Goodwin presented a detailed specification of basic narrative types withing music video.
Illustritive - This involves the video matching the lyrics, and ultimately
telling the same story as the song itself (does what it says)
Amplificative - Takes the lyrics and makes everything 'bigger', amplifying
the lyrics can provide added to emphasis to the artists intent
and representation.
Disjunctive - Nothing to do with lyrics, what appears to be random peices of
footage, first must understand music video conventions in order to
break them.
Another addition to these basic concepts is the 'performance video' aswell as being fairly simplistic, a performance video can provide and artist to represent themselves in a certain manner.
Monday, 6 July 2009
Representation Within Music Videos
The Killers - All These Things That Ive Done
Two seperate videos to target different markets.
UK Video
Anton Corbijns Video
Alteration of representation, same song+different videos=different representation.
UK Video - Specific British representation, ambient lighting almost sepia
urban buildings surrounding the artist, whole atmoshpere seems
stereotypically British.
Corbijn's Video - Black and White filter provides an instant alteration in
representation. Desert setting, perhaps Las Vegas where the
band originated. Stereotypically American mise en scene
consisting of cowboy outfits.
This use of music videos to alter representation is evidence that artists are able to re-invent and re-define themselves using representation.
Two seperate videos to target different markets.
UK Video
Anton Corbijns Video
Alteration of representation, same song+different videos=different representation.
UK Video - Specific British representation, ambient lighting almost sepia
urban buildings surrounding the artist, whole atmoshpere seems
stereotypically British.
Corbijn's Video - Black and White filter provides an instant alteration in
representation. Desert setting, perhaps Las Vegas where the
band originated. Stereotypically American mise en scene
consisting of cowboy outfits.
This use of music videos to alter representation is evidence that artists are able to re-invent and re-define themselves using representation.
Pop Video - Brief History
1950's - First colour television transmission.
The term 'teenager' first invented, label grouped the youth together. Rock and Roll
first came to the foreground.
1967 - Varietyu programmes such as 'Top of the Pops' first aired.
Music videos created for a practical function, for example, when bands were unable to
Attend television performances. An iconic video 'The Beatles - Strawberry Fields'.
Queen - Bohemian Rapsody, produced in 3 hours, band quoted as saying the video was created
as they diddnt feel they could sing it live and keep a straight face. Budget consisted of
£3,500 which was nothing for a music video.
August 1981 - The birth of MTV, 'Video Killed the Radio Star' first video shown on the ground
breaking channel. Russell Mulckay (director) created a disjucntive video (doesnt
go with lyrics) Filming took one day.
Nowadays - MTV is broadcasted in 83 countries and available in 300,000,000 homes.
Began with only a few videos, audience demmand led to the growth of the
channel.
The Cure - Proved that you dont need the band or lead singer in your music video.
Success = Commerce
From Big Spenders To Anti Video.
Will Smith - spent $2,500,000 for his 'Miami' video.
Michael Jackson proved that representation of an artist can change with a music video. His video for 'Thriller' demonstrated intertextuality, taking influence from elements of 'Warewolf in London'. Directed by John Landis.
Money for video production came from franchinsing i.e. 'making of' documentary.
First gave fans oppurtunity to buy video for home.
The term 'teenager' first invented, label grouped the youth together. Rock and Roll
first came to the foreground.
1967 - Varietyu programmes such as 'Top of the Pops' first aired.
Music videos created for a practical function, for example, when bands were unable to
Attend television performances. An iconic video 'The Beatles - Strawberry Fields'.
Queen - Bohemian Rapsody, produced in 3 hours, band quoted as saying the video was created
as they diddnt feel they could sing it live and keep a straight face. Budget consisted of
£3,500 which was nothing for a music video.
August 1981 - The birth of MTV, 'Video Killed the Radio Star' first video shown on the ground
breaking channel. Russell Mulckay (director) created a disjucntive video (doesnt
go with lyrics) Filming took one day.
Nowadays - MTV is broadcasted in 83 countries and available in 300,000,000 homes.
Began with only a few videos, audience demmand led to the growth of the
channel.
The Cure - Proved that you dont need the band or lead singer in your music video.
Success = Commerce
From Big Spenders To Anti Video.
Will Smith - spent $2,500,000 for his 'Miami' video.
Michael Jackson proved that representation of an artist can change with a music video. His video for 'Thriller' demonstrated intertextuality, taking influence from elements of 'Warewolf in London'. Directed by John Landis.
Money for video production came from franchinsing i.e. 'making of' documentary.
First gave fans oppurtunity to buy video for home.
Sunday, 21 June 2009
50 Cent - In Da Club - Deconstruction
The music video begins with a medium shot of 50 Cent captured alone in the centre of the frame, this instantly signifies his importance by evoking emphasis with the first shot of the video. The audience is then presented with a shot of 50 Cent walking into a c
lub still centered in the frame with an entourage of people walking behind him, the camerawork further suggests his importance by framing 50 Cent as the only person in focus. Several cut away shots are then used to indicate the rappers lifestyle, for example the pouring of champagne supports his gangster representation. The audience is then presented with a medium shot of 50 Cent in the foreground of a crowded room, this camerawork further supports the notion that he holds all the attention and importance of the crowd. During shots of the crowded club the camerawork appears to be shakey, perhaps to cr
eate a point of view shot. This camerawork is used to support the mise en scene and the club scene in general. The audience is then presented with a low angle shot of 50 Cent working out, this signifies his power as a man and further supports his gangster image. In contrast to this, we are then presented with a shot of 50 Cent in the recording studio, the microphone is framed in the foreground perhaps suggesting that the music comes first and holds the most importance on the rappers life.
The editing pace of this video begins fairly slow, increasing as the beat kicks in. A series of jump cu
ts of 50 Cent at the beginning of the video indicates his importance from the start, with the attention firmly placed with the artist the editing supports the camerawork in this sense. The editing becomes faster during the night club scenes as to be synchronous with the content of the frame. This is followed by a series of cuts between 50 Cent in the gym, club and recording studio perhaps suggesting the balance of importance within the rappers life.
The mise en scene within this video supports the rappers gangster image, for example the costume consists of gold medallions and flat peak hats, stereotypical characteristics of a gangster image.
lub still centered in the frame with an entourage of people walking behind him, the camerawork further suggests his importance by framing 50 Cent as the only person in focus. Several cut away shots are then used to indicate the rappers lifestyle, for example the pouring of champagne supports his gangster representation. The audience is then presented with a medium shot of 50 Cent in the foreground of a crowded room, this camerawork further supports the notion that he holds all the attention and importance of the crowd. During shots of the crowded club the camerawork appears to be shakey, perhaps to cr
eate a point of view shot. This camerawork is used to support the mise en scene and the club scene in general. The audience is then presented with a low angle shot of 50 Cent working out, this signifies his power as a man and further supports his gangster image. In contrast to this, we are then presented with a shot of 50 Cent in the recording studio, the microphone is framed in the foreground perhaps suggesting that the music comes first and holds the most importance on the rappers life.The editing pace of this video begins fairly slow, increasing as the beat kicks in. A series of jump cu
ts of 50 Cent at the beginning of the video indicates his importance from the start, with the attention firmly placed with the artist the editing supports the camerawork in this sense. The editing becomes faster during the night club scenes as to be synchronous with the content of the frame. This is followed by a series of cuts between 50 Cent in the gym, club and recording studio perhaps suggesting the balance of importance within the rappers life.The mise en scene within this video supports the rappers gangster image, for example the costume consists of gold medallions and flat peak hats, stereotypical characteristics of a gangster image.
The Strokes - Heart In A Cage - Deconstruction
The video begins with a series of low angle shots of each of the band members to signify and indication of their importance individually as well as a band. The use of black and white in this video is synchrono
us with grittiness of the lead singers voice and the landscape of New York City. After several medium shots of the band members in a busy crowd, the audience is then presented with a master shot of the lead singer (Julian Casablancas) lying on the floor of the street. The camerawork suggests his importance by him being the only single person in focus within the entire cluttered frame. This use of camerawork signifies that the emphasis lies firmly with the lead singer of the band and the importance of his narrative. A medium shot of the lead guitarist is enhanced by a rapid zoom into the band members guitar, this camerawork signifies the importance of the instrumental musicality of the band.
The majority of editing in this music video is synchronous with the tempo of the music, whilst beginning with medium length takes of individual band members. The use of cuts of shots between the band alone and in a crowd perhaps suggests the contrast of their public and private personas. The editing pace progressively increases as an indication of the song gaining m
omentum, this in particular climaxing with every chorus of the song. The editing pace is decreased during the bridge of the song with a long take of the lead singers mouth, as well as dictating the pace of the song it also signifies the importance of the singers lyrics at this point of the video. The editing pace becomes furious as the band members are grappled by the general public in the frame, this editing is supported by the camerawork with frantic zooming and panning shots.
The mise en scene used within this music video is stereotypical of the music genre of the band
and supports the bands general representation as a whole. For example, the costume used in the video consists of leather jackets and skinny jeans, a stereotypical look for an indie band such as this, further supporting their rock and roll image. The bassist however is dressed in a bright white blazer, providing an interesting contrast between himself and the conservatively dressed public.
us with grittiness of the lead singers voice and the landscape of New York City. After several medium shots of the band members in a busy crowd, the audience is then presented with a master shot of the lead singer (Julian Casablancas) lying on the floor of the street. The camerawork suggests his importance by him being the only single person in focus within the entire cluttered frame. This use of camerawork signifies that the emphasis lies firmly with the lead singer of the band and the importance of his narrative. A medium shot of the lead guitarist is enhanced by a rapid zoom into the band members guitar, this camerawork signifies the importance of the instrumental musicality of the band.The majority of editing in this music video is synchronous with the tempo of the music, whilst beginning with medium length takes of individual band members. The use of cuts of shots between the band alone and in a crowd perhaps suggests the contrast of their public and private personas. The editing pace progressively increases as an indication of the song gaining m
omentum, this in particular climaxing with every chorus of the song. The editing pace is decreased during the bridge of the song with a long take of the lead singers mouth, as well as dictating the pace of the song it also signifies the importance of the singers lyrics at this point of the video. The editing pace becomes furious as the band members are grappled by the general public in the frame, this editing is supported by the camerawork with frantic zooming and panning shots.The mise en scene used within this music video is stereotypical of the music genre of the band
and supports the bands general representation as a whole. For example, the costume used in the video consists of leather jackets and skinny jeans, a stereotypical look for an indie band such as this, further supporting their rock and roll image. The bassist however is dressed in a bright white blazer, providing an interesting contrast between himself and the conservatively dressed public.
The Horrors - Sheena is a Parasite - Deconstruction
The music video begins with a medium shot of a woman dancing, she is positioned i
n the centre of the frame with the emphasis securely placed on her. The audience is then presented with a close-up of the lead singer, with the dancer in the background; the camerawork supports the swing of emphasis and attention from the dancer to the singer. Frantic crash zooms and whiz pans during he chorus are synchronous with the anarchy of the music at this point. Again using whiz panning techniques, the audience is presented with cut away shots of the band before returning to the master shot of the woman dancing.
The editing pace of this music video is synchronous with both the tempo and structure of the music. For example, the video begins with a long
take of the woman dancing, however, the cuts become more frequent as the beat kicks in and as the momentum of the track builds. This is climaxed in each chorus where the editing appears to be frantic and at a high tempo. The pace is slightly decreased during the bridge but retained during the outro of the track. The frantic editing throughout the video supports the edgey representation of the music and band alike.
The mise en scene in this music video further supports the bands image and representation of dark indie rockers. For example, the costume used in the video is stereotypically
gothic with predominantly black clothing supporting the bands projected representation. The contrast between the dark and strobe lighting during the video is also an important tool in creating the bands image by further complying with the gothic conventions.
n the centre of the frame with the emphasis securely placed on her. The audience is then presented with a close-up of the lead singer, with the dancer in the background; the camerawork supports the swing of emphasis and attention from the dancer to the singer. Frantic crash zooms and whiz pans during he chorus are synchronous with the anarchy of the music at this point. Again using whiz panning techniques, the audience is presented with cut away shots of the band before returning to the master shot of the woman dancing.
The editing pace of this music video is synchronous with both the tempo and structure of the music. For example, the video begins with a long
take of the woman dancing, however, the cuts become more frequent as the beat kicks in and as the momentum of the track builds. This is climaxed in each chorus where the editing appears to be frantic and at a high tempo. The pace is slightly decreased during the bridge but retained during the outro of the track. The frantic editing throughout the video supports the edgey representation of the music and band alike.The mise en scene in this music video further supports the bands image and representation of dark indie rockers. For example, the costume used in the video is stereotypically
gothic with predominantly black clothing supporting the bands projected representation. The contrast between the dark and strobe lighting during the video is also an important tool in creating the bands image by further complying with the gothic conventions.Anton Corbijn and Chris Cunningham
Today we began the researching stage of our practical production work for our music videos, we began by discussing several music videos from the directors Chris Cunningham and Anton Corbijn. In particular we aimed to research the representation created by both the director and artist alike. The music videos studied in this lesson provided me with a perfect chance to explore other work of these directors and to produce a collection of ideas for my own work.
Chris Cunningham
Born in Reading in 1970 Cunningham developed a unique style of music video directing, combining mainstream artists with off the wall ideas as well as working with many underground artists in genres such as drum and bass. During my own research of Cunningham's work I was particularly interested in the video for Bjork - All is Full of Love as it displays stunning cinematography as well as representing the artist in a particular way. Some of Cunningham's work includes.
The Horrors - Sheena is a Parasite
Bjork - All is Full of Love
Aphex Twin - Window Licker
Madonna - Frozen
Aphex Twin - Come To Daddy
Placebo - 36 Degrees
Portishead - Only You
The second director researched during this lesson was Anton Corbijn, as well as being a globally respected photographer Corbijn has also directed a number of visually impressive music videos across a canopy of genres. During my own research into this director i was particularly interested by the simplicity of Corbijn's work by producing stunning compositions whilst using simple techniques. Some of Corbijn's work includes.
Joy Division - Atmosphere
The Killers - All These Things That I've Done
U2 - One
U2 - Electrical Storm
Nirvana - Heart Shaped Box
Coldplay - Talk
Metallica - Mamma Said
Introduction
I shall be using this blog to document the research and planning of all practical production work for my A2 media studies course. I shall begin by researching and deconstructing several music videos across a range of genres. I shall also be choosing a number of directors to research in detail in order to collect an extensive knowledge of ideas and styles to take through to the production of my own music video. I plan to take influence from these chosen directors in aan attempt to emulate their work in my own production.
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