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Music video analysis
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.
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Music video analysis
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- 2. A N DR E W G O O D W I N ’ S T H E O R Y • In his book ‘Dancing in the Distraction Factory’ Andrew Goodwin points out characteristics and features that can be found in music videos.
- 3. 1 . MUSICVIDEOS MORE OF TEN THAN NOT TEND TO INCLUDE A DEMONSTRAT ION OF A TYPICAL GENRE CHARACTERIST ICS • For example a video of a stage performance is typical for a metal video, a dance routing typical for a boy/girl band and bikini clad women by a pool and flashy sports cars in a rap video. • Music videos can also link to film genres, this is known as intertextuality e.g. Many heavy rock songs are influenced by horror films.
- 4. 2 . THEREARE FREQUENT REFERENCES TO THE NOT ION OF LOOKING AND THE VOYEURIST IC TREATMENT OF THE FEMALE BODY • The notion of looking includes men or women being portrayed, seductively or if there is eye contact with the camera. The notion of looking can also be referenced by the use of props. • e.g. Mirrors, television, screens, cameras, telescopes, binoculars and magnifying glasses are all references to, these are commonly used. • Voyeurism is widely used to sell the artist’s music through sex appeal, a recent example being Miley Cyrus. Voyeurism today is only shown at one angle. You do not see a male doing that, only women.
- 5. 3 . THEREIS A RELAT IONSHIP BETWEEN LYRICS AND VISUALS. THE LYRICS ARE REPRESENTED WI TH IMAGES (EI THER I L LUSTRAT IVE, AMPL I FYING, CONTRADICT ING) “The sun goes down” “I’m glad you came” “And I decided you look well on me, well on me” “Now I’ll take you by the hand”
- 6. 4 . THEREIS A SUCCINCT RELAT IONSHIP BETWEEN MUSIC AND VISUALS • e.g. either illustrative, amplifying, contradicting. • e.g. this can be seen in killer/papa was a rolling stone by George Michael
- 7. 5 . THERECORD LABEL WHICH THE ART IST IS ASSIGNED TO TENDS TO HAVE CERTAIN DEMANDS. THEY OF TEN INCLUDE THE NEEDS FOR LOTS OF CLOSE UPS OF THE ART IST AND THE ART IST WI L L HAVE A VISUAL STYLE WHICH RECURS ACROSS THE WORK • e.g. An example of visual style could be Bjork as she is always wearing quirky clothes • The 4th wall is broken near always when the video is a performance. This is direct address and seem like they are singing to us.
- 8. 6 . THEREIS OF TEN INTERTEXTUAL REFERENCES ( TO F I LMS, TV PROGRAMMES, OTHER MUSIC VIDEOS ETC. ) AUDIENCES ENJOY KNOWING T H E ‘ I N J O K E ’ . • e.g. Destiny’s Child doing Independent Women referencing Charlie’s Angels • Katy Perry - Roar • Survivor - Eye of the Tiger
- 9. 6 . THEREIS OF TEN INTERTEXTUAL REFERENCES ( TO F I LMS, TV PROGRAMMES, OTHER MUSIC VIDEOS ETC. ) AUDIENCES ENJOY KNOWING T H E ‘ I N J O K E ’ . • Survivor - Eye of the Tiger • How does the video inform your understanding of Katy Perry song Roar? • In what ways does this song change your understanding of Katy Perry song? • Queen - We are the Champions
- 10. 6 . THEREIS OF TEN INTERTEXTUAL REFERENCES ( TO F I LMS, TV PROGRAMMES, OTHER MUSIC VIDEOS ETC. ) AUDIENCES ENJOY KNOWING T H E ‘ I N J O K E ’ . • Queen - We are the Champions • What connections might there be with this song? • What are the message all three artists are trying to communicate?
- 11. Intertexual thinking canalso be looking at patterns of events across stories, or looking at how authors have chosen to convey ideas about the same topic in different ways
- 12. NARRAT IVE •Narrative videos consist of a story playing out within the music video. The audience is usually drawn into a narrative within the video and it has some sort of resolution to the story by the end of the video. • This style of music video is common within the Pop genre and is generally combined with performance components in a part style of a video. • Bruno Mars - Grenade
- 13. CONCEPT • Conceptualmusic videos consist of an idea (or concept) that may be abstract and does not necessarily adhere to a narrative. • This style has been used in most genres and is often combined with performance in order to create a full video. • Kanye West - Runaway (Full Length)
- 14. PERFORMANCE • Thisconsists of the band or artist performing the lyrics to the camera in with a staged, or live setting. • A music video that is purely performance based is commonly found within the ‘harder rock’ genres, however this style is usually combined with a narrative or concept in any kind of genre. • 30 Second to Mars - Closer to the Edge
- 15. BEYONCE • Writes‘sexy songs’ that are aspirational to a female demographic but also with a secondary male audience in mind – emotional but also with an upbeat mode of address that has a feel good factor. She arguably, along with artists like Lady Gaga with whom she collaborated with on the song and music video “Telephone” can be categorised as a post feminist icon mapping Angela McRobbie’s theory.
- 16. • She allowsherself to be framed for the male gaze but is very much in control of her representation. Her lyrics make speak of stereotypical female preoccupations like love and relationships but also female sexuality and empowerment – as such she is seen as a female role model. On stage she has an alter ego called Sasha Fierce that is at odds with her squeaky clean persona. • Beyonce is associated with high production value entertainment, particularly through the financial backing of Columbia Records and the video has elaborate costume design like “Telephone”, use of digital special effects, multiple camera technology and an extensive cast • Beyonce - Run The World Girls
- 17. ONE DIRECT ION • “Live While We’re Young” young, heterosexual males are represented aged between 18 and 20. The band themselves are English, Irish and mixed race but universally represented as carefree and fun, following the stereotype of young people of that age – the title of the song anchors these connotations as being free from commitment. • In terms of mise-en-scene and dress code the band are framed as trendy and attractive to maintain their fan base appeal whilst at the same time maintaining their appearance as ‘normal’ teenage boys. There is a distinct suggestion that they are also framed as role models but certainly fit the hegemonic cultural stereotype of being young, free and single – this ensures the myth of personal communication with their audience remains evident, as is their apparent ‘availability’ to their fans. • One Direction - Live While We’re Young
- 18. IMPORTANCE OF INTERTEXTUALI TY • Take a look at this Prezi and look at some of the intertextual examples that are displayed
- 19. • Analyse, inreference to the clear categories of: • Codes and conventions of the Music Video • Narrative • Mise-en-Scene • Representation and gender identity including voyeurism • Performance – the role of the camera and editing • Intertextuality including parody and pastiche • The role of institution and audience • Applied media theory (Goodwin, Mulvey, Barthes and Richard Dyer in particular). • Ensure the videos are a mix of contemporary and historical e.g. Happy - Pharrell Williams, Miley Cyrus - Wrecking Ball, Gaga/Beyonce – Telephone, Taylor Swift - Change but also Peter Gabriel - Sledgehammer and Talking Heads – Once on a Lifetime for example.
- 20. MUSIC VIDEO 1 FEATURES CRI T ICAL OBSERVAT ION GENRE CHARACT ERI ST ICS: CODES AND CONVENT IONS MI SE-EN-SCENE NARRAT I VE - WHAT STORY I S BEING TOLD? WHAT ISSUES OF REPRESENT AT ION AND ST EREOT YPING ARE EVIDENT ? I S THE VIDEO PERFORMANCE, NARRAT I VE OR CONCEPT BASED? HOW MUCH OF EACH? WHAT IS THE ROLE OF THE CAMERA? ARE THERE ANY INT ERT EXTUAL REFERENCES WHAT ARE THE PRODUCTION VALUES, HOW WAS FUNDING SECURED, WHERE WAS THE VIDEO DISTRIBUTED, AND WHO IS THE INTENDED TARGET AUDIENCE? APPL IED THEORY
- 21. MUSIC VIDEO 2 FEATURES CRI T ICAL OBSERVAT ION GENRE CHARACT ERI ST ICS: CODES AND CONVENT IONS MI SE-EN-SCENE NARRAT I VE - WHAT STORY I S BEING TOLD? WHAT ISSUES OF REPRESENT AT ION AND ST EREOT YPING ARE EVIDENT ? I S THE VIDEO PERFORMANCE, NARRAT I VE OR CONCEPT BASED? HOW MUCH OF EACH? WHAT IS THE ROLE OF THE CAMERA? ARE THERE ANY INT ERT EXTUAL REFERENCES WHAT ARE THE PRODUCTION VALUES, HOW WAS FUNDING SECURED, WHERE WAS THE VIDEO DISTRIBUTED, AND WHO IS THE INTENDED TARGET AUDIENCE? APPL IED THEORY
- 22. MUSIC VIDEO 3 FEATURES CRI T ICAL OBSERVAT ION GENRE CHARACT ERI ST ICS: CODES AND CONVENT IONS MI SE-EN-SCENE NARRAT I VE - WHAT STORY I S BEING TOLD? WHAT ISSUES OF REPRESENT AT ION AND ST EREOT YPING ARE EVIDENT ? I S THE VIDEO PERFORMANCE, NARRAT I VE OR CONCEPT BASED? HOW MUCH OF EACH? WHAT IS THE ROLE OF THE CAMERA? ARE THERE ANY INT ERT EXTUAL REFERENCES WHAT ARE THE PRODUCTION VALUES, HOW WAS FUNDING SECURED, WHERE WAS THE VIDEO DISTRIBUTED, AND WHO IS THE INTENDED TARGET AUDIENCE? APPL IED THEORY