Arctic Monkeys - Do I Wanna Know?
This Arctic Monkeys music video for 'Do I Wanna Know?' fits the conventions of an abstract video through the inclusion of bright colours as well as the repeated visuals of the sound waves, the lack of narrative and lip synching is also in keeping with an abstract video.
Andrew Goodwin's theory can also be found in the video. There is a strong relationship between the music and visuals, the video is edited to the beat of the song, the sound waves that appear throughout pulse and vibrate in time and correspond to specific instruments and vocals that can be heard. The fast paced editing is well suited to the song and the pulsing visuals match the strong bass. There is also a slight relationship between the lyrics and visuals, for example, the lyric 'simmer down and pucker up' is paired with a shot of a pair of lips doing just that.
There is a voyeuristic treatment of the female body throughout, with multiple shots of naked women or women wearing little clothing, the emphasis on their bodies lends to the idea of sexualisation. However, unusual for a rock music video, there isn't a stage performance or any shots of the artists.
Of Monsters and Men - Sinking Man
This abstract music video for Of Monsters and Men's 'Sinking Man' fits the conventions of indie folk, the simple visuals and black and white colour scheme that evokes a feeling of sadness, however, unlike many indie music videos, it does not include a stage performance. The video is non-conventional as an abstract video as there is a lack of vivid colour, but, the idea of repetition is shown through the repetitive visual of jellyfish.
Whilst there is no clear narrative, making this video abstract, it is highly symbolic, especially when analysed along with the lyrics The lyrics shown on the bottom of the video places more importance on them and makes it easier to understand. The song and video contain a lot of depression symbolism, this is show through the relationship between the lyrics and visuals. 'Cold dark sea' references the video of the ocean (sea) in black and white (dark). 'Pulling me down to the deep' could be interpreted as the feelings of drowning and sinking associated with depression, this is shown by the viewpoint slowly sinking further into the ocean. 'Go away, get out of here' is another reference to feelings associated with depression, describing the isolation felt by sufferers, this is enforced by the sinking viewpoint that gets further away from reality.
The song's slow pace is matched by the slow pace of the video and the complete lack of cuts, the movements of the jellyfish are also in time with the song. There are no shots of the artists in the video, thereby, not creating a 'star image'.
Thursday 25 June 2015
Narrative Music Videos
Sam Smith - I'm Not the Only One
The video for Sam Smith's 'I'm Not the Only One' is a narrative, this is shown by an easy to follow story and a limited amount of lip synching. The video has conformed to Andrew Goodwin's theory in various ways, for example, genre characteristics. The slow pace of the song has a dramatic feel that is captured in the video through the use of low key lighting, the drama is emphasised by a heavy focus on the female character's emotions through the use of extreme close ups.
The song lyrics describe an unfaithful partner, this is shown in the video as we see the story of a cheating husband. More specific relationships include the lyric 'but the proof's in the way it hurts', where a shot of the woman crying on the floor are show, and 'denying every tear' is paired with a close up of the woman wiping away tears. The slow paced editing fits with the pace of the song, the video has also been edited to the beat, showing the relationship between the music and visuals.
There are very few shots of the artist - mostly during the chorus, limiting the amount of lip synch used. Instead, there is more emphasis on the story instead of 'star image'. The idea of 'looking' is presented in the video as the voyeuristic element of the viewer seeing the husband having sex with another woman.
Ed Sheeran - The A Team
This video for Ed Sheeran's 'The A Team' fits the conventions of a narrative video - no lip synching and an easy to follow story. The video also fits the genre of indie folk where many music videos are in black and white.
The relationship between the lyrics and visuals is shown through 'sells love to another man' and 'In a pipe she flies to the motherland', both events are depicted in the video. The lyric 'her face seems slowly sinking, wasting' is shown with a shot of the woman in the video crying with smudged makeup, showing her unravelling. The references to angels throughout the song in the form of 'for angels to fly' and 'for angels to die' could be symbolic of the woman's death at the end of the video, a shot of Angel station is also shown when the word 'angel' is said.
The soft, calm, yet sad feeling of the song is shown through a slow pace, helping to emphasis emotion, especially in this character driven story. The black and white video is also in keeping with the dramatic, solemn atmosphere, where the darks colours could be symbolic of her bleak and depressing life. The video is also edited to the beat of the song.
The artist makes a brief appearance in the video as a passer-by that buys a 'Big Issue' from the woman, the lack of a close up places more importance on the woman. The notion of 'looking' is shown when the woman looks in the mirror whilst doing her hair and makeup.
The video for Sam Smith's 'I'm Not the Only One' is a narrative, this is shown by an easy to follow story and a limited amount of lip synching. The video has conformed to Andrew Goodwin's theory in various ways, for example, genre characteristics. The slow pace of the song has a dramatic feel that is captured in the video through the use of low key lighting, the drama is emphasised by a heavy focus on the female character's emotions through the use of extreme close ups.
The song lyrics describe an unfaithful partner, this is shown in the video as we see the story of a cheating husband. More specific relationships include the lyric 'but the proof's in the way it hurts', where a shot of the woman crying on the floor are show, and 'denying every tear' is paired with a close up of the woman wiping away tears. The slow paced editing fits with the pace of the song, the video has also been edited to the beat, showing the relationship between the music and visuals.
There are very few shots of the artist - mostly during the chorus, limiting the amount of lip synch used. Instead, there is more emphasis on the story instead of 'star image'. The idea of 'looking' is presented in the video as the voyeuristic element of the viewer seeing the husband having sex with another woman.
Ed Sheeran - The A Team
This video for Ed Sheeran's 'The A Team' fits the conventions of a narrative video - no lip synching and an easy to follow story. The video also fits the genre of indie folk where many music videos are in black and white.
The relationship between the lyrics and visuals is shown through 'sells love to another man' and 'In a pipe she flies to the motherland', both events are depicted in the video. The lyric 'her face seems slowly sinking, wasting' is shown with a shot of the woman in the video crying with smudged makeup, showing her unravelling. The references to angels throughout the song in the form of 'for angels to fly' and 'for angels to die' could be symbolic of the woman's death at the end of the video, a shot of Angel station is also shown when the word 'angel' is said.
The soft, calm, yet sad feeling of the song is shown through a slow pace, helping to emphasis emotion, especially in this character driven story. The black and white video is also in keeping with the dramatic, solemn atmosphere, where the darks colours could be symbolic of her bleak and depressing life. The video is also edited to the beat of the song.
The artist makes a brief appearance in the video as a passer-by that buys a 'Big Issue' from the woman, the lack of a close up places more importance on the woman. The notion of 'looking' is shown when the woman looks in the mirror whilst doing her hair and makeup.
Performance Music Videos
OutKast - Hey Ya!
The video for OutKast's 'Hey Ya!' fits the conventions of a stage performance, containing almost only performance, lip synching is used throughout and a few locations have been used, for example, backstage, on stage and the living room of a family watching the performance on television.
The video shows a gig that is being broadcast on T.V., this illusion of a fake gig is enforced by a segment before the song starts where we see the artists preparing for the show backstage.
However, contrary to Goodwin's theory, it does not conform to genre characteristic. The music video is not typical of a hip hop video, there isn't an emphasis on money and expensive items or drugs and alcohol, however, there is a clear theme of female adoration of the artists but in a less sexualised way to what may usually be seen in music videos. The video is similar to that of a funk or pop song with its upbeat, fast paced editing and visuals of dance routines performed onstage, typical of boy bands. A boy band has been created by duplicating the artist in order to play the various instruments.
The relationship between lyrics and visuals is clear, with some very literal references, for example, 'shake it like a polaroid picture' is accompanied by a shot of fans shaking polaroid pictures, whilst the lyric could also refer to dancing, which the crowd also does. During the lyric 'because she loves me so' there is an immediate cut to a shot of a screaming fan. The relationship between the music and visuals is also shown through the video being edited to the beat as well as the bright green colour palette matching the upbeat atmosphere of the song.
The entire video focuses on the artist, using many close ups, helping to create a 'star image'. The repetition of the artist's face in multiple roles helps to enforce him as a 'brand', this is also achieved through the lyric 'What's cooler than being cool? - Ice Cold!', 'Ice cold' being a reference to himself (his nickname). The notion of 'looking' is presented through the incorporation of television screens where the performance is being broadcast.
Daft Punk - Get Lucky
Daft Punk's 'Get Lucky' music video is another example of a performance video. Lip synching is used for the whole video and two settings have been used, the main starry background and the sunset background. It conforms to many characteristics of the disco/funk genre such as exuberant stage costumes and 'sparkle' effects.
The relationship between the lyrics and visuals is shown by the lyrics 'up all night', which is followed by a shot of the artists performing in front of a sunrise, and 'let's raise...our cups to the stars', stars being shown against the black background as well as possibly being shown through their sparkly outfits. Also, the lyric 'for good fun' is paired with various shots of the artists smiling and having a good time. The relationship between music and visuals is shown through the upbeat rhythm matching the constant movement of the performers as well as the video being edited to the beat of the song.
As the artists are the only visuals in the entire video, a strong 'star image' has been created, the many close ups also helps to enforce this.
The video for OutKast's 'Hey Ya!' fits the conventions of a stage performance, containing almost only performance, lip synching is used throughout and a few locations have been used, for example, backstage, on stage and the living room of a family watching the performance on television.
The video shows a gig that is being broadcast on T.V., this illusion of a fake gig is enforced by a segment before the song starts where we see the artists preparing for the show backstage.
However, contrary to Goodwin's theory, it does not conform to genre characteristic. The music video is not typical of a hip hop video, there isn't an emphasis on money and expensive items or drugs and alcohol, however, there is a clear theme of female adoration of the artists but in a less sexualised way to what may usually be seen in music videos. The video is similar to that of a funk or pop song with its upbeat, fast paced editing and visuals of dance routines performed onstage, typical of boy bands. A boy band has been created by duplicating the artist in order to play the various instruments.
The relationship between lyrics and visuals is clear, with some very literal references, for example, 'shake it like a polaroid picture' is accompanied by a shot of fans shaking polaroid pictures, whilst the lyric could also refer to dancing, which the crowd also does. During the lyric 'because she loves me so' there is an immediate cut to a shot of a screaming fan. The relationship between the music and visuals is also shown through the video being edited to the beat as well as the bright green colour palette matching the upbeat atmosphere of the song.
The entire video focuses on the artist, using many close ups, helping to create a 'star image'. The repetition of the artist's face in multiple roles helps to enforce him as a 'brand', this is also achieved through the lyric 'What's cooler than being cool? - Ice Cold!', 'Ice cold' being a reference to himself (his nickname). The notion of 'looking' is presented through the incorporation of television screens where the performance is being broadcast.
Daft Punk - Get Lucky
Daft Punk's 'Get Lucky' music video is another example of a performance video. Lip synching is used for the whole video and two settings have been used, the main starry background and the sunset background. It conforms to many characteristics of the disco/funk genre such as exuberant stage costumes and 'sparkle' effects.
The relationship between the lyrics and visuals is shown by the lyrics 'up all night', which is followed by a shot of the artists performing in front of a sunrise, and 'let's raise...our cups to the stars', stars being shown against the black background as well as possibly being shown through their sparkly outfits. Also, the lyric 'for good fun' is paired with various shots of the artists smiling and having a good time. The relationship between music and visuals is shown through the upbeat rhythm matching the constant movement of the performers as well as the video being edited to the beat of the song.
As the artists are the only visuals in the entire video, a strong 'star image' has been created, the many close ups also helps to enforce this.
Goodwin's Theory
Theorist Andrew Goodwin states in his book 'Dancing in the Distraction Factory' that "Music videos ignore common narrative as they are essentially advertisements. As consumers, we make up our own meaning of a song in our minds: a music video can anchor meaning and gives the record company/artist a method of anchoring meaning". He identifies the key features of a music video as:
- Genre Characteristics - Relevant style and iconography.
- Relationship Between Lyrics and Visuals - Lyrics are represented with visuals, they can be illustrative, amplifying or contradicting.
- Relationship Between Music and Visuals - Suitable atmosphere for song, shots can also be edited to the beat of the music.
- Multiple Close Ups of Artist - The demands of the record label are fulfilled in order to create a 'star image'.
- Frequent References to Notion of 'Looking' - Screens within screens, mirrors, voyeuristic treatment of the female body.
- Intertextual References - To films, T.V. programmes etc.
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