VIDEO KILLED THE RADIO STAR

AN INTRODUCTION TO MUSIC VIDEO

A2 INDUCTION 2014

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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 MAGAZINE ADVERT FOR THE DIGIPAK (CD PACKAGE) 10 MARKS


YOU WILL THEN BE REQUIRED TO ANSWER TWO QUESTIONS IN YOUR 2015 EXAM ON YOUR
COURSEWORK.
QUESTION 1A (25 MARKS) WILL FOCUS ON YOUR SKILLS DEVELOPMENT FROM AS TO A2. YOU HAVE
ALREADY BEGUN PREPARATION FOR THIS DURING YOUR A2 INDUCTION LESSONS
QUESTION 1B (25 MARKS) WILL ASK YOU TO ANALYSE ONE OF YOUR PRODUCTS IN RELATION TO ONE
OF THE FOLLOWING KEY CONCEPTS
NARRATIVE
AUDIENCE
GENRE
REPRESENTATION
MEDIA LANGUAGE


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THE PURPOSE OF A MUSIC VIDEO
A music video is a short film 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 back much further, they came into their
own in the 1980s, when MTV based their format around the medium, and later with the launch of
VH1. The term "music video" first came into popular usage in the early 1980s. Prior to that time,
these works were described by various terms including "filmed insert", "promotional (promo) film",
"promotional (promo) clip" or "film clip" (Wikipedia)

TASK 1

1. WHAT DO YOU THINK ARE THE MAJOR ELEMENTS OF AN ALBUM MARKETING CAMPAIGN (THE DIFFERENT
WAYS IN WHICH A BAND/ARTISTS IDENTITY IS MEDIATED TO AN AUDIENCE)?
- I THINK THERE ARE MANY WAYS TO MARKET AN ALBUM. ONE OF THE MOST RECENT THAT HAD A HUGE IMPACT
WAS BEYONCS ALBUM BEYONC. THIS ALBUM WAS KEPT SECRET UNTIL ITS DAY OF RELEASE AND WAS
THEREFORE MARKETED THROUGH WORD OF MOUTH. THIS ONLY WORKED DUE TO THE FACT THAT BEYONC IS
THE QUEEN OF POP SO EVERYONE ALREADY KNOWS WHO SHE WAS, MEANING THAT THIS WOULDNT BE AN
APPROPRIATE METHOD FOR A FIRST ALBUM RELEASE. OTHER ELEMENTS OF AN ALBUM MARKETING IS OVER
ADVERTISEMENTS ON TELEVISION, WHICH ARE MOST COMMONLY SHOWN ON THE AD BREAKS OF SHOWS SUCH
AS THE X FACTOR AND OTHER SHOWS WHICH FOCUS ON ARTISTS AND THEREFORE PROMOTING THEM TO THE
CORRECT TARGET MARKET. A SUCCESSFUL MUSIC VIDEO ALSO PROMOTES THE ARTISTS SONG AS IT GIVES THE
AUDIENCE MORE TO FOCUS ON THAN SIMPLY THE SONG AND FURTHER ENTERTAINS THEM. THE ARTIST COULD
ALSO INCREASE INTEREST BY APPEARING AS A FEATURED ON A WELL-KNOWN TRACK, INCREASING THEIR FAN
BASE AND MAKING THEM BETTER KNOWN. THIS IS HELPFUL FOR ADVERTISING BECAUSE WHEN THEY RELEASE
THEIR OWN ALBUM THEY ARE ALREADY KNOWN BY THE PUBLIC. MAGAZINE ADVERTISEMENTS ALSO BOOST
INTEREST AND SALES OF AN ALBUM AND HELP TO FURTHER STYLISE THE ARTIST. RADIO COVERAGE AN EFFECTIVE
WAY OF FINDING THE TARGET MARKET BECAUSE ONCE IT IS PLAYED THE AUDIENCE HAVE THE OPPORTUNITY TO
DOWNLOAD THE TRACK/ALBUM.


2. WHERE HAVE YOU ENCOUNTERED THESE ELEMENTS IN YOUR DAILY LIFE?
- THE ELEMENT THAT HAS THE MOST IMPACT IN DAILY LIFE IS MOST LIKELY THE RADIO DUE TO THE FACT THAT I
LISTEN TO IT WHEN DRIVING, STUDYING AND ANY TIME WHEN YOU NEED TO LISTEN TO SOMETHING (ONCE
YOUVE OVERPLAYED YOUR FAVOURITE ALBUM). I DONT FREQUENTLY READ MAGAZINES, NEVER MIND MUSIC
MAGAZINES SO ADVERTISEMENTS WOULDNT IMPACT MY CHOICE IN MUSIC OR WHICH ALBUM TO BUY. THE
WORD OF MOUTH CAMPAIGNS DO IMPACT ME HOWEVER BECAUSE WITH EVERYBODY RAVING ABOUT AN
ALBUM YOU HAVE TO DOWNLOAD IT TO KNOW WHAT THE FUSS IS ABOUT. TV ADVERTS IMPACT A LOT OF
PEOPLE AND IS A VERY HELPFUL ADVERTISING COMPONENT.





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3. WHAT FACTORS MAKE YOU LIKE A BAND AND THEREFORE DOWNLOAD THEIR MUSIC, BUY THEIR ALBUMS OR
ATTEND THEIR CONCERTS? HOW DO YOU DECIDE WHICH BAND IS COOL AND WHICH IS NOT?
- THE THING THAT MAKES ME LIKE AN ARTIST IS SIMPLY THEIR MUSIC. IF I DONT LIKE THEIR MUSIC, VIDEOS,
THE BANDS IMAGE AND ADVERTISEMENT CAMPAIGNS WILL MOST LIKELY NOT CHANGE MY OPINION OF THEIR
MUSIC. IF THEIR MUSIC IS GOOD THEN I WILL DOWNLOAD THE SONGS. I DECIDE WHETHER A BAND IS COOL OR
NOT ON THE GENRE OF THEIR MUSIC. I DONT CONSIDER ANY INDIE BANDS TO BE INTERESTING AND THEREFORE
WOULD NEVER DOWNLOAD THE MUSIC. I DONT REALLY FOLLOW BANDS AND SOLO ARTISTS BUT WHOEVER
MAKES THE MUSIC, IF ITS A GOOD, FUN SONG THAT MAKES YOU WANT TO MOVE THEN ITS GOOD ENOUGH FOR
ME.


WHAT MAKES THE MUSIC VIDEO UNIQUE?
THE MUSIC VIDEO IS DESIGNED FOR MULTIPLE VIEWINGS; 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 VIDEOS?
- I RARELY WATCH MUSIC VIDEOS UNLESS THE MUSIC CHANNEL IS ON IN THE BACKGROUND. HOWEVER
WHENEVER I SEE A GOOD ONE I TEND TO WATCH IT A FEW MORE TIMES ONLINE. I FEEL THAT FOR A MUSIC
VIDEO TO BE GOOD IT NEEDS HUMOUR ALL THE WAY THROUGH, I DONT FIND THAT WATCHING A BAND PLAY
THEIR INSTRUMENTS IS ENTERTAINING. ALSO I DONT THINK THAT IT IS ALWAYS NECESSARY TO HAVE A
NARRATIVE WITHIN THE VIDEO BUT SOMETIMES THEY DO WORK.

TASK 2
IN THE SPACE BELOW LIST AS MANY FEATURES/CONVENTIONS OF MUSIC VIDEOS THAT YOU CAN THINK
OF.
-MANY CLOSE UP SHOTS OF THE PEOPLE IN THE VIDEO, AS WELL AS LONG AND MID SHOTS
-RELATIONSHIP BETWEEN LYRICS AND ACTION
-LOCATION IS ALWAYS CAPTURED IN A VIDEO THAT IS OUTSIDE OF A STUDIO
-STORYLINE
-BAND/ARTIST OR IF THEY ARE NOT FEATURED RANDOM PEOPLE USED INSTEAD
-LIP SYNCHING (EG HAPPY, PHARELL WILLIAMS)
-INSTRUMENTS

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-GIRLS DANCING THE BACKGROUND (EG. BLURRED LINES, ROBIN THICKE)
-CHOREOGRAPHY (EG RUN THE WORLD, BEYONCE)
-DIALOGUE AT THE BEGINNING TO START NARRATIVE
-EVERYDAY LOCATIONS
-INTERACTIONS BETWEEN CHARACTERS
-WHITE ROOMS
-WAREHOUSES (EG WHITE NOISE, DISCLOSURE)
-GIGS/PARTIES
-FONT INTRODUCING THE SONG AND ARTIST, ALSO USED TO PROJECT LYRICS ONTO THE VIDEO
-ARTISTS PERFORMING (SOMETIMES FOOTAGE USED FROM A GIG EG. MUMFORD & SONS I WILL WAIT
-MASKS (EG ANIMALS, MARTIN GARIX)

























Analysing Music Videos :


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1. Genre Categories:

Illustration either a straightforward performance video or a simple narrative video (or
mixture of the two) that illustrates the meaning of the lyrics and visualizes the music in a
straightforward way. It could be called music video denotation. A good example of a classic
mixed narrative/performance video is Pulps Babies.

Amplification the conventions demonstrated by the music video auteur or creative
director. S/he may use both performance and narrative, however, rather than simply
illustrate the lyrics or sounds this director will amplify both with creative interpretation,
unusual ideas and surrealistic approaches. There is still a direct link to the song, whether it
be the beat, sound or connotative link to part of the lyrics or song title. See Spike Jones
video for Fat Boy Slims Praise You or Michel Gondrys video for Kylie Minogues Come Into
My Life.

Disjuncture also created by auteur directors these videos are completely abstract and
have no obvious link to the music, lyrics, song title or artist. In this sense they are a point of
disjuncture from the song. See Spike Jones video for Daft Punks Da Funk or any
Radiohead video.


2. The Narrative Video Codes and the Performance Video Codes:

Narrative Video:

Narratives are rarely complex for two reasons:

1. They need to market or advertise the band/artist and song so must feature repeatability
In other words the narrative code must be loose or simply suggestive rather than
realistic or detailed. This is because music video audiences need to be able to watch
videos repeatedly and a tight realist narrative would prove too boring after the first couple
of viewings. Musical Synaesthesia only requires the musical or lyrical mood to latch onto to
develop a narrative concept.

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2. Musical Synaesthesia the two elements of the song which determine the visual subject
matter or overall concept

a) Roland Barthes theory of the grain of voice whereby the vocal sounds can be
understood as music in themselves eg Michael Jacksons yelp or Fantasias yeh,
yeh, yeh.. or the tone of voice of the words which are the song title themselves e.g
Bjorks Its Oh So Quiet
b) The dominant musical arrangement that dictates the overall mood. This could be a
key guitar sound(the bassline in Sabotage The Beastie Boys) or a particular beat
(Weapon of Choice Fatboy Slim)

Once the director has identified what he/she thinks is the key vocal or musical element then
this may be used to tap into the audiences sense of shared cultural history or intertextuality
e.g.

The steel guitar=the American Deep South and desert plains
A rnb beat or bass line=an urban environment
A group of choral voices=a place of religious significance e.g.: church or graveside etc.


Performance Video:

1. Conventions of the band performance: a degree of authenticity of the performance
is sought by the band and the director so we find lip-sync close-up, mimed playing of
instruments, repetition of chorus shots to enhance repeatability, unusual camera
shots and angles e.g. the micro camera shots attached to the neck of a guitar,
sweeping crane shots to film audience reaction to the band playing etc (see number
4)

2. Conventions of solo artist performance: many of the above plus choreographed
dance routines to enhance repeatability, a first person mode of address directly
engaging the viewer through the camera which involves many close up shots of eyes
rolling and gesturing (see how these conventions have been adopted by Pop Idol
contestants in a bid to appear professional and authentic)and if the video is a hybrid

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form cutting between performance and narrative then the solo artist or band lead
singer often becomes part of the narrative story, acting as narrator and participant
at the same time (see Jarvis Cocker in Pulps video for Babies)

3. Star Image only 1 in 10 artists promoted by a major record company will actually
make that company any substantial profit. This is why certain select profit making
stars are manufactured, manipulated and marketed by the record labels artist and
repertoire (A&R) division so aggressively. The star image of individuals such as
Michael Jackson and Madonna through their videos is a vital component of this
process. This is why we can identify the meta-narrative of stars through their videos
whereby the record label manipulates and changes the artists image with each new
video release to increase sales, consolidate target audiences and broaden appeal to
new fan bases. The best case studies are Madonna and Michael Jackson. Trace
their image manipulation through videos over the past 30 years.


3. Audio-Visual Technical Codes Needed for Analyzing a Music Video:

Speed is the Essence:
Camera Shots: jumping directly between long shots, close ups and extreme close ups.
Primarily the close up on the singers face is the main generic convention for music videos.
Also the extreme close up on the lips for lip synching.

Camera Movement: whip pans, fast dolly track shots and fast overhead crane shots to
follow the running, walking or dancing of performers. Also fast vertical tilts and horizontal
pans.

Editing: various terms: jump cutting, MTV style editing or montage editing. Creating the
visually de-centred experience of jumping from location to person to instrument without
any normal narrative continuity. Instead it is often the beat or the rhythm of the track which
provides the organising principle for editing movement. The editing moves so fast it creates
the need for viewing repeatedly. There are exceptions though. Some continuity editing
used such as atmospheric dissolve shots such as in Sinead OConnors Nothing Compare to
You


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Post-production digital effects: see i-movie for split screens (see Michel Gondrys video
for Kylie Minogues Come Into My World for split screens seamlessly bled into each other)
colourisation slow motion etc These are now conventional for music videos. Please look
out for other innovative effects.

Lighting: Expressive lighting a key feature of music videos. Extreme artificial light to create
the bleaching effect on pop stars faces (making them seem ageless). Also the use of
switching from colour to black & white or sepia to indicate a shift from chorus to verse. Also
lighting effects such as strobes or flashing needs to be identified. This obviously links into
the use of CGI in dance music videos to enhance the atmosphere.

Mise-en-scene: look for the overall artistic concept in a video. Is there a theme such as the
historical period e.g. the sixties (Madonnas Beautiful Stranger with its intertextual link to
the Austin Powers film) or the seventies (The Beastie Boys Sabotage video which parodies
the Starsky & Hutch 70s TV Cop genre...also an intertextual link). Does the videos mise en
scene follow the need for authenticity in performance videos by using the concert hall or
rehearsal studio setting. Or is there an intentional parodic setting to exaggerate star image
as in many rap and r&b videos with a focus on glamorous icons such as exotic locations,
beautiful cocktail bars and stunning beachside houses with infinity pools (see Rick Ross
Here I Am).













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TASK 3
TEXTUAL ANALYSIS OF MUSIC VIDEOS





FEATURES OBSERVATIONS EXAMPLES
GENRE
CHARACTERISTICS



THE MUSIC GENRE OF THIS
VIDEO IS
ELECTRONIC/DANCE
THEREFORE YOU COULD
EXPECT LIGHTS/PARTIES
ETC.
IN THE VIDEO THERE IS ONE SHOT OF
THE PROTAGONIST WALKING PAST A
GRAPHITISED WALL AND AREA WHICH
SHOWS THE URBAN SIDE OF THE MUSIC
GENRE. THE WAREHOUSES ARE ALSO A
CHARACTERISTIC OF ELECTRONIC
MUSIC BECAUSE THAT IS WHERE THE
FIRST DJS PLAYED THEIR EARLY SETS.
RELATIONSHIP
BETWEEN LYRICS
AND VISUALS?


THERE IS NO EVIDENT
RELATIONSHIP BETWEEN
THE LYRICS AND VISUALS.
1. WHITE NOISE MEANS NOISE
CONTAINING MANY FREQUENCIES AND
THE VISUALS DONT SHOW ANYTHING
TO DO WITH THE LYRICS.

RELATIONSHIP
BETWEEN MUSIC AND
VISUALS?


THERE IS A LINK BETWEEN
THE MUSIC AND VISUALS AS
SOME SHOTS ARE SYNCHED
WITH THE MUSIC AND THE
DANCING ALSO SHOWS A
RELATIONSHIP.
THERE IS NO NARRATIVE THAT LINKS
TO THE LYRICS HOWEVER THE FACT
THAT HE IS DANCING IN TIME WITH THE
BEAT DOES LINK THE VISUALS TO THE
MUSIC.
ARE THERE CLOSE-
UPS OF THE ARTIST
AND STAR IMAGE
MOTIFS?
THE ARTISTS ARENT
FEATURED IN THE VIDEO
HOWEVER THEIR STAR
MOTIF IS USED.
DISCLOSURE HAVE A STAR MOTIF THAT
THEY HAVE USED SINCE THEY
RELEASED LATCH IN 2013. IT
FEATURES IN ALL THEIR VIDEOS
CREATING A BRAND AND A
RECOGNITION OF THE TWO DJS.
IS THERE REFERENCE
TO THE NOTION OF
LOOKING?

THERE IS ONE USE OF THE
NOTION OF LOOKING AT
1MIN35SEC.
THIS IS WHEN THE MAN BEGINS TO
DANCE; HE LOOKS AT THE CAMERA
BREAKING THE FOURTH WALL. THIS
HELPS THE LOOSE NARRATIVE BECAUSE
WE FEEL AS THIS MAN IS NO LONGER
LONELY.
ARE THERE
INTERTEXTUAL
REFERENCES?


THE STAR MOTIF SHOWS A
REFERENCE WITHIN THIS
TEXT TO THEIR OTHER
RECORDS AND BRAND.
LATCH DISCLOSURE
F FOR YOU
BOTH VIDEOS INCLUDE THE REFERENCE
TO DISCLOSURES STAR MOTIF,
MEANING THAT THEY LINK TOGETHER.
IS THE VIDEO
CATEGORY
ILLUSTRATION,
DISJUNCTURE OR
AMPLIFICATION?
HOW MUCH OF
EACH?
THE VIDEO IS IN THE
DISJUNCTURE CATEGORY
BECAUSE THERE IS NO
NARRATIVE OR RELATION
TO THE LYRICS. THERE IS
SOME AMPLIFICATION.
WE SEE THE AMPLIFICATION THROUGH
THE PERFORMANCE ASPECT OF THE
VIDEO AND THE FACT THAT THE
PROTAGONIST PERFORMS
THROUGHOUT. MOSTLY IT IS IN THE
DISJUNCTURE CATEGORY BECAUSE
THERE IS NO LINK TO THE LYRICS.
NAME OF TRACK: WHITE NOISE

ARTIST: DISCLOSURE FT. ALUNAGEORGE


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TASK 3
TEXTUAL ANALYSIS OF MUSIC VIDEOS


FEATURES OBSERVATIONS EXAMPLES
GENRE
CHARACTERISTICS



THE GENRE IS AGAIN
ELECTRONIC AND HAS A
LOT OF CONNOTATIONS
WITH THE GENRE.
THE BEGINNING TAKES PLACE IN WHAT
LOOKS LIKE A CLUB THEREFORE THERE ARE
LIGHTS, DANCING AND MUSIC. THEN THE
MAIN WOMAN DANCES AND GOES TO A
DIFFERENT PLACE. IN THE END SHE RETURNS
TO THE CLUB AND IS MADE TO SEEM AS
THOUGH SHE IS HIGH/ON DRUGS WHICH IS
ALSO A CONNOTATION OF ELECTRONIC
ATMOSPHERES.
RELATIONSHIP
BETWEEN LYRICS
AND VISUALS?


THERE IS NO
RELATIONSHIP BETWEEN
THE LYRICS BECAUSE ALL
THAT HAPPENS IS A DANCE
ROUTINE WHICH SHOWS NO
RELATIONSHIP.

RELATIONSHIP
BETWEEN MUSIC AND
VISUALS?


THERE IS A RELATIONSHIP
BETWEEN THE MUSIC AND
VISUALS DUE TO THE BEAT
AND DANCE.
THE CHOREOGRAPHY HAS CLEARLY
BEEN SET TO THIS SONG AND
THEREFORE THE VISUALS LINK TO THE
MUSIC.
ARE THERE CLOSE-
UPS OF THE ARTIST
AND STAR IMAGE
MOTIFS?
THE ARTIST IS NOT
FEATURED IN THE VIDEO
HOWEVER THE
PROTAGONIST HAS MANY
CLOSE UPS.
THE CLOSE UPS ALLOW THE WOMAN TO
SHOW MANY FACIAL EXPRESSIONS AND
THEREFORE INCLUDE THE AUDIENCE IN
THE VIDEO DUE TO THE LACK OF THE
FOURTH WALL.
IS THERE REFERENCE
TO THE NOTION OF
LOOKING?

THE CLOSE-UPS ALLOW
FOR MANY ACCOUNTS OF
NOTION LOOKING.

ARE THERE
INTERTEXTUAL
REFERENCES?


THERE ARENT ANY
APPARENT INTERTEXTUAL
REFERENCES WITHIN THIS
VIDEO.

IS THE VIDEO
CATEGORY
ILLUSTRATION,
DISJUNCTURE OR
AMPLIFICATION?
HOW MUCH OF EACH?
THE VIDEO SHOWS MOSTLY
A DISJUNCTIVE APPROACH
BECAUSE OF THE LACK OF
NARRATIVE AND
RELATIONS BETWEEN THE
LYRICS AND VISUALS
THERE IS ALSO AMPLIFICATION DUE
TO PERFORMANCE ASPECT OF THE
VIDEO AND THE CHOREOGRAPHY;
HOWEVER IT HAS AN ODD TWIST
WITHIN THE VIDEO WHICH SHOWS
MORE OF A RANDOM APPROACH TO
THE VIDEO.
NAME OF TRACK: EVERYTHING YOU NEVER HAD (WE HAD IT ALL)

ARTIST: BREACH FT. ANDREYA TRIANA


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TASK 3
TEXTUAL ANALYSIS OF MUSIC VIDEOS
TEXTUAL ANALYSIS OF MUSIC VIDEOS




FEATURES OBSERVATIONS EXAMPLES
GENRE
CHARACTERISTICS



THE MUSIC GENRE IS
ELECTRONIC AND LIKE
MOST ELECTRONIC MUSIC
THERE ARE NO LYRICS.
THE VIDEO THEREFORE HAD ENDLESS
POSSIBILITIES BECAUSE NO
RELATIONSHIP WOULD HAVE TO BE
MADE BETWEEN LYRICS. THE MASKS
THAT ARE USED MAKE THE VIDEO
TRIPPY AND THEREFORE CAN LINK TO
THE STEREOTYPES THAT ELECTRONIC
MUSIC HAVE.
RELATIONSHIP
BETWEEN LYRICS
AND VISUALS?


NOT APPLICABLE BECAUSE
THERE ARE NO LYRICS.

RELATIONSHIP
BETWEEN MUSIC AND
VISUALS?


THERE IS A RELATIONSHIP
BECAUSE WHEN THE BUILD-
UP BEGINS THE MASKED
MEN RECRUIT NEW
MEMBERS.
ONCE THIS HAPPENS IN THE VIDEO
THEY BEGIN DANCING TO THE BEAT
WHICH LINKS THE VISUALS AND MUSIC.
ARE THERE CLOSE-
UPS OF THE ARTIST
AND STAR IMAGE
MOTIFS?
THE ARTIST ISNT SEEN IN
THE VIDEO HOWEVER
THERE IS A POSSIBLE
MOTIF.
THE MOTIF COULD BE THE USE OF
MASK BECAUSE IT CREATES A BRAND
AND AN IMAGE THAT IS RECOGNISABLE
TO THE ARTIST.
IS THERE REFERENCE
TO THE NOTION OF
LOOKING?

THERE IS HOWEVER THE
PEOPLE ARE WEARING
MASKS SO THERE ARE NO
FACIAL EXPRESSIONS.
IT DOES HOWEVER INCLUDE THE
AUDIENCE BECAUSE THEY MAY BE
SCARED OR WEARY OF THE MASKED
PEOPLE AND THE EFFECTS THAT THE
MASKS SEEM TO HAVE OVER THE
PEOPLE IN THE VIDEO.
ARE THERE
INTERTEXTUAL
REFERENCES?


NO APPARENT REFERENCES
ARE SEEN IN THE VIDEO.

IS THE VIDEO
CATEGORY
ILLUSTRATION,
DISJUNCTURE OR
AMPLIFICATION?
HOW MUCH OF EACH?
DISJUNCTURE IS APPARENT
DUE TO THE ECCENTRIC
APPROACH TO THE VIDEO.
THE UNUSUAL NARRATIVE HAS
NOTHING TO LINK TO DUE TO THE LACK
OF LYRICS THEREFORE IT COULD BE AN
ILLUSTRATION TO THE ARTIST AND THE
PEOPLE WHO PRODUCED THE MUSIC
BECAUSE THEY KNOW THE INTENTIONS
OF THE MUSIC, THE AUDIENCE DONT.
NAME OF TRACK: TOULOUSE

ARTIST: NICKY ROMERO


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TASK 4 ANSWER ALL THE QUESTIONS BELOW THIS IS EXACTLY THE SORT OF THING YOULL NEED TO DO
WHEN EVALUATING YOUR OWN COURSEWORK.

1. Why did you choose the text you are analysing?
I chose White Noise because I enjoy the music that Disclosure produce and I knew
that their videos were entertaining also.
2. In what context did you encounter it?
I saw it as I was downloading the track to my iTunes Library.
3. What influence do you think this context might have had on your interpretation of
the text?
I think it wouldnt have impacted my interpretation because I was watching it for
entertainment, meaning that I wouldnt have picked up analytical features such as
motifs and relationships between lyrics and visuals.
4. Which conventions of the genre do you recognize in the text?
5. To what extent does this text stretch the conventions of its genre?
I think that it fits in with the genre because electronic music is aimed at people who
like to dance and maybe find entertainment in things which are slightly abnormal.
Therefore the video fits with the conventions of the genre.
6. Where and why does the text depart from the conventions of the genre?
7. What sort of audience did you feel that the video was aimed at (and how typical
was this of the genre/style of music)?
I think that the video was aimed more at tennage-20s due to the use of an older
male. This is because teens respect it when an older person enjoys their music and
dances to it.
8. What sort of person does it assume you are?
I think that me watching this video could assume my taste in music and the fact that
I appreciate it could assume that I prefer videos with slight comedy involved and
seeing people having a good time because I like to do that myself.
9. What assumptions seem to be made about your class, age, gender and ethnicity?
I dont think that the ethnicity can be assumed because I think all races enjoy this
music however it is stereotypical that black people can dance better than others, and
this stereotype is met during the video because the protagonist is coloured.
10. What interests does it assume you have?
This assumes that I have an interest in dance, which is true. Not technical dance but
just having a good time.
11. What relevance does the text actually have for you?
I feel that the video has relevance to me because I believe in videos that can be
watched and re-watched and not in those that show a band playing their
instruments.
12. What knowledge does it take for granted?

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13. To what extent do you resemble the 'ideal reader' that the video seeks to position
you as?
14. Are there any notable shifts in the video's style (and if so, what do they involve)?
Not particularly, the whole thing shows a man dancing in abandoned places and
having a good time.
15. What responses does the video seem to expect from you?
I think it expects you to laugh because the man starts dancing out of nowhere and
therefore I think it expects to make your day a bit better because of this lonely guy
who is expressing himself in random places.
16. How open to negotiation is your response (are you invited, instructed or coerced to
respond in particular ways)?
I think even if you dont find it funny or entertaining you can still enjoy the music and
appreciate how other people could interpret the video.
17. Is there any penalty for not responding in the expected ways?
I think the only penalty would be for those who arent humorous enough to
appreciate the idea behind the idea. However all this does is stops them from
enjoying a video and that is it.
18. To what extent do you find yourself 'reading against the grain' of the text and the
genre?
I feel as though the video isnt meant to be read into too much because then the
comedy is taken out. However I do think that the genre is apparent within the video,
saying that anyone can enjoy heavier music than they may be expected to.
19. How typical do you think this video is of Music Videos?
I think that more and more videos are beginning to show more humour and be more
entertaining than some other which only show a narrative which are usually simple. I
feel that the random videos make for a more entertaining watch and therefore that
is what I will be thinking while producing my own.