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Video Killed The Radio Star
Video Killed The Radio Star
A2 INDUCTION 2010
MAIN TASK
YOU WILL THEN BE REQUIRED TO ANSWER TO QUESTIONS IN YOUR 2011 EXAM ON YOUR
COURSEWORK .
QUESTION A (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 B (25 M ARKS) WILL ASK YOU TO ANALYSE ONE OF YOUR PRODUCTS IN RELATION TO ONE
OF THE FOLLOWING KEY CONCEPTS
NARRATIVE
AUDIENCE
GENRE
REPRESENTATION
MEDIA LANGUAGE
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
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 )?
WHAT FACTORS MAKE YOU ‘LIKE ’ A BAND AND THEREFORE DOWNLOAD THEIR MUSIC , BUY THEIR ALBUMS OR
ATTEND THEIR CONCERTS ? H OW DO YOU DECIDE WHICH BAND IS ‘COOL’ AND WHICH IS NOT?
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 F ILM TRAILER IT IS NOT
DESIGNED TO BE VIEWED ON A LARGE SCREEN NOR IS ITS AUDIENCE CAPTIVE .
IN THE SPACE BELOW LIST AS MANY FEATURES/CONVENTIONS OF MUSIC VIDEOS THAT YOU CAN THINK OF.
1. Genre Categories:
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 Punk’s ‘Da Funk’ or any
Radiohead video.
Narrative Video:
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
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 Jackson’s ‘yelp’ or Fantasia’s ‘yeh,
yeh, yeh..” or the tone of voice of the words which are the song title themselves e.g
Bjork’s ‘It’s 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 audience’s sense of shared cultural history or intertextuality
e.g.
Performance Video:
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 label’s ‘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 artist’s 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 24 years.
Camera Shots: jumping directly between long shots, close ups and extreme close ups.
Primarily the close up on the singer’s 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.
Post-production digital effects: see ‘i-movie’ for ‘split screens’ (see Michel Gondry’s video
for Kylie Minogue’s ‘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 (Madonna’s ‘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 video’s 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’).
G ENRE
CHARACTERISTICS
RELATIONSHIP
BETWEEN LYRICS
AND VISUALS ?
RELATIONSHIP
BETWEEN MUSIC AND
VISUALS ?
I S THEREREFERENCE
TO THE NOTION OF
LOOKING ?
I S THE
VIDEO
PERFORMANCE ,
NARRATIVE OR
CONCEPT BASED ?
H OW MUCH OF
EACH?
NAME OF TRACK:
ARTIST:
G ENRE
CHARACTERISTICS
RELATIONSHIP
BETWEEN LYRICS
AND VISUALS ?
RELATIONSHIP
BETWEEN MUSIC AND
VISUALS ?
I S THEREREFERENCE
TO THE NOTION OF
LOOKING ?
ARE THERE
INTERTEXTUAL
REFERENCES ?
I S THE
VIDEO
PERFORMANCE ,
NARRATIVE OR
CONCEPT BASED ?
H OW MUCH OF
EACH?