summaries of the narratives, genres, audiences, purposes, messages and values, and levels of success for the films Zombieland, 2am, and Sing Street.
Zombieland follows a linear narrative structure and focuses on a group of strangers banding together for survival in a post-apocalyptic zombie world. It blends horror and comedy genres and was largely successful commercially and critically. 2am is a short horror film with a limited cast that builds tension as a man is chased. It was a calling card for its director. Sing Street follows a boy who forms a band to impress a girl and incorporates musical elements and fantasy sequences into its coming of age story. It aims to entertain
The document provides an introduction to key concepts for analyzing music videos, including six features identified by Andrew Goodwin and discussing genre, audience, narrative, and representation. Students are instructed to choose a music video, analyze it using these concepts in a blog post, and may include images and embed their slideshare analysis. The concepts are genre characteristics and their relationship to music and visuals, the demands of record labels, references to looking, and intertextuality. Students should discuss the music video's genre, intended audience, narrative elements like time and any enigmas, and how any stereotypes or the star image are represented.
The document discusses several technical codes and elements used in popular music videos, including camerawork, editing, visual effects, and how they construct representations and meanings. It also covers how music videos contribute to constructing and maintaining artists' star images through narrative, voyeurism, and intertextuality. Music videos frequently reference cinema, television, art, fashion and more to spark recognition and pleasure in audiences through familiar visual references.
Thinking of you ā katie perry A2 music video analysishollylaverick
Ā
The video provides a narrative story that aligns with the song's lyrics. It depicts a woman grieving the loss of her lover who went off to war. There are flashbacks showing her happiness with him before, contrasted with her sadness after his death. The video uses many close-ups of the artist to connect emotionally with the audience and tell the story. It references other romantic films and stories to appeal to its target teenage female demographic. Overall it uses a narrative format accompanied by the artist's own performances of the song to market the artist and her music.
This document discusses various marketing methods for motion pictures, including advertising, branding, posters, photo shoots, websites, and social media. It provides examples of how each method was used to market the film Jurassic Park and other films. The document also includes mock-ups of a film noir poster, website, social media page, and interviews that incorporate these marketing techniques to hypothetically promote a film noir movie.
The music video for Katy Perry's "Thinking of You" tells the narrative story depicted in the song's lyrics of a couple separated by war. It follows Goodwin's theory by including performance elements of Perry singing and using techniques like fades and cuts common in pop music videos. The video illustrates the lyrics through various story elements and has a strong relationship between the music, visuals, and lyrics. It also focuses on close-ups of Perry as the artist, treats the female body and character in a voyeuristic a somewhat sexual way, and references the war-separation plot of the film "Dear John" to appeal to Perry's target audience.
Gorrilaz, Clint Eastwood- Music video analysisRBurke199
Ā
This document provides an analysis of the Gorillaz music video for the song "Clint Eastwood". It discusses several key aspects of the video:
1. The target audience is young adults who can relate to themes in the lyrics like drugs, death, sex, and mental illness.
2. Visual elements like animated characters and distinctive art style are important for constructing the band's image.
3. Intertextual references to films and songs enhance audience appeal by creating a surreal world that comments on real issues.
4. Strong links between the lyrics, music, and visuals immerse viewers but require listening closely to understand the meaning. Overall the video is an effective example of using imagery to
Case Study of a Music Video Director - Anton CorbijnSam Hopkins
Ā
Anton Corbijn is a Dutch photographer and music video/film director known for his stark black and white portraits of rock stars over the past 30 years. His photographic style, with high contrast images showing raw emotion rather than glamour, translates directly into his music videos. Notable videos include Joy Division's "Atmosphere" and Nirvana's "Heart Shaped Box". Corbijn also directed the Ian Curtis biopic "Control" and maintains a recognizable visual style across his varied creative works, teaching the importance of personal style without overshadowing the subject.
This document provides a table to help structure notes when analyzing music videos. It lists 7 key ideas to identify, including demonstrating genre characteristics, relationships between lyrics/music and visuals, close-ups of artists developing motifs, references to looking and voyeurism, intertextual references, and whether the video is performance, narrative, or concept-based. The table is to be used to record observations, examples, and features relating to each of the 7 ideas.
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
Hot Fuzz (2007) is an action-comedy film directed by Edgar Wright that draws on conventions of cop films and buddy movies. It contains abundant references to other films through techniques like intertextuality, parody, and pastiche. The film uses a "hip-hop montage" during a train sequence and other postmodern film techniques. It simultaneously pays homage to and parodies cop action films while also being self-reflective on its own techniques and references to popular culture.
RESEARCH: A2 Media Music Video Analysis (Alternative Genre)HollyRileyA2
Ā
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.
Music video analysis - Justin Bieber - Pop GenreTop_Boy
Ā
The document analyzes Justin Bieber's music video for "As Long As You Love Me" featuring Big Sean. It summarizes the song structure, storytelling elements, and how the visuals illustrate the lyrics. The video portrays Bieber in a familiar way that reinforces his public image as a young, casual lady's man. Dark lighting enhances the emotions of the love story, while daytime shots portray positive relationship aspects. Fast editing cuts are timed to the song's beats to create a pop feel.
This document provides an analysis of the 1986 music video for "Sledgehammer" by Peter Gabriel. It summarizes key details about the song and video. The analysis finds that while the stop-motion animation style is unconventional, themes of sexuality and a strong synchronization of audio and visuals link it to typical pop music videos. Most shots focus on Gabriel's face, reinforcing his image while possibly relating to notions of the male gaze. Overall the video can be considered compatible with conventions of pop music videos outlined in Goodwin's principles.
This document provides an analysis of the music video for Katy Perry's song "Thinking of You" according to seven key ideas for identifying elements in music videos put forth by Andrew Goodwin. It discusses how the music video demonstrates characteristics of the pop genre through inclusion of Katy Perry's performance and use of editing techniques like fade ins and outs. It also analyzes how the video illustrates the song's lyrics through its narrative of a couple separated by war and how the cuts are timed to the music. Close-ups of Perry are used to relate her to the character and promote her artistic abilities. References are made to other works like "Dear John" and the video aims to appeal to Perry's target audience through these intertext
The document summarizes Andrew Goodwin's theory on characteristics commonly found in music videos. Some key points include:
1) Music videos often demonstrate genre characteristics through their visuals, such as stage performances for metal videos and dance routines for boy bands.
2) There is frequent emphasis on notions of looking and voyeuristic treatment of the female body through props like mirrors and cameras.
3) Lyrics are commonly represented through visuals in illustrative, amplifying or contradictory ways.
The document then provides examples to illustrate these and other common music video techniques.
The document summarizes and analyzes three music videos:
1) Michael Jackson's "Thriller" from 1984, noting its 14-minute runtime and relationship between lyrics and visuals depicting horror themes.
2) Christina Aguilera's "Dirrty" from 2002, which featured sexually suggestive content and changed her image from "girl next door."
3) Beyonce's "Listen" from 2006 for the film Dreamgirls, showing her emotional performance and use of scenes from the film intercut with her choreography.
The document discusses several theories that are represented in the music video for "She's So Lovely" by Scouting For Girls. It analyzes how the use of instruments, close-ups, and shots of the woman emphasize key concepts like the male gaze and how genres establish expectations for audiences. The unrealistic portrayal of the woman being "won" in a bowling match between men demonstrates hyper-reality and how she is objectified. Different readings of the video could view it as reinforcing or challenging social norms.
The document discusses various techniques used in music videos that were researched and incorporated into the student's own music video project. These include linking the visuals to lyrics, syncing shots with the music, using conventions of the pop genre like effects and gazes, and challenging some conventions by using simpler clothing styles. The student aimed to tell a narrative story through their video and received feedback that their use of music-to-video synchronization was successful at engaging the audience.
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.
To produce a successful music video, you must follow several rules. Videos must be 3-5 minutes long and feature elements like costume changes, location changes, and varied camera work. They must also suit the artist's style and genre through techniques like linking visuals to lyrics and music or including characteristic genre locations. Additionally, videos often include voyeuristic shots of artists and intertextual references to engage audiences. Overall, videos aim to promote the artist through performance or narrative frameworks that maintain interest on repeated viewings.
1) The music video breaks conventions of typical music videos and represents social issues. It does not have a clear beginning or end to give it a dreamlike feel.
2) The narrative depicts an abusive relationship with domestic violence and drug use. This breaks the convention of objectifying women as the character develops strength over the course of the video.
3) While some conventions of Sufi rock music videos are followed like location, costumes, and dervish dancing, the video also subverts expectations by showing the female character as strong rather than helpless.
This document summarizes Andrew Goodwin's theory on music video analysis from his 1992 book "Dancing in the Distraction Factory". It outlines 6 key ideas from Goodwin's theory: 1) Music videos demonstrate genre characteristics 2) There is a relationship between lyrics and visuals 3) There is a relationship between music and visuals 4) Record labels influence visual elements 5) Music videos often feature voyeuristic treatment of the female body 6) Music videos frequently reference other media through intertextuality. The document then provides examples to illustrate each point.
The document discusses techniques for analyzing whether a text can be considered postmodern. It provides examples from a Supernatural TV episode to illustrate several postmodern concepts, including the breakdown of distinctions between culture/society and high/low art, an emphasis on style over substance, and confusion over time and space. The episode is also described as self-aware, self-reflexive, and intertextual by directly addressing the fact that it is a constructed TV show and referencing other media.
The document provides an analysis of the music videos for "Hey Mama" by David Guetta featuring Nicki Minaj and "Thinking Out Loud" by Ed Sheeran. It summarizes the conventions, camera work, sound, narrative/performance, representation, institutions, and values/ideology depicted in each music video. For "Hey Mama", the analysis notes it takes place in a desert with colorful dancing and does not link its imagery to lyrics about Nicki Minaj being a good partner. For "Thinking Out Loud", it describes the video's romantic dancing of two characters matching the love-focused lyrics.
The document analyzes several music videos using Goodwin's theory of music video elements. It examines videos by Lady Gaga, Guns N' Roses, and Jay Sean. For each, it discusses how the video links the visuals and lyrics, visuals and music, incorporates genre characteristics, includes intertextual references and notions of looking, and represents the recording artist. The document also notes how the videos satisfy demands of the record labels through techniques like close-ups of the artists.
The document discusses the development of a music video project. It describes various scenes and how they further the narrative and artist's point of view. Inspiration was drawn from other artists' music videos and styles but the project aims to create a unique style. Photoshoots were used to develop the artist's image over time, incorporating influences from celebrities like Selena Gomez. The website draws from other artist sites but includes innovative elements like a live Instagram feed. Research on point-of-view music videos informed the project's focus on the artist's experience through their eyes.
The Bohemian Rhapsody film takes some artistic liberties with the true story of Queen and Freddie Mercury for dramatic purposes. Specifically, it inaccurately depicts the timing of Mercury's HIV diagnosis, the recording of "We Will Rock You", details of Queen's early US tours, and the departure of their manager John Reid. It also falsely shows Mercury meeting his partner Jim Hutton while Hutton was working at one of Mercury's parties, when they actually met at a London nightclub. Overall, the film tweaks some facts to enhance drama, though Rami Malek's performance still received great reviews.
This document provides a table to help structure notes when analyzing music videos. It lists 7 key ideas to identify, including demonstrating genre characteristics, relationships between lyrics/music and visuals, close-ups of artists developing motifs, references to looking and voyeurism, intertextual references, and whether the video is performance, narrative, or concept-based. The table is to be used to record observations, examples, and features relating to each of the 7 ideas.
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
Hot Fuzz (2007) is an action-comedy film directed by Edgar Wright that draws on conventions of cop films and buddy movies. It contains abundant references to other films through techniques like intertextuality, parody, and pastiche. The film uses a "hip-hop montage" during a train sequence and other postmodern film techniques. It simultaneously pays homage to and parodies cop action films while also being self-reflective on its own techniques and references to popular culture.
RESEARCH: A2 Media Music Video Analysis (Alternative Genre)HollyRileyA2
Ā
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.
Music video analysis - Justin Bieber - Pop GenreTop_Boy
Ā
The document analyzes Justin Bieber's music video for "As Long As You Love Me" featuring Big Sean. It summarizes the song structure, storytelling elements, and how the visuals illustrate the lyrics. The video portrays Bieber in a familiar way that reinforces his public image as a young, casual lady's man. Dark lighting enhances the emotions of the love story, while daytime shots portray positive relationship aspects. Fast editing cuts are timed to the song's beats to create a pop feel.
This document provides an analysis of the 1986 music video for "Sledgehammer" by Peter Gabriel. It summarizes key details about the song and video. The analysis finds that while the stop-motion animation style is unconventional, themes of sexuality and a strong synchronization of audio and visuals link it to typical pop music videos. Most shots focus on Gabriel's face, reinforcing his image while possibly relating to notions of the male gaze. Overall the video can be considered compatible with conventions of pop music videos outlined in Goodwin's principles.
This document provides an analysis of the music video for Katy Perry's song "Thinking of You" according to seven key ideas for identifying elements in music videos put forth by Andrew Goodwin. It discusses how the music video demonstrates characteristics of the pop genre through inclusion of Katy Perry's performance and use of editing techniques like fade ins and outs. It also analyzes how the video illustrates the song's lyrics through its narrative of a couple separated by war and how the cuts are timed to the music. Close-ups of Perry are used to relate her to the character and promote her artistic abilities. References are made to other works like "Dear John" and the video aims to appeal to Perry's target audience through these intertext
The document summarizes Andrew Goodwin's theory on characteristics commonly found in music videos. Some key points include:
1) Music videos often demonstrate genre characteristics through their visuals, such as stage performances for metal videos and dance routines for boy bands.
2) There is frequent emphasis on notions of looking and voyeuristic treatment of the female body through props like mirrors and cameras.
3) Lyrics are commonly represented through visuals in illustrative, amplifying or contradictory ways.
The document then provides examples to illustrate these and other common music video techniques.
The document summarizes and analyzes three music videos:
1) Michael Jackson's "Thriller" from 1984, noting its 14-minute runtime and relationship between lyrics and visuals depicting horror themes.
2) Christina Aguilera's "Dirrty" from 2002, which featured sexually suggestive content and changed her image from "girl next door."
3) Beyonce's "Listen" from 2006 for the film Dreamgirls, showing her emotional performance and use of scenes from the film intercut with her choreography.
The document discusses several theories that are represented in the music video for "She's So Lovely" by Scouting For Girls. It analyzes how the use of instruments, close-ups, and shots of the woman emphasize key concepts like the male gaze and how genres establish expectations for audiences. The unrealistic portrayal of the woman being "won" in a bowling match between men demonstrates hyper-reality and how she is objectified. Different readings of the video could view it as reinforcing or challenging social norms.
The document discusses various techniques used in music videos that were researched and incorporated into the student's own music video project. These include linking the visuals to lyrics, syncing shots with the music, using conventions of the pop genre like effects and gazes, and challenging some conventions by using simpler clothing styles. The student aimed to tell a narrative story through their video and received feedback that their use of music-to-video synchronization was successful at engaging the audience.
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.
To produce a successful music video, you must follow several rules. Videos must be 3-5 minutes long and feature elements like costume changes, location changes, and varied camera work. They must also suit the artist's style and genre through techniques like linking visuals to lyrics and music or including characteristic genre locations. Additionally, videos often include voyeuristic shots of artists and intertextual references to engage audiences. Overall, videos aim to promote the artist through performance or narrative frameworks that maintain interest on repeated viewings.
1) The music video breaks conventions of typical music videos and represents social issues. It does not have a clear beginning or end to give it a dreamlike feel.
2) The narrative depicts an abusive relationship with domestic violence and drug use. This breaks the convention of objectifying women as the character develops strength over the course of the video.
3) While some conventions of Sufi rock music videos are followed like location, costumes, and dervish dancing, the video also subverts expectations by showing the female character as strong rather than helpless.
This document summarizes Andrew Goodwin's theory on music video analysis from his 1992 book "Dancing in the Distraction Factory". It outlines 6 key ideas from Goodwin's theory: 1) Music videos demonstrate genre characteristics 2) There is a relationship between lyrics and visuals 3) There is a relationship between music and visuals 4) Record labels influence visual elements 5) Music videos often feature voyeuristic treatment of the female body 6) Music videos frequently reference other media through intertextuality. The document then provides examples to illustrate each point.
The document discusses techniques for analyzing whether a text can be considered postmodern. It provides examples from a Supernatural TV episode to illustrate several postmodern concepts, including the breakdown of distinctions between culture/society and high/low art, an emphasis on style over substance, and confusion over time and space. The episode is also described as self-aware, self-reflexive, and intertextual by directly addressing the fact that it is a constructed TV show and referencing other media.
The document provides an analysis of the music videos for "Hey Mama" by David Guetta featuring Nicki Minaj and "Thinking Out Loud" by Ed Sheeran. It summarizes the conventions, camera work, sound, narrative/performance, representation, institutions, and values/ideology depicted in each music video. For "Hey Mama", the analysis notes it takes place in a desert with colorful dancing and does not link its imagery to lyrics about Nicki Minaj being a good partner. For "Thinking Out Loud", it describes the video's romantic dancing of two characters matching the love-focused lyrics.
The document analyzes several music videos using Goodwin's theory of music video elements. It examines videos by Lady Gaga, Guns N' Roses, and Jay Sean. For each, it discusses how the video links the visuals and lyrics, visuals and music, incorporates genre characteristics, includes intertextual references and notions of looking, and represents the recording artist. The document also notes how the videos satisfy demands of the record labels through techniques like close-ups of the artists.
The document discusses the development of a music video project. It describes various scenes and how they further the narrative and artist's point of view. Inspiration was drawn from other artists' music videos and styles but the project aims to create a unique style. Photoshoots were used to develop the artist's image over time, incorporating influences from celebrities like Selena Gomez. The website draws from other artist sites but includes innovative elements like a live Instagram feed. Research on point-of-view music videos informed the project's focus on the artist's experience through their eyes.
The Bohemian Rhapsody film takes some artistic liberties with the true story of Queen and Freddie Mercury for dramatic purposes. Specifically, it inaccurately depicts the timing of Mercury's HIV diagnosis, the recording of "We Will Rock You", details of Queen's early US tours, and the departure of their manager John Reid. It also falsely shows Mercury meeting his partner Jim Hutton while Hutton was working at one of Mercury's parties, when they actually met at a London nightclub. Overall, the film tweaks some facts to enhance drama, though Rami Malek's performance still received great reviews.
The document summarizes the history and evolution of music videos from 1894 to 2009 in three main periods:
1894-1965: The origins of music videos began with illustrated songs in the late 19th century and early film shorts promoting songs in the 1920s-40s. Promotional clips for songs became more common for artists like The Beatles in the 1960s.
1966-1980: Promotional clips rose in popularity in the 1960s and artists like The Rolling Stones and David Bowie began experimenting with different styles of music videos. The launch of MTV in 1981 greatly increased the production and viewing of music videos.
1981-2009: Michael Jackson's "Thriller" in 1983 was a breakthrough
This document discusses several directors and their films related to mod culture and influential rock bands of the 1960s-1970s. It provides background on Pete Townshend and his film Quadrophenia about mods and rockers in Brighton. Don Letts is described as influential in bringing punk and reggae scenes together. Julien Temple directed early Sex Pistols films and videos. Chris Green's new film focuses on a mod-inspired journey. Rollin Binzer directed a 1972 Rolling Stones concert documentary.
This document discusses Andrew Goodwin's analysis of music videos from his 1992 book "Dancing in the Distraction Factory". Some of the key points made are:
1) Music videos demonstrate characteristics of different genres through elements like stage performance for rock videos and dance routines for pop.
2) There are relationships between the lyrics, music, and visuals.
3) Many music video directors get their start in the medium to eventually transition to film directing. Examples given are directors like David Fincher, Spike Jonze, and Michael Gondry.
4) Intertextuality, or references to other works, is common in music videos, with references often made to cinema, television, photography,
The film London Town tells the story of a teenage boy in late 1970s London who meets his idol, Joe Strummer of the iconic punk band The Clash. Through his new friend Vivian, the boy is introduced to the world of punk music and attends a Clash concert, where he unexpectedly meets and befriends Strummer. Jonathan Rhys Meyers stars as Strummer and helped put together a new band to authentically perform The Clash's songs in the film. While not a biopic, the film uses the backdrop of the 1970s London punk scene and the power of The Clash's music to convey a story of self-discovery for a teenage boy in that transformative era.
Music videos began in the late 1920s/early 1930s with short films pairing songs with visuals to promote music recordings. They developed through the 1950s/60s with early examples from artists like Bessie Smith and Tony Bennett. The 1964 film A Hard Day's Night helped establish the genre with its musical segments influencing countless subsequent pop videos. The 1970s saw the rise of lower-cost video production and more conceptual videos from acts like Queen. MTV's 1981 launch was a key moment, greatly increasing the commercial importance of music videos. Artists in the 1980s like Michael Jackson and Madonna helped establish music videos as a major marketing force and art form through increasingly sophisticated concepts, effects and narratives. Today, music videos are
Can You Guess The Music|| QM: Manan, Pranav, Agastya|| Manan's OLT Sem :) || ...BITS Goa Quiz Club
Ā
Still buzzing over Backstage DJ and the Musical nights in Waves? Or trying to "hear the music" in Oppenheimer? š§
BITS Goa Quiz Club brings to you a peppy number to vibe on: Can you guess the music? - A Music themed Set hosted by Manan, Pranav and Agastya ! No no, We aren't making you guess songs but find yourself chilling and absorbing tantalising trivia from the world of Music - from peppy singles to different genres of music, jingles that just stuck to movie scores that stole the scenes!š¶
šļøDate: 20th November
šTime: 7 PM
šLocation: DLT 8
Come vibe with us on a fun night with songs and trivia!
Lady Gaga's music video for "Telephone" references many pop culture works through pastiche and intertextuality. The nearly 10 minute video contains allusions to over 45 movies, artists, and pop culture icons. It also prominently features product placements and pushes boundaries with its depiction of violence and challenging of gender and social norms. Through its hyper-styization, meta-narrative, and blurring of fiction and reality, the video exemplifies many traits of postmodernism.
The document summarizes significant moments in the history of music videos from 1877 to present day. It describes early innovations like the gramophone allowing people to play music at home, gold-diggers musical films, and Fantasia being considered one of the first music videos. It then outlines the emergence of music video programs on TV in the 1960s/70s with shows like Ready Steady Go and Top of the Pops, which helped promote artists. The introduction of MTV in 1981 dedicated solely to music videos massively impacted the music industry and popular culture. Landmark music videos like Michael Jackson's Thriller and Peter Gabriel's "Sledgehammer" pushed technical boundaries.
David Bowie is an English musician, actor, and arranger known for his innovative work in the 1970s. He first found success in 1969 with "Space Oddity" and gained fame in the 1970s with his flamboyant Ziggy Stardust persona. Throughout his career Bowie continually reinvented himself musically and visually. He also had a successful acting career on stage and screen. Bowie produced influential albums from the 1960s through the 2000s across various genres and continued touring and recording until his death in 2016.
1. The first official music video was Queen's "Bohemian Rhapsody" in 1975, which set the standard for incorporating special effects. Television shows in the 1960s promoted artists by broadcasting live performances.
2. In the 1980s, videos became more cinematic with pieces like David Bowie's "Ashes to Ashes" and Michael Jackson's "Thriller," which advanced the art form. MTV launched in 1981 and played a pivotal role in popularizing music videos.
3. Advanced technologies in the 1990s and 2000s transformed music videos, whether it was Janet Jackson's $7 million "Scream" video, Missy Elliott's pioneering 3D video for "Ching
The document provides background information on several key figures from the mod subculture:
Pete Townshend was the guitarist and songwriter for the influential rock band The Who. He also wrote the screenplay for the mod-inspired film Quadrophenia.
Don Letts was a DJ who helped introduce punk rock bands to reggae and dub music. He later became a filmmaker known for documenting the punk scene in London.
Julien Temple is an English filmmaker known for his early films and documentaries featuring mod-inspired bands like the Sex Pistols. His most notable early works focused on documenting the rise and fall of the Sex Pistols.
Chris Green is an English director
Queen's 1975 music video for "Bohemian Rhapsody" was the first official music video as it was deliberately made to accompany the song, not just promote it. Before then, TV shows like Top of the Pops (UK) and Hullabaloo (US) showed artists performing live. David Bowie's 1980 video for "Ashes to Ashes" used groundbreaking effects to symbolize the effects of drugs. In 1981, MTV launched as the first 24-hour music channel, playing the Buggles' "Video Killed the Radio Star". Michael Jackson's 1983 "Thriller" video was released on VHS, the first to show a making-of, while A-ha's
The music video I analysed in this presentation is Love the Way You Lie - Eminem. The main factor we looked at was Genre and Andrew Goodwin's 8 main principles on his Genre theory.
The document discusses how gender is represented in popular music from 1940 to 1980 through an analysis of artists such as Kate Bush, Freddie Mercury, and Tom Jones. It explores how these artists expressed aspects of their gender and sexuality through their music, performances, and public personas. Overall, the representation of gender in popular music during this time period evolved as social norms changed and artists began to more openly express diverse sexualities and challenge gender norms through their creative work and styles.
Rihanna is known for her unique music style and fashion. Her song "Shut Up and Drive" portrays her as a sex symbol through revealing clothing, camera angles focusing on her body, and her interactions with men suggesting sexual tension. Daniel Powter is a Canadian singer and songwriter best known for his 2005 hit "Bad Day" which spent five weeks at #1 on the Billboard Hot 100. The music video for "Bad Day" tells the story of a man and woman having a bad day through parallel shots that show their daily routines and them waiting for the train without noticing each other.
The document provides an overview of characteristics common in hip-hop music videos. It notes that basketball shirts are often worn by artists to imply strength, objects typically relate to lyrics, close-ups are used to establish the artist, wealth is prominently displayed, women are often portrayed as objects, and narratives are usually included to make the video relevant to the song. The primary audience for hip-hop music videos is described as teenage males who are appealing by the depiction of women and lavish lifestyle.
Goodwin's theory identifies key elements of music videos including demonstrating the genre's characteristics through style, illustrating the song's lyrics through visuals, amplifying the music with visuals, and commonly featuring voyeuristic treatment of women and many shots of the artists as demanded by record companies. The theory also discusses how music videos reference other media and often employ the "male gaze" by objectifying women from a heterosexual male perspective or portraying them as virgins or "whores", and identifies the four elements that comprise a star's public image.
This presentation was provided by Racquel Jemison, Ph.D., Christina MacLaughlin, Ph.D., and Paulomi Majumder. Ph.D., all of the American Chemical Society, for the second session of NISO's 2024 Training Series "DEIA in the Scholarly Landscape." Session Two: 'Expanding Pathways to Publishing Careers,' was held June 13, 2024.
The chapter Lifelines of National Economy in Class 10 Geography focuses on the various modes of transportation and communication that play a vital role in the economic development of a country. These lifelines are crucial for the movement of goods, services, and people, thereby connecting different regions and promoting economic activities.
Beyond Degrees - Empowering the Workforce in the Context of Skills-First.pptxEduSkills OECD
Ā
IvƔn Bornacelly, Policy Analyst at the OECD Centre for Skills, OECD, presents at the webinar 'Tackling job market gaps with a skills-first approach' on 12 June 2024
ISO/IEC 27001, ISO/IEC 42001, and GDPR: Best Practices for Implementation and...PECB
Ā
Denis is a dynamic and results-driven Chief Information Officer (CIO) with a distinguished career spanning information systems analysis and technical project management. With a proven track record of spearheading the design and delivery of cutting-edge Information Management solutions, he has consistently elevated business operations, streamlined reporting functions, and maximized process efficiency.
Certified as an ISO/IEC 27001: Information Security Management Systems (ISMS) Lead Implementer, Data Protection Officer, and Cyber Risks Analyst, Denis brings a heightened focus on data security, privacy, and cyber resilience to every endeavor.
His expertise extends across a diverse spectrum of reporting, database, and web development applications, underpinned by an exceptional grasp of data storage and virtualization technologies. His proficiency in application testing, database administration, and data cleansing ensures seamless execution of complex projects.
What sets Denis apart is his comprehensive understanding of Business and Systems Analysis technologies, honed through involvement in all phases of the Software Development Lifecycle (SDLC). From meticulous requirements gathering to precise analysis, innovative design, rigorous development, thorough testing, and successful implementation, he has consistently delivered exceptional results.
Throughout his career, he has taken on multifaceted roles, from leading technical project management teams to owning solutions that drive operational excellence. His conscientious and proactive approach is unwavering, whether he is working independently or collaboratively within a team. His ability to connect with colleagues on a personal level underscores his commitment to fostering a harmonious and productive workplace environment.
Date: May 29, 2024
Tags: Information Security, ISO/IEC 27001, ISO/IEC 42001, Artificial Intelligence, GDPR
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Temple of Asclepius in Thrace. Excavation resultsKrassimira Luka
Ā
The temple and the sanctuary around were dedicated to Asklepios Zmidrenus. This name has been known since 1875 when an inscription dedicated to him was discovered in Rome. The inscription is dated in 227 AD and was left by soldiers originating from the city of Philippopolis (modern Plovdiv).
Leveraging Generative AI to Drive Nonprofit InnovationTechSoup
Ā
In this webinar, participants learned how to utilize Generative AI to streamline operations and elevate member engagement. Amazon Web Service experts provided a customer specific use cases and dived into low/no-code tools that are quick and easy to deploy through Amazon Web Service (AWS.)
Level 3 NCEA - NZ: A Nation In the Making 1872 - 1900 SML.pptHenry Hollis
Ā
The History of NZ 1870-1900.
Making of a Nation.
From the NZ Wars to Liberals,
Richard Seddon, George Grey,
Social Laboratory, New Zealand,
Confiscations, Kotahitanga, Kingitanga, Parliament, Suffrage, Repudiation, Economic Change, Agriculture, Gold Mining, Timber, Flax, Sheep, Dairying,
2. Reception theory
The reception analysis model of
audience effects ā ReviseSociology
According to Morley audiences came from many different
cultures and thus there were many possible ānegotiatedā
readings. He further argued that individuals had many
aspects to their identities, and they interpreted media
content in a variety of ways, often chopping and changing
their interpretations over time.
The reception analysis model of audience effects ā ReviseSociology
The theory states that media texts are encoded by the
producer meaning that whoever produces the text fills the
product with values and messages. The text is then
decoded by the audience. Different spectators will decode
the text in different ways, not always in the way the
producer intended. A text can be received in one of three
ways; Dominant or Preferred Reading Negotiated Reading
Oppositional Reading
Stuart Hallās Reception Theory (slideshare.net)
Reception theory Stuart Hall 1980 Audience
response Reception (slidetodoc.com)
So people think different
things about the media so
there are mixed views upon
the media
3. Auteur Theory Auteur Theory (TV Y1) (slideshare.net)
Auteur theory (slideshare.net) in film criticism, the 1950s -era Auteur theory holds
that a director's films reflect that
director's personal creative vision, as if he or she
were the primary "Auteur" (the
French word for "author"). In some cases, film
producers are consider to have a similar "Auteur"
role for films that they have produced.
Auteur Theory (studylib.net)
They are film producers and
authors who control
everything that happens in
the films and they have total
control of what happens
they are seen as authors
4. Hypodermic Needle Theory
The Hypodermic Needle Theory |
Media in Minutes | Episode 1 -
YouTube
By Shaquille Paris Morgan. What is the Hypodermic needle model? Hypodermic needle
theory is mainly about the implied mass media which has had a direct, - ppt download
(slideplayer.com)
The Hypodermic Needle Theory is a linear
communication theory which suggests that media
messages are injected directly into the brains of a
passive audience. It suggests that we're all the same
and we all respond to media messages in the same
way. ... People believe that the mass media has a
powerful effect.
Hypodermic Needle Theory - Google Search
It means that what ever the media make
people will believe whatever it is
5. Male Gaze
Laura mulveys male gaze theory (done) (slideshare.net)
The Male Gaze Laura Mulvey (slideshare.net)
Laura mulvey, the male gaze | Male, Man set, Gazing (pinterest.co.uk)
The Gaze Theory by Liz Onu (prezi.com)
Woman are seen passive
through the media, men
have stereotypes of
woman
6. Hypodermic needle
Hypodermic Needle Theory (slideshare.net)
Hypodermic Needle Theory ā MEDIA (mediaknite.org)
Higher / Int2 Media Studies - ppt download (slideplayer.com)
11. The biggest incident of dramatic license in Bohemian Rhapsody is the timing of Freddie Mercuryās HIV diagnosis.
In a heart-breaking scene, the singer tells his bandmates that he has the condition at a rehearsal for Live Aid. They
perform the biggest show of their lives with this tragic knowledge. In fact, Mercury didnāt find out he was HIV-positive
until April 1987, according to his partner Jim Hutton
In the movie, Brian May is shown recording his stomping classic in London in 1980, while Mercury arrives from a
heavy night of partying, complete with moustache. In actual fact, the song was recorded in 1977 for the News Of
The World album and Fred was resolutely clean shaven.
Early in the film, Queen are shown performing to huge crowds on their first US tour. In real life, the bandās first US
tour was in April 1974 supporting fellow British band Mott The Hoople (the tour is referenced in the Queen
song Now Iām Here). The headline band are not mentioned in the movie and Queen are seen performing Fat
Bottomed Girls, a song not written or recorded until the summer of 1978 for the Jazz album.
Rami Malek and the Bohemian Rhapsody movie received great reviews, but some of the Queen story has
been ātweakedā for dramatic purposes. Radio X separates fact from fictionā¦
In the Bohemian Rhapsody film, manager John Reid (played by Aidan Gillen) tried to persuade Mercury to drop the
rest of the band and go solo, leading the singer to kick the businessman out of his limo and fire him. In reality, Reid
had managed Queen between 1975 and 1978 and had moved on from the role amicably, handing over the role
to Jim Beach and describing it as āthe gentlest parting of the ways of anyone I have ever worked withā.
Thereās a Bono-alike shown coming off the stage as Freddie and co warm up for the show. In reality, Dire
Straits had played a half hour set before Queen came along to steal the show.
12. https://youtu.be/gblZ2drKK1M
Freddie didn't fire Queen manager John Reid
In the Bohemian Rhapsody film, manager John Reid (played by Aidan Gillen) tried
to persuade Mercury to drop the rest of the band and go solo, leading the singer to
kick the businessman out of his limo and fire him. In reality, Reid had managed Queen
between 1975 and 1978 and had moved on from the role amicably, handing over the
role to Jim Beach and describing it as āthe gentlest parting of the ways of anyone I
have ever worked withā.
13. https://youtu.be/YimR77fq7Yw
Freddie met his partner Jim Hutton at a house party
According to the film, Mercury meets the man who will share the last
years of his life when Hutton is serving as a waiter at one of the starās
extravagant parties. In actual fact, Hutton claimed in his autobiography
that he first met the Queen legend at London nightclub Heaven around
1980.
14. Queen are shown taking the stage at Live
Aid right after U2
Thereās a Bono-alike shown coming off the
stage as Freddie and co warm up for the
show. In reality, Dire Straits had played a half
hour set before Queen came along to steal the
show.
Freddieās solo career didnāt split the group up
One of the key plot points of the Bohemian Rhapsody film is that
Freddie Mercury turned his back on Queen and started a very well
paid solo career creating dance music in Munich. The band have to be
persuaded to reconvene and play Live Aid in July 1985.
This is chronologically confusing - Freddie was, in fact, the THIRD
member to record a solo album, after Roger Taylor (Fun In Space in
1981 and Strange Frontier in 1984) and Brian May (the Star Fleet
Project in 1983).
While all this was going on, Queen recorded Hot Space (1982)
and The Works (1984). Freddieās Mr Bad Guy album was released
just before Live Aid in April 1985 and was actually a commercial
https://youtu.be/yR0YjRfkQPk
15. John Deacon wasnāt the original bass player.
Bohemian Rhapsody shows John Deacon playing bass at the first Queen concert in 1970, but in reality he was the
fourth bassist they tried and he didnāt enter the picture until 1971. They do show them playing āKeep Yourself Aliveā at
the first show, which was indeed an extremely early original tune in their repertoire.
Freddie didnāt meet Mary Austin the same night he joined the band.
In the movie, Freddie meets his future girlfriend Mary Austin about 30 seconds before he first encounters the band
and becomes a member. The reality, of course, is much more complicated. Austin briefly dated Brian May, but she
didnāt enter Freddieās orbit until he was already the lead singer of the band.
There wasnāt an actual record executive named Ray Foster.
In one of the movieās more interesting casting decisions, a nearly unrecognizable Mike Myers portrays record executive
Ray Foster. His main role is to tell Queen they need to make more commercial music. He also hates āBohemian
Rhapsodyā when he first hears it and refuses to release it as a single, causing the group to walk out in disgust and
throw a rock through his window. The character is roughly based on EMI chief Roy Featherstone, but he was actually a
huge fans of the band. It was true, however, that he thought āBohemian Rhapsodyā was too long to be a single.
Everything else about the character, however, is fictional.
Freddieās boyfriend Jim Hutton didnāt begin as his servant.
In the movie, a drunk and dejected Freddie makes a sloppy pass at a server named Jim Hutton after a particularly
debauched party. Hutton rejects him, but they talk long into the night and years later Mercury looks him up in the
phone book and they begin dating. In real life, Hutton was a hairdresser who worked at the Savoy Hotel. They met at a
nightclub.
'Bohemian Rhapsody': Fact-Checking Queen Biopic Movie -
Rolling Stone
16. The group never split up.
The movie veers the furthest from reality in the build-up
to their 1985 performance at Live Aid. Thereās a dramatic
scene where Freddie reveals that heās signed a solo deal
behind their back for $4 million and that he wants to take
a long break from the band. The others are absolutely livid
and they all go their separate ways. The truth is that
everyone in the band was burned out in 1983 after being
on the road for a solid decade. They all wanted a break.
The movie makes it seem like they didnāt speak to Freddie
for years, but they actually began work on The Works in
late 1983 and were never estranged.
Live Aid wasnāt a reunion.
In the movie, the group isnāt even on speaking terms when
they get the offer to play Live Aid in 1985, and they hadnāt
done a gig in years. It never mentions that they
released The Works in early 1984 and then toured it all
over the world. The last show of the tour was just eight
weeks before Live Aid. They were extremely well-
rehearsed by the time that show hit, but the movie shows
them having to make peace with each other and get back
into playing shape. It makes the performance more
dramatic, but thatās not how it happened.
Freddie didnāt learn he was HIV-positive before
Live Aid.
During rehearsals for Live Aid in the movie, Freddie
reveals to the band that he is HIV-positive, but he wants to
keep the news completely private and focus all his
attention on music. The exact time that Mercury learned he
had the disease remains somewhat under dispute, but
nearly everyone pins it as occurring sometime between
1986 and 1987. He almost certainly had no clue when the
group was rehearsing for Live Aid.
'Bohemian Rhapsody': Fact-Checking Queen Biopic Movie -
Rolling Stone