Below I have embedded the Prezi I used for information about Andrew Goodwin's Music Video Theory. I did not create the following prezi and own no rights to it. It is only embedded for educational purposes.
Andrew Goodwin's theory explains six different conventions within music videos.
One convention is that the visuals will illustrate, amplify or contradict the lyrics of the song. As all of Have Mercy's music videos have illustrated and amplified the meaning within the lyrics. Therefore, my music video will have little or no contradictions between the visuals and song in order to comply to this convention.
Another convention is that the visuals within a music video are edited in order to be in time with the beat and tempo of the song. Visuals during the chorus are often repeated to emphasise the repetition in lyrics.
Many artists have repetition of certain iconography or genre related themes in their videos. In order to identify the iconography of the band Have Mercy I will be analysing the codes and conventions of their existing music videos.
An obvious convention is to have multiple close up shots of the main artist or vocalist. This helps to create a recognisable image or brand of the artist, as well as adding to the relevance of the visuals to the song and lyrics.
Another convention is for voyeuristic angles of women to be shown. This matches the feminist film critic Laura Mulvey's theory of the "male gaze", developed in the 1975 in relation to the sexualised portrayal of women in film. Many artists are now braking and highlighting the indecency and injustice of this convention.
One element that is often used within music videos, especially parodies, is making references to other media texts. This entices a wider audience and often links the fan bases of different artists.
Tuesday, 26 July 2016
Sunday, 24 July 2016
Task 2.1: Research Into Existing Products: Textual Analysis of the Music Video "Howl" by Have Mercy
Details of the Video:
- Directed by Mike Henneberger and Bowie Alexander.
- Uploaded to YouTube on the 30th of September, 2014.
The video is a combination of Narrative and Performance, as footage of the band playing the song is integrated into the storyline of a young man reminiscing on his childhood and dead father when a love interest is introduced into his life.
Mise en scene:
Immediately the audience is introduced to the setting of a graveyard. This as well as the flashback sequence of shots and events and the black/ dark clothing introduces the context of the protagonist's loss of his father.
Editing:
Fast paced editing is used throughout the video and the events are sequenced like flashbacks instead of in chronological order. These shots are repeated multiple times throughout the video, thus mimicking the fast paced nature of the brain's workings and recollections of memories. Shots containing similar actions such as hands being held are placed next to each other in sequence to give the impression of the same experience across a space of time in the protagonist's life. This repetition of events also reflects how the protagonist is repeating the memories made with/by the older generation of his mother and father, adding the theme of the circle of life to the music video.
Camera shots, angles and composition:
Handheld shots are used when tracking the young protagonist as he runs through the graveyard, giving the audience a greater involvement in the narrative of the video. Close up shots of situations such as hands being held emphasise the importance of these gestures and the influence that they have had on the protagonist's emotional well-being. There are also close up shots of instruments within the video, thus conforming to some codes and conventions of music videos. In one scene, a close up shot of the framed photos trigger the subsequent shots depicting the protagonist's memories.The occasional close up of the protagonist's face clarifies that the memories and train of thought belongs to him, and it is his story being told in the video.
Sound/ Lyrical context and analysis:
The lyrics "a frozen moment that is only yours" relates to how the protagonist in the video consistently visits memories of his past in order to maintain the relationship with his father. The lyrics "you're still a wolf without a howl" are very significant, as it implies that the protagonist is still learning and developing and that he is still in the process of regaining happiness and stability after his father's death.
Saturday, 23 July 2016
Task 2.1: Research Into Existing Products: Textual Analysis of the Music Video "Gold" by Imagine Dragons
Details of the Video:
- Directed by Isaac Halasima
- Uploaded to YouTube on the 21st of January 2015
The video is solely performance based, showing the band in a warehouse or a studio playing the song.
Mise en scene:
Due to the minimalist approach used in the music video, lighting plays a key part in the mise en scene. Towards the start of the song, bright purple lighting moves in time with the beat towards the camera, mirroring the drum beats at the start. This movement also implies the negative emotions moving towards the King Midas character within the song. Multiple flickering lights, surrounding the band begins as the clanking sounds start and begin to turn into a melody. The lighting used in these parts of the song reflects the seemingly random noises unite to form the basis of the song. The lighting throughout the verses of the song is generally very dark and cold in colour. This directly contrasts the bright and golden lighting during the choruses and towards the end of the song. The lighting colour obviously reflects the topic of the song whilst reinforcing the destructive and corruptive power that the "Midas touch" holds. The beginning and ending of the music video are similar in how the band stands still as the crew producing the video move around them and the lights behind them fade off. This could symbolise how the topic of the song is based on a myth which seems irrelevant once reality is reintroduced.
Editing:
A slow motion effect is occasionally used during close up shots of the band members in the slower parts of the song. This helps to exaggerate the change in tempo whilst adding a new perspective of the band in order to keep the audience interested. Shot transitions occur in time with the loud sounds which coincide with the beat at the beginning of the song, this ensures that the visuals and audio appear to belong together. The fade to black at the end meets the codes and conventions of the majority of music videos.
Camera shots, angles and composition:
Close up shots of the band members are integrated into medium and long shots of the setup. Some extreme close up shots of the instruments are used when they feature heavily in that part of the song. The close up of Wayne sermon's golden guitar is especially effective as it links to the theme of the song, and is't just an alternative viewpoint of the song being performed. The shots showing band members silhouetted against the bright lights behind them was particularly artistic and gave the impression that the performance of the song was just a small aspect of a much bigger story and myth.
Sound/ Lyrical context and analysis:
As the music video is performance based, the only real connection that can be made between the visuals and the song content is the gold lighting used during the chorus of the song. This matches the idea that the song is inspired by the tragic myth of King Midas who wished for the "golden touch".
Mise en scene:
Due to the minimalist approach used in the music video, lighting plays a key part in the mise en scene. Towards the start of the song, bright purple lighting moves in time with the beat towards the camera, mirroring the drum beats at the start. This movement also implies the negative emotions moving towards the King Midas character within the song. Multiple flickering lights, surrounding the band begins as the clanking sounds start and begin to turn into a melody. The lighting used in these parts of the song reflects the seemingly random noises unite to form the basis of the song. The lighting throughout the verses of the song is generally very dark and cold in colour. This directly contrasts the bright and golden lighting during the choruses and towards the end of the song. The lighting colour obviously reflects the topic of the song whilst reinforcing the destructive and corruptive power that the "Midas touch" holds. The beginning and ending of the music video are similar in how the band stands still as the crew producing the video move around them and the lights behind them fade off. This could symbolise how the topic of the song is based on a myth which seems irrelevant once reality is reintroduced.
Editing:
A slow motion effect is occasionally used during close up shots of the band members in the slower parts of the song. This helps to exaggerate the change in tempo whilst adding a new perspective of the band in order to keep the audience interested. Shot transitions occur in time with the loud sounds which coincide with the beat at the beginning of the song, this ensures that the visuals and audio appear to belong together. The fade to black at the end meets the codes and conventions of the majority of music videos.
Camera shots, angles and composition:
Close up shots of the band members are integrated into medium and long shots of the setup. Some extreme close up shots of the instruments are used when they feature heavily in that part of the song. The close up of Wayne sermon's golden guitar is especially effective as it links to the theme of the song, and is't just an alternative viewpoint of the song being performed. The shots showing band members silhouetted against the bright lights behind them was particularly artistic and gave the impression that the performance of the song was just a small aspect of a much bigger story and myth.
Sound/ Lyrical context and analysis:
As the music video is performance based, the only real connection that can be made between the visuals and the song content is the gold lighting used during the chorus of the song. This matches the idea that the song is inspired by the tragic myth of King Midas who wished for the "golden touch".
Friday, 22 July 2016
Task 2.1: Research Into Existing Products: Textual Analysis of the Music Video "Little Talks" by Of Monsters and Men
Details of the Video:
- Directed by WeWereMonkeys.
- Music video by Of Monsters and Men performing Little Talks. (C) 2012 SKRIMSL ehf Laekjaras 1, under exclusive license to Republic Records, a Division of UMG Recordings, Inc.
- Uploaded to YouTube on the 2nd of February, 2012.
The video is a combination of Narrative Artistic/ Abstract, as the video is a unique style of animation with a vague storyline of explorers encountering numerous monsters attached.
Mise en scene:
The colour scheme of the video is mostly black and white with the exception of the female character and the monster at the end. This emphasises the importance of those two characters and how they differ from the rest the world shown. The boat that the explorers are shown to be travelling in at the very start of the video somewhat resembles a house. This initially introduces the idea that the adventure in the music video could be a metaphor for the journeys undergone in relationships and families. Some big statuesque figures the size of mountains are shown in the background of the video, surrounding the protagonists. The stone creatures, e.g: the owl, could be representations of the skills required to solve the situations encountered along the journey, such as knowledge, wisdom and courage.
Editing:
The footage fades to white after each monster is destroyed, giving a sense of finality to each chapter in the explorer's journey. The music video fades to black at the end, which complies to the codes and conventions. Most actions and events, such as the bird monster crying out and the protagonists walking, are coordinated with the tempo and beat of the song which gives the sense that the visuals and audio belong together. Something similar to a slow motion effect is used during the slower section of the song when the explorers sink underwater. This is especially effective as the slower tempo increases the effect of the sluggishness one often experiences underwater.
Camera shots, angles and composition:
Close up shots of the character's faces are used to give the audience a better understanding of the differences between the black and white and coloured character, as well as clarifying that the characters belong to a fantasy world which allows for a greater amount of interpretations. A close up shot of the colourful female figure is shown both at the start and the end of the music video. The repetition of these shots gives the music video a sense of completion, as the contrast of the female character's facial expressions signify a successful change from the outcome of the adventure shown. The close up shot of one of the black and white male characters peering through the meteorite object as it cracked open was especially effective at introducing a sense of wonder at the events within this fantasy world. This wonder and awe could reflect the exciting element of discovery experienced within new relationships and friendships. Some tracking shots and high angled shots are used when following the explorers, giving a clearer insight into the distances they travel throughout the narrative. Similarly, the screen often pans out in order to show the extent and size of the dangers and obstacles the explorers tackle and overcome during the video. Occasionally the black and white explorers are framed by intimidating dangers, such as a walkway surrounded by gargoyles and the legs of a giant beast. This illustrates the omnipresent inevitability of obstacles throughout any form of journey, including relationships, as suggested by the song lyrics.
Sound/ Lyrical context and analysis:
According to www.interviewmagazine.com: "The self-described folk-indie band (Of Monsters and Men) is truly inspired by storytelling and making sure that everyone who listens comes up with their own interpretations to their stories." This explains why it is impossible to construct a foolproof analysis of the music video, as the artist attempts to leave it as open as possible to allow for multiple interpretations. The song is seemingly about a romantic discourse between lovers, but the lyrical content is very much open to individual interpretation.
Mise en scene:
The colour scheme of the video is mostly black and white with the exception of the female character and the monster at the end. This emphasises the importance of those two characters and how they differ from the rest the world shown. The boat that the explorers are shown to be travelling in at the very start of the video somewhat resembles a house. This initially introduces the idea that the adventure in the music video could be a metaphor for the journeys undergone in relationships and families. Some big statuesque figures the size of mountains are shown in the background of the video, surrounding the protagonists. The stone creatures, e.g: the owl, could be representations of the skills required to solve the situations encountered along the journey, such as knowledge, wisdom and courage.
Editing:
The footage fades to white after each monster is destroyed, giving a sense of finality to each chapter in the explorer's journey. The music video fades to black at the end, which complies to the codes and conventions. Most actions and events, such as the bird monster crying out and the protagonists walking, are coordinated with the tempo and beat of the song which gives the sense that the visuals and audio belong together. Something similar to a slow motion effect is used during the slower section of the song when the explorers sink underwater. This is especially effective as the slower tempo increases the effect of the sluggishness one often experiences underwater.
Camera shots, angles and composition:
Close up shots of the character's faces are used to give the audience a better understanding of the differences between the black and white and coloured character, as well as clarifying that the characters belong to a fantasy world which allows for a greater amount of interpretations. A close up shot of the colourful female figure is shown both at the start and the end of the music video. The repetition of these shots gives the music video a sense of completion, as the contrast of the female character's facial expressions signify a successful change from the outcome of the adventure shown. The close up shot of one of the black and white male characters peering through the meteorite object as it cracked open was especially effective at introducing a sense of wonder at the events within this fantasy world. This wonder and awe could reflect the exciting element of discovery experienced within new relationships and friendships. Some tracking shots and high angled shots are used when following the explorers, giving a clearer insight into the distances they travel throughout the narrative. Similarly, the screen often pans out in order to show the extent and size of the dangers and obstacles the explorers tackle and overcome during the video. Occasionally the black and white explorers are framed by intimidating dangers, such as a walkway surrounded by gargoyles and the legs of a giant beast. This illustrates the omnipresent inevitability of obstacles throughout any form of journey, including relationships, as suggested by the song lyrics.
Sound/ Lyrical context and analysis:
According to www.interviewmagazine.com: "The self-described folk-indie band (Of Monsters and Men) is truly inspired by storytelling and making sure that everyone who listens comes up with their own interpretations to their stories." This explains why it is impossible to construct a foolproof analysis of the music video, as the artist attempts to leave it as open as possible to allow for multiple interpretations. The song is seemingly about a romantic discourse between lovers, but the lyrical content is very much open to individual interpretation.
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