VIDEO KILLED THE RADIO

STAR
AN INTRODUCTION TO MUSIC
VIDEO
12
A2 INDUCTION 2014
FOR YOUR A2 COURSEWORK YOU WILL PRODUCE:
A MEDIA PORTFOLIO, COMPROMISING A MAIN AND TWO ANCILLARY TEXTS
60 MARKS
RESEARCH AND PLANNING 20 MARKS
EVALUATION 20 MARKS
MAIN TASK
A PROMOTION PACKAGE FOR THE RELEASE OF AN ALBUM, TO INCLUDE:
A MUSIC PROMO VIDEO 40 MARKS
PLUS:
A DIGIPAK CONSISTING OF AT LEAST SIX PANELS !CD PACKAGE"
10 MARKS
A MAGA#INE ADVERT FOR THE DIGIPAK !CD PACKAGE" 10 MARKS
YOU WILL THEN BE RE$UIRED TO ANSWER TWO $UESTIONS IN YOUR 201%
EXAM ON YOUR COURSEWORK&
$UESTION 1A !2% MARKS" WILL FOCUS ON YOUR SKILLS DEVELOPMENT
FROM AS TO A2& YOU HAVE ALREADY BEGUN PREPARATION FOR THIS DURING
YOUR A2 INDUCTION LESSONS
$UESTION 1B !2% MARKS" WILL ASK YOU TO ANALYSE ONE OF YOUR
PRODUCTS IN RELATION TO ONE OF THE FOLLOWING KEY CONCEPTS
NARRATIVE
AUDIENCE
GENRE
REPRESENTATION
12
MEDIA LANGUAGE
THE PURPOSE OF A MUSIC VIDEO
A '()*+ ,*-./ is a short flm or video that accompanies a complete piece of
music/song. Modern music videos are primarily made and used as a [marketing]
device intended to promote the sale of music recordings. Although the origins of
music videos go ack much further! they came into their o"n in the 1#$%s! "hen
M&' ased their format around the medium! and later "ith the launch of '(1.
&he term )music video) frst came into popular usage in the early 1#$%s. *rior to
that time! these "orks "ere descried y various terms including )flmed insert)!
)promotional +promo, flm)! )promotional +promo, clip) or )flm clip) +-ikipedia,
TASK 1
1&WHAT DO YOU THINK ARE THE MA0OR ELEMENTS OF AN ALBUM MARKETING
CAMPAIGN !THE DIFFERENT WAYS IN WHICH A BAND1ARTISTS IDENTITY IS MEDIATED
TO AN AUDIENCE"2
. think the ma/or elements of an alum marketing campaign should e the
di0erent media you use for e1ample television commercials! radio
advertisement! maga2ine advertisement etc. 3sually it4s only the larger record
laels that use television to advertise ne" and upcoming artists and ands to
"idely pulicise them to get their voices and faces kno"n and recognisale. &his
is mainly used y larger record laels as it is a very e1pensive "ay of
advertising. Maga2ine advertisements are the most commonly used method of
advertisement y ne" ands and artists ecause they are ale to pick maga2ine
"hich fts their genre and they "ill e ale to advertise to their target market
directly. 5or e1ample the 6M7 maga2ine is an indie genre maga2ine "hich "ill e
good for indie artists rather than more mainstream ands.
2&WHERE HAVE YOU ENCOUNTERED THESE ELEMENTS IN YOUR DAILY LIFE2
. have personally encountered these elements "hen . read maga2ines such as
6M7. . also sometimes see it "hen . am listening to the radio as it allo"s me to
make my o"n /udgment on "hether . like the music or not "ithout the in8uence
of their looks or style. Also y follo"ing di0erent ands on t"itter . am ale to
fnd out if they have released any ne" songs or alums "hich allo"s me to keep
up to date "ith the latest releases. .t also reminds me "hen . can purchase it! or
if . could get pre9sale.
12
3&WHAT FACTORS MAKE YOU 4LIKE5 A BAND AND THEREFORE DOWNLOAD THEIR
MUSIC, BUY THEIR ALBUMS OR ATTEND THEIR CONCERTS2 HOW DO YOU DECIDE
WHICH BAND IS 4COOL5 AND WHICH IS NOT2
*ersonally! . do not /udge ands ased on their appearance or looks. . tend to
/ust like them for the music itself. (o"ever! if a and "ere to e too over the top
or catch your attention too much then it may a0ect my opinion on them! ut only
slightly. . am very versatile in my music taste as . en/oy a "ide range of music
artists such as &he :miths! &he ;inks! <ourteeners! 5oals and =amie &. . elieve
that an artists voice plays a ig part in "hether . think a and are >cool4 ecause
they should have their o"n style of voice so that people fnd it easy to recognise
them and do not get them confused "ith other ands. .f i "as to /udge a and y
their looks then i prefer a and to look /ust natural like /eans and a t9shirt rather
than made up in right colours and over the top costumes.
WHAT MAKES THE MUSIC VIDEO UNI$UE2
THE MUSIC VIDEO IS DESIGNED FOR MULTIPLE VIEWINGS6 IT HAS TO BE INSTANTLY
MEMORABLE YET INTERESTING ENOUGH TO WARRANT WATCHING AGAIN AND AGAIN&
UNLIKE THE FILM TRAILER IT IS NOT DESIGNED TO BE VIEWED ON A LARGE SCREEN
NOR IS ITS AUDIENCE CAPTIVE&
1&WHERE AND WHEN DO YOU WATCH MUSIC VIDEOS2
. mainly "atch music videos "hen . hear aout them through social media
"esites such as &"itter. As . follo" most of the ands that . listen to! . get
updates on ne" music videos "hen they are released. . also follo" the 6M7
o?cial &"itter account "ho sho" rand ne" music videos from a di0erent range
of ne" or old artists. . also "atch older music videos on the &.' channel 'intage
&'! this is ecause . en/oy listening to the music and "atching the di0erent types
of music videos.
TASK 2
IN THE SPACE BELOW LIST AS MANY FEATURES1CONVENTIONS OF MUSIC
VIDEOS THAT YOU CAN THINK OF&
<amera"ork9 panning shots! close ups! di0erent types of focus! etc
7diting
Mise9en9scene
@eneric signifers
<reativity and innovation
@enre
12
6arrative
*arody
Aighting
:pecial e0ects
Music/ song
A789:)*7; M()*+ V*-./) :
1& G.7<. C8=.;/<*.):
I99()=<8=*/7 B either a straightfor"ard performance video or a simple
narrative video +or mi1ture of the t"o, that illustrates the meaning of the
lyrics and visuali2es the music in a straightfor"ard "ay. .t could e called
music video >denotation4. A good e1ample of a classic mi1ed
narrative/performance video is *ulp4s >Caies4.
A'>9*?+8=*/7 B the conventions demonstrated y the music video
>auteur4 or creative director. :/he may use oth performance and
narrative! ho"ever! rather than simply illustrate the lyrics or sounds this
director "ill >amplify4 oth "ith creative interpretation! unusual ideas and
surrealistic approaches. &here is still a direct link to the song! "hether it
e the eat! sound or >connotative4 link to part of the lyrics or song title.
:ee :pike =ones4 video for 5at Coy :lim4s >*raise Dou4 or Michel @ondry4s
video for ;ylie Minogue4s ><ome .nto My Aife4.
D*)@(7+=(<. B also created y >auteur4 directors these videos are
completely astract and have no ovious link to the music! lyrics! song
title or artist. .n this sense they are a point of >dis/uncture4 from the song.
:ee :pike =ones4 video for Eaft *unk4s >Ea 5unk4 or any Fadiohead video.
2& TA. N8<<8=*,. V*-./ C/-.) 87- =A. P.<B/<'87+. V*-./ C/-.):
N8<<8=*,. V*-./:
12
6arratives are rarely comple1 for t"o reasonsG
1. &hey need to market or advertise the and/artist and song so must
feature >repeataility4 .n other "ords the narrative code must e >loose4 or
simply >suggestive4 rather than >realistic4 or >detailed4. &his is ecause
music video audiences need to e ale to "atch videos repeatedly and a
tight realist narrative "ould prove too oring after the frst couple of
vie"ings. Musical :ynaesthesia only reHuires the musical or lyrical >mood4
to latch onto to develop a narrative concept.
2. Musical :ynaesthesia B the t"o elements of the song "hich determine
the visual su/ect matter or overall concept
a, Foland Carthes theory of Ithe grain of voiceJ "herey the vocal
sounds can e understood as music in themselves eg Michael
=ackson4s >yelp4 or 5antasia4s >yeh! yeh! yeh..J or the tone of voice of
the "ords "hich are the song title themselves e.g C/ork4s >.t4s Kh :o
Luiet4
, &he dominant musical arrangement that dictates the overall mood.
&his could e a key guitar sound+the assline in >:aotage4 &he
Ceastie Coys, or a particular eat +>-eapon of <hoice4 5atoy :lim,
Knce the director has identifed "hat he/she thinks is the key vocal or
musical element then this may e used to tap into the audience4s sense of
shared cultural history or interte1tuality e.g.
&he steel guitarMthe American Eeep :outh and desert plains
A r4n4 eat or ass lineMan uran environment
A group of choral voicesMa place of religious signifcance e.g.G church or
graveside etc.
P.<B/<'87+. V*-./:
1. <onventions of the and performanceG a degree of authenticity of
the performance is sought y the and and the director so "e fnd
12
lip9sync close9up! mimed playing of instruments! repetition of chorus
shots to enhance >repeataility4! unusual camera shots and angles
e.g. the micro camera shots attached to the neck of a guitar!
s"eeping crane shots to flm audience reaction to the and playing
etc +see numer N,
2. <onventions of solo artist performanceG many of the aove plus
choreographed dance routines to enhance >repeataility4! a frst
person mode of address directly engaging the vie"er through the
camera "hich involves many close up shots of eyes rolling and
gesturing +see ho" these conventions have een adopted y >*op
.dol4 contestants in a id to appear professional and authentic,and if
the video is a hyrid form cutting et"een performance and
narrative then the solo artist or and lead singer often ecomes part
of the narrative story! acting as narrator and participant at the same
time +see =arvis <ocker in *ulp4s video for >Caies4,
O. :tar .mage B only 1 in 1% artists promoted y a ma/or record
company "ill actually make that company any sustantial proft.
&his is "hy certain select proft making stars are manufactured!
manipulated and marketed y the record lael4s >artist and
repertoire4 +APF, division so aggressively. &he star image of
individuals such as Michael =ackson and Madonna through their
videos is a vital component of this process. &his is "hy "e can
identify the >meta9narrative4 of stars through their videos "herey
the record lael manipulates and changes the artist4s image "ith
each ne" video release to increase sales! consolidate target
audiences and roaden appeal to ne" fan ases. &he est case
studies are >Madonna4 and >Michael =ackson4. &race their image
manipulation through videos over the past O% years.
3& A(-*/CV*)(89 T.+A7*+89 C/-.) N..-.- B/< A789:D*7; 8 M()*+
V*-./:
S>..- *) =A. E)).7+.:
<amera :hotsG /umping directly et"een long shots! close ups and
e1treme close ups. *rimarily the close up on the singer4s face is the main
generic convention for music videos. Also the e1treme close up on the lips
for lip synching.
12
<amera MovementG "hip pans! fast dolly track shots and fast overhead
crane shots to follo" the running! "alking or dancing of performers. Also
fast vertical tilts and hori2ontal pans.
7ditingG various termsG /ump cutting! M&' style editing or montage editing.
<reating the visually de9centred e1perience of >/umping4 from location to
person to instrument "ithout any normal narrative continuity. .nstead it is
often the eat or the rhythm of the track "hich provides the organising
principle for editing movement. &he editing moves so fast it creates the
need for vie"ing >repeatedly4. &here are e1ceptions though. :ome
>continuity editing4 used such as atmospheric >dissolve shots4 such as in
:inead K4<onnor4s >6othing <ompare to Dou4
*ost9production digital e0ectsG see >i9movie4 for >split screens4 +see Michel
@ondry4s video for ;ylie Minogue4s ><ome .nto My -orld4 for split screens
seamlessly >led4 into each other, >colourisation4 >slo" motion4 etc &hese
are no" conventional for music videos. *lease look out for other
innovative e0ects.
AightingG 71pressive lighting a key feature of music videos. 71treme
artifcial light to create the >leaching4 e0ect on pop stars faces +making
them seem ageless,. Also the use of s"itching from colour to lack P
"hite or sepia to indicate a shift from chorus to verse. Also lighting e0ects
such as stroes or 8ashing needs to e identifed. &his oviously links into
the use of <@. in dance music videos to enhance the atmosphere.
Mise9en9sceneG look for the overall artistic concept in a video. .s there a
theme such as the historical period e.g. the si1ties +Madonna4s >Ceautiful
:tranger4 "ith its interte1tual link to the Austin *o"ers flm, or the
seventies +&he Ceastie Coys >:aotage4 video "hich parodies the >:tarsky
P (utch4 Q%s &' <op genre...also an interte1tual link,. Eoes the video4s
mise en scene follo" the need for authenticity in performance videos y
using the concert hall or rehearsal studio setting. Kr is there an intentional
>parodic4 setting to e1aggerate star image as in many rap and rP videos
"ith a focus on glamorous icons such as e1otic locations! eautiful cocktail
ars and stunning eachside houses "ith infnity pools +see Fick Foss
>(ere . Am4,.
12
TASK 3
TEXTUAL ANALYSIS OF MUSIC VIDEOS
FEATURES OBSERVATIONS EXAMPLES
GENRE
CHARACTERISTICS
- The video is bright and
uses a lot of colour.
- Video is aimed at a
teenage audience.
- A very upbeat song.
- The colours used in the house are
bright such as the walls and the swimming
pool.
- The video is aimed at teenagers
because it shows a lot of problems that they
may have experienced or be experiencing.
- The song has a quick tempo and
does not slow down at any point.
RELATIONSHIP
BETWEEN LYRICS AND
VISUALS2
It is quite plain to see that the
lyrics of the song match the
visuals of the video.
The lyrics are telling the woman that she
shouldnt be with her current lover and
should !snap out of it".
RELATIONSHIP
BETWEEN MUSIC AND
VISUALS2
The music that is playing does
mostly match the visuals of the
music video. #owever there are
parts in the video where the
music does not match with the
pace of the song.
$hen it get to the chorus she is up dancing
and showing a lot of different emotions. %n
the other hand when it cuts to the old video
tapes scenes it doesnt quite match the visuals
as the tempo picks up.
ARE THERE CLOSEC
UPS OF THE ARTIST
AND STAR IMAGE
MOTIFS2
There are only a few close ups
of the actress&model in the music
video. Alex Turner only has one
close up during the video.
To show the actress&models emotion the
director has done a close up of her crying to
show that she is upset and that the videos are
the cause of her sadness.
IS THERE REFERENCE
TO THE NOTION OF
LOOKING2
The actress&model that appears
in the video is in minimal
clothing throughout the whole of
the video. This often triggers the
male ga'e.
At the start of the music video there is a shot
of the actress&model slowly getting out of the
swimming pool and it mainly focuses on her
body looks and nothing else.
ARE THERE
INTERTEXTUAL
REFERENCES2
There are no clear intertextual
references that I can find in the
music video.
IS THE VIDEO
CATEGORY
ILLUSTRATION,
DIS0UNCTURE OR
AMPLIFICATION2
HOW MUCH OF
EACH2
The category that I would place
this music video in is the
amplification as the video is a
narrative.
I would class this as amplification mainly
because the lyrics match the visuals
throughout the song.
FEATURES OBSERVATIONS EXAMPLES
GENRE
CHARACTERISTICS
- Very happy and upbeat
- (ses bright colours
- Aims at indie
scenesters
The song has a very quick tempo and does
not slow down at any point in the song.
The lighting used in the music video stands
out and the bright colours in the house are
colourful and exciting.
RELATIONSHIP
BETWEEN LYRICS AND
VISUALS2
It is clear to see that the lyrics
from the song match the visuals
in the music video.
$hen the lyrics !carried away" are used in
the chorus either the woman or the man are
arguing and showing their emotions by
getting )carried away.
RELATIONSHIP
BETWEEN MUSIC AND
VISUALS2
The relationship between the
music and the visuals is strong
there isnt any points where they
dont go together.
The music is very upbeat and there is a lot of
movement in the video which matches the
music to the visuals and blends the two
together nicely.
ARE THERE CLOSEC
UPS OF THE ARTIST
AND STAR IMAGE
MOTIFS2
There are no closeups that are
used on the actor and actress
throughout the whole of the
music video however there are a
few star image motifs used.
IS THERE REFERENCE
TO THE NOTION OF
LOOKING2
There are a few references to the
notion of looking however there
is one main one towards the end
of the music video.
$hen the camera 'ooms in on the girls
breasts and the words come up saying )you
make me sick.
ARE THERE
INTERTEXTUAL
REFERENCES2
There are no intertextual
references used in the music
video that I could find.
IS THE VIDEO
CATEGORY
ILLUSTRATION,
DIS0UNCTURE OR
AMPLIFICATION2 HOW
MUCH OF EACH2
It is plain to see that the music
video is illustration.
All of the visuals match the lyrics of the song
and also the editing used even displays that
they go together.
6ame of trackG :nap Kut Kf .t
ArtistG Arctic Monkeys
Y.8<:
6ame of trackG <arried A"ay
ArtistG *assion *it
Y.8<:
12
TASK 4 ANSWER ALL THE $UESTIONS BELOW THIS IS EXACTLY THE SORT
OF THING YOU5LL NEED TO DO WHEN EVALUATING YOUR OWN COURSEWORK&
1& WA: -*- :/( +A//). =A. =.E= :/( 8<. 8789:)*7;2
. chose to analyse these videos ecause they really interest me and pull me into
"atch them "hich is "hat you "ould "ant in your o"n music video! to dra" in
your audience.
2& I7 FA8= +/7=.E= -*- :/( .7+/(7=.< *=2
. frst "atched the music videos "hen . "as at home and . came across them
from using t"itter as the ands t"eeted their ne" video.
3& WA8= *7G(.7+. -/ :/( =A*7H =A*) +/7=.E= '*;A= A8,. A8- /7
:/(< *7=.<><.=8=*/7 /B =A. =.E=2
. think that ecause . "atched it o0 of t"itter! shortly after it "as released it
made me en/oy it more as . got to "atch it very early and got to concentrate on
it more as . had never seen it efore.
4& WA*+A +/7,.7=*/7) /B =A. ;.7<. -/ :/( <.+/;7*). *7 =A.
=.E=2
&he main thing that dra"s me to a music video is "hen it focuses more on
the and! rather than having a complicated story that means you have to
apply yourself more.
%& T/ FA8= .E=.7= -/.) =A*) =.E= )=<.=+A =A. +/7,.7=*/7) /B *=)
;.7<.2
5rom "hat . have seen in these music videos! none of them stretch the
conventions of the >.ndie4 genre.
6& WA.<. 87- FA: -/.) =A. =.E= -.>8<= B</' =A. +/7,.7=*/7) /B
=A. ;.7<.2
C
I& WA8= )/<= /B 8(-*.7+. -*- :/( B..9 =A8= =A. ,*-./ F8) 8*'.-
8= !87- A/F =:>*+89 F8) =A*) /B =A. ;.7<.1)=:9. /B '()*+"2
. feel that the audience that these videos "ere aiming at "ere to a
younger generation such as teenagers. . think this ecause . think that
teenagers could relate to a lot of prolems/dilemmas.
J& WA8= )/<= /B >.<)/7 -/.) *= 8))('. :/( 8<.2
12
&hese videos assume that . am a teenager "ho likes to listen to ands "ho play
Huick paced songs "ith di0erent instruments.
K& WA8= 8))('>=*/7) )..' =/ L. '8-. 8L/(= :/(< +98)), 8;.,
;.7-.< 87- .=A7*+*=:2
&he music videos that . chose don4t necessarily make assumptions aout class!
age! gender and ethnicity. (o"ever they do talk aout things that may e
associated "ith eing middle9class.
10& WA8= *7=.<.)=) -/.) *= 8))('. :/( A8,.2
11& WA8= <.9.,87+. -/.) =A. =.E= 8+=(899: A8,. B/< :/(2
12& WA8= H7/F9.-;. -/.) *= =8H. B/< ;<87=.-2
13& T/ FA8= .E=.7= -/ :/( <.).'L9. =A. M*-.89 <.8-.<M =A8=
=A. ,*-./ )..H) =/ >/)*=*/7 :/( 8)2
14& A<. =A.<. 87: 7/=8L9. )A*B=) *7 =A. ,*-./M) )=:9. !87- *B
)/, FA8= -/ =A.: *7,/9,."2
1%& WA8= <.)>/7).) -/.) =A. ,*-./ )..' =/ .E>.+= B</'
:/(2
16& H/F />.7 =/ 7.;/=*8=*/7 *) :/(< <.)>/7). !8<. :/(
*7,*=.-, *7)=<(+=.- /< +/.<+.- =/ <.)>/7- *7 >8<=*+(98<
F8:)"2
1I& I) =A.<. 87: >.789=: B/< 7/= <.)>/7-*7; *7 =A. .E>.+=.-
F8:)2
1J& T/ FA8= .E=.7= -/ :/( ?7- :/(<).9B M<.8-*7; 8;8*7)=
=A. ;<8*7M /B =A. =.E= 87- =A. ;.7<.2
1K& H/F =:>*+89 -/ :/( =A*7H =A*) ,*-./ *) /B M()*+ V*-./)2