After we delivered our mini pitch to our class and media studies teacher, we received feedback on our mood board, ideas and concept.
Strengths:
- Design of the pitch
- Interesting visual ideas
- Excellent use of media technology (such as the green screen and various effects)
Weaknesses:
- Not enough concept, it may get quite tedious having one shot
- It could be incredibly difficult/complicated to do, especially in reverse and with the green screen
- It could look really basic if we don't come up with a 'twist'
Changes:
- Splitting up the one single shot with B-roll footage of the destruction of objects and toys
- Not have the footage of the child in reverse as it's too complex
- Instead, have the people playing in the background in reverse
- Have some kind of interesting 'twist' at the end involving the child, fire and toys
Monday 24 September 2012
Friday 21 September 2012
JP: Music Video Analysis
The Scientist - Coldplay, Thraves (2002)
GENRE AND NARRATIVE & MEDIA LANGUAGE
We can use Goodwin's model to analyse the music video for 'The Scientist' by Coldplay, in terms of genre and narrative. Firstly, it is evident that the video is of the narrative type due to the storyline of the singer walking seemingly back in time to the tragic car crash that just occurred, however we can see that the video has performance elements to it, in that the main character (the lead singer) lip-sync the words.
We can use Goodwin's model to analyse the music video for 'The Scientist' by Coldplay, in terms of genre and narrative. Firstly, it is evident that the video is of the narrative type due to the storyline of the singer walking seemingly back in time to the tragic car crash that just occurred, however we can see that the video has performance elements to it, in that the main character (the lead singer) lip-sync the words.
Aside from the type of video that Coldplay adopted, Goodwin talks of the notion of looking. Throughout the video we are positioned with the lead singer, who is also the protagonist, and the camera seems to linger largely on him, and whilst this isn’t a fetishistic lingering, it is a voyeuristic treatment of the body and gives him prevalence.
This video is an example of amplification, because the lyrics in the song are about ‘going back to the start’, repeating a relationship that has ended, however the visuals are also about ‘going back to the start’, to before the car crash, which in turn ended the relationship. Therefore there is some relation between lyrics and visuals; however the majority of the time it is an amplified, illustrative relationship, and is not entirely disjunctive.
I believe that this video could be considered art because of the artistic way in which it is shot. The camera work is highly complicated because it is all shot backwards. This means that when in post-production, the editing team just reverse the footage and the lip-syncing will be correct and in time with the normal speed and words of the track, however the characters will all be going backwards.
The message or purpose of the video is that you should enjoy things while they last and you should try and ‘stick at it’ such as a relationship. This message is reinforced through the repeated lyric ‘let’s take it back to the start’ (hinting that the singer has a broken relationship that he wants to go all the way back to the start of and to start afresh).
The visual techniques that create the message heavily rely on the camera work and editing. This is because the idea of reversing things, changing things and altering a relationship is portrayed using the key technique of video reversal where all the footage is reversed so that everyone is going back in time effectively. Without the use of this artistic, clever camera work or special editing software to reverse the footage, the video may not be able to explore its full potential of reinforcing the social message that is being conveyed to the audience.
Sweet Disposition - The Temper Trap, Eskils (2010)
INSTITUION AND AUDIENCE & REPRESENTATION
The video for Sweet Disposition may be consumed in many different ways. The primary way that it may be consumed is through Web 2.0 sites such as YouTube and Vimeo. This is where the main market would lie as the video has got several million views. However, record labels will promote the video in many other ways including through music channels such as T4 or MTV. Before Web 2.0 sites like YouTube existed this was the primary mode of consumption.
The video for Sweet Disposition may be consumed in many different ways. The primary way that it may be consumed is through Web 2.0 sites such as YouTube and Vimeo. This is where the main market would lie as the video has got several million views. However, record labels will promote the video in many other ways including through music channels such as T4 or MTV. Before Web 2.0 sites like YouTube existed this was the primary mode of consumption.
Considering the genre and artist (alternative and The Temper Trap), the role that the record label would have to play would be vast in creating promotional texts. For indie bands it is often hard to get onto the music ‘scene’ and this is the first role that the record label play for the artist. Other jobs that the label would do in promoting the track other than creating a music video would be to make the digipak, posters and album artwork for the album, EP or track. In this sense it is essential for the artist to have a record label, as although they take a percentage of the sales from the music, the avenues for promotion would be far narrower and far few in number.
The Temper Trap are represented in an interesting, unique way through this video (which reinforces their genre and the way in which the video is shot). The desaturation throughout the video emphasises the indie feel of the music and editing techniques like the extreme slow motion make the video stand out presenting it as artistic and unique from other music videos, as well as making the product seem more aesthetically pleasing.
Key objects and props throughout the video reinforce the general star persona of the band, in turn adding to their meta narrative. The repetition of shots of instruments like guitars, drums and drumsticks conveys the band as a group that are dedicated to music and are extremely passionate about their creativity in the sound of their tracks.
As the video highly relies on the performance element, there is a lack of narrative and therefore it is difficult to isolate certain social groups and analyse the representation of them or the ideological discourse surrounding them. Despite this, it is evident that there are disjunctive shots reinforcing a more indie feel to the overall video, track and band image. These shots consist of smashing electric guitars through mirrors and launching drums and drumsticks through the air at a member of the band crouching behind a cymbal.
Hall Of Fame - The Script feat. will.i.am (2012)
MEDIA LANGUAGE & REPRESENTATION
When watching the music video 'Hall of Fame', we can see that it is a video balanced between performance and narrative. The band image is being constructed through the use of camera work, lighting, colour and performance. From the video we can see that The Script are a lively, energetic, powerful band, and we can see this from the energetic performance that the band (especially the lead singer) create - involving various jumps and grabbing of the camera. The meta-narrative is also reinforced through the mise-en-scene.
The members of the band are dressed in dark costumes with grey or black colours, and this makes them look professional but also serious. Their meta-narrative helps to sell their product as people like pop bands and the music video is a way to promote the track.
When watching the music video 'Hall of Fame', we can see that it is a video balanced between performance and narrative. The band image is being constructed through the use of camera work, lighting, colour and performance. From the video we can see that The Script are a lively, energetic, powerful band, and we can see this from the energetic performance that the band (especially the lead singer) create - involving various jumps and grabbing of the camera. The meta-narrative is also reinforced through the mise-en-scene.
The members of the band are dressed in dark costumes with grey or black colours, and this makes them look professional but also serious. Their meta-narrative helps to sell their product as people like pop bands and the music video is a way to promote the track.
There is also a social message behind the track and video. Lyrics such as 'you can beat the world, you can beat the war' suggest that the band are telling their listeners that anything is possible if you focus and put your mind to it. This is a common message in tracks where artists tell the audience that it is possible for them to become successful (like the band), if you work hard in life. The video supports this social message by portraying two contrasting characters: one, a working class young 'lad' who is training to be a professional boxer, and the other, a middle-upper class young teenage girl who is training to be a professional ballet dancer. Both characters suffer hindrances whether it be physical (the girl is portrayed as deaf as when she feels for the speaker the music is muted), or psychological (the boy faces rival gangs or teenagers his age and has to overcome these in order to train).
The intercutting between the boy and girl training and two professionals (a professional boxer and a professional ballet dancer) reflects the message and suggests that the two teenagers could achieve their dreams and become professionals. However, due to the low-key, stylistic lighting on the professionals it is clear that they are 'aspirations' and whether they are the future-selves of the two teenagers remains unclear and in this sense the video shows a sign of enigma.
The video represents two genders, two ethnicities and two social classes. This contrast helps to highlight the differences in class and ethnicity but also dominant values are being reinforced - with the working class boy striving to become a boxer; and a middle class girl striving to become a dancer, something that is common belief or stereotype of society. The artist may reinforce traditional ideological discourse to appeal their product to the wider audience, encouraging either males or females to listen to their music and watch their music videos or encouraging all ethnicities and social classes. This in itself is a way to promote their track further, in turn achieving more sales.
The social message behind the video is another way in which the artist can sell more, because people like the idea that they are being told they can achieve whatever they would like to in life - especially being a star or achieving fame (a key word in the title of the track). The fact that the age of the characters in the music video are similar to the age of the listeners of the script encourages sales even more - targeting a more specific audience.
HCT: Music Video Analysis
Yellow - Coldplay, Frost (2009)
The first video i have chosen to analyse is 'Yellow' by Coldplay. This is because firstly it is of the same genre as 'Up In Flames' as well as being by the same band. Also they use similar techniques to what we are thinking of using such as one single or minimal cuts as well as being in slow motion.
The video Is one single shot of the lead singer-Chris Martin lip syncing in slow motion to the camera In terms of audience it is a hard video to be consumed because of the minimal content. The whole video is of one single shot with no obvious progression as the video continues, meaning it may appear boring to some leading them to stop watching or disinterested. Although the video is very minimalist and the only obvious progression being the change in brightness and emotional colouring as the video continues this opens peoples perception of the video and allows it to be open to interpritation.
The instituational content of this video is interesting as the video is very diferent to the common colourfull vibrant videos the coldplay usually produce. This is largely thier meta-narrative image and best represents them as a band. It is this factor that leads us to believe that this was more of a production inspired by the record labels creativity. however when looking at slower paced music videos from Coldplay we see that they have a similar style where there is a single character which is played by Chris. He is normally shown through very slow cutting rates asewell lending this video to be more convetnional to Coldplays style. Another reason for the slow feel, and almost serious undertone of this video lies in the background meaning. The plan was to shoot the band walking along a sunny beach with lots of people lying around, but Coldplay drummer Will Champion's mother died shortly before the shoot. The film crew and extras were already hired, so with the band's blessing, Martin went by himself while the other members attended the funeral. It was raining that day, so instead of using the extras, they had Martin alone on the beach.
There are a few conventions regarding Goodwin's theory. The video is largely performance based as well as being conseptual and disjunctive. The performance given by chris is believable and as the video is one show he is constantly looking into the camera, breaking the fourth wall and reaching out to the audience enforcing notion of looking. The performance of the lip syncing by chris creates a link between lyrics and visuals helping them to permiate our minds. I believe this is both amplification of the lyrics as well as being disjunctive as the concept is very random and odd for the audience however it is refreshing and with the lyrics being sung by Chris this creates a senes of amplification.
This video could definitely be seen as a form of art because of the visuals and how they appear to the audience and not very appropriate at first glance, allowing us to think further into the meaning-exactly what art focuses on.
The Second video is 'Love lost' by The Temper Trap. I chose to analyse this video because of the constant tracking backwards from a persons face. This is a similar idea to ours and therefore would be good to analyse. This video is also in slow motion with the lip snycing in real time
The band isn't shown throughout the entire video meaning we cannot place a fair judgement on how they as induviduals are represented. Although the concept of the video is very interesting and intruiging. The video is of a group of children sent by thier teacher on a run. The teacher is given a short but slightly commical role as he is stereotyped. The video consists of a constant track back however there is smaller sections of video to break up the main track. This is important to consider when thinking about our track back and possible B roll to break it up to keep in intresting. The children have muddy faces and apear to be intruiging characters of all shapes, sizes and ethnicities.
The Male adult character is stereotyped as a yorkshire man with a deep powerful voice instructing the younger children where to run. He is a typical 'bossy' PE teacher and for that reason we find him comical.
The Male adult character is stereotyped as a yorkshire man with a deep powerful voice instructing the younger children where to run. He is a typical 'bossy' PE teacher and for that reason we find him comical.
There is a dominant ideology in this video as the group of young boys who would appear to part of the same class are different shapes and sizes with there being an even selection of boys from different races showing that in contemporary sociaty there is an even spread of people that are all accepted from different backgrounds.
This video would probably be consumed through music channels as well as the internet. I think predominantly the internet via facebook and YouTube. This video has the potential of being a viral marketing tool as well as a music video because of the clever concept. We are not quite sure why we like the video however we do and we want to share it with others. When viewing it we are very focused on it, as there is almost a story and some kind of narrative elements to it so we immediately get attached. There could also be an audience reading of the text in that the boys running through a course thats horrid and dirty, theres no hope,just mud. Yet they run right back to where they started at the begining of the video. Them stopping along the run is like a hiccup in a relationship, where later a group of girls come running back into the picture. Yet they weren't on the same path- the girls were on the greener side, with clean clothes and polished image whilst the boys were stuck on the muddy road. An audience member could see this a relationship and relate to it in that way.
With consideration of other videos produced by The Temper Trap, they are very conceptual and experimental. the result is always a good one with visually clever and pleasing videos. I think this is no exeption and the record would have had little input into the concept of this.
My third video is 'Love and Oxygen' by the Str8jackets and Sam Obernik. This is a good video to analyse because it has very interesting editing techniques and titles. We are looking to do some interesting titles before the start of the song so this would be good analyse.
This video uses a large contrast between titles and background B roll footage. The titles are deliberately thick in order to be able to fill them with other visuals. This is a very artistic technique and looks good. With this technique they have been able to get two different coloured shots and layered them, creating a juxtaposition. This is an interesting technique and would be good to use for our video. The thick texts that are normally used work perfectly with Coldplay's normal big bodied text. The video would possibly be consumed by young people on YouTube and Facebook due to the content of the video in that the characters are young, possibly in their twenties and are wearing trendy colourful clothes. This means the audience would relate to the video and want to share with their friends, possibly turning it viral. As the artist is not very big in the industry and not quite pop music. The label would have had little say in the content of the video therefore leaving the artist to be creative. This shows in the video with experimental visuals and colours.
With consideration of genre and narrative and Goodwins theory, the performance of this video amplifies the lyrics. The lead singer holds the majority of the video with plenty of meat shots of her lip syncing and moving her arms to the music. This reinforces the musics bass line and creates more of a performance. As wells as this, the editing of several shapes pulsing with other visuals overlayed creates double images of the artist and increases the audiences viewing of the artist via notion of looking. There are elements of amplification of the lyrics as the artist and editing techniques pulse the bass line, however the content of the visual with the colours and smoke creates a disjunctive feel. The video could definitely be seen as an art form with the crisp layering of videos and experimental feel it gives.
Sunday 16 September 2012
Group: Chosen Song: Up In Flames - Coldplay
Our Chosen song it 'Up In Flames' by Coldplay. The song is off the album 'Mylo Xyloto' and is 3:14 long.
We chose this song firstly because it is a style of music that we both enjoy and would love working with. When listening to it we both have the same visual image present itself making it a perfect choice. The slow pace of the song means the visuals could be almost anything, from fast paced to create an intriguing contrast or a slow paced cutting rate to reinforce the music. Out of all the songs we have looked at. This lends itself to be the most obvious and interesting choice.
The lyrics are as follows:So it's overThis time I know it's goneSalt watertasted it too longI only know I'm wrongnow I know it's goneUp in flamesUp in flamesUp in flamesWe have slowly gone.So it's overthis time you're flying onthis time i know no songcan stop its slowly burncan stop its slowly goneUp in flamesUp in flamesUp in flamesWe have slowly goneUp in flamesUp in flamesUp in flamesWe have slowly goneWe have slowly goneCan we pour some water on?
Our idea:Characters include a young boy who is almost possessed, being presented as an outcast child who has been rejected from society. There will also be around 3-4 other children who are seen to be normal and enjoying themselves playing games.The ideas is to ceate a large contrast between the children in normal society and the boy who is central to the video. This will be done through varied speed in which the boy acts compared to the children, as well as camera focus and prevalence and visual emotion.Technical information:We are planning to use a very thin aspect ratio to create a very concentrated visual image.There will be one or very few cuts throughout the entire video to create realism as well as creating a link between the visuals and the slow pace of the music.The young boy will be the centre of the video with him being sat down in front of a fire throughout. There will be the children playing behind him however they will be in real time compared to the boy who is half speed as this means more effects can be applied to them such as layering the repeat video over the top to create a shadowing effect. This would be done with the use of a green screen and filming each segment separately. The video is going to be entirely reversed, meaning the boy will have to learn the lyrics backwards as well as twice the speed due to the filming of him at half speed.There will be emotional colouring with almost all the colour drained from the video.The main focus of the camera work includes a slow track back starting from the child's eyes. Rough thoughts are that certain symbols that are presented with the Mylo Xyloto album could be tattooed around his eyes, portraying Coldplay's meta-narrative.As the camera tracks backwards the child begins to lip sync the words and the fire which originally distorted the video because of hot air appears in shot.
JP: Song Choices & Synaesthesia
HOLD ON
AIDEN GRIMSHAW - MISTY EYE (2012)
- Dark scenes with low-key lighting
- Shadows, experimenting with light, reflection and partial obscuring of faces (noiristic style)
- Urban locations for example the streets/avenues of London (featured in the music video for 'Is This Love' - Aiden Grimshaw)
- Flares/colourful lighting especially on accented beats like the 'heavy' sound at beginning
- Schizophrenia theme with the voices during the song (at the start)
- Narrative based video focussing aruond the lyric 'you build your memories from your biggest fears' - memories of love are now dark and broken especially with the lyrics 'night air' 'moon's glow' and 'the dark comes out you say'
A HOPEFUL TRANSMISSION/DON'T LET IT BREAK YOUR HEART
COLDPLAY - MYLO XYLOTO (2011)
- Establishing shots during the 30 second intro 'A Hopeful Transmission' with slow pans across the location or slow tracks in
- Explosion of colour and energy at the start of 'Don't Let It Break Your Heart' with the beat
- Cutting rate with the beat of the song
- Concept/disjuntive video with energy, possibly some energetic performance reflecting the song
- Lots of bright, vibrant colours echoing the band's meta-narrative
- Graphic/animation/effects
- Urban location/warehouse with paint/grafitti all over the walls
- Semiotics (using signs and symbols) - Coldplay's symbols for each song on the album
- Visuals die down at the end with reverb and echo, fades and slow pans - back to reality
REST
THE TEMPER TRAP - CONDITIONS (2009)
- Heavy drum beat echoed in the visuals using drums as props or the focus
- Stylistic, low-key lighting on drums in a dark room
- Drums could have lights or neon colours inside
- Use colour with the drums, so when they are beaten they light up
- Possibility of paint on top of the drums and when they are beaten it could fly up (such as in the video 'Treatment' - Labrinth and the West-End show 'The Blue Man Group'
- Song is heavy, but when it picks up and slows down the visuals echo this
- Mainly concept based, artistic and indie
- Disjunctive, there is no relationship between lyrics/music and the visuals
- Black and white to start with (like in 'Cough Cough' - Everything Everything)
HCT: Song Choices & Synaesthesia
Londons Burning - The Temper Trap - Infectious
Up In Flames - Coldplay - Mylo Xyloto
This track gives a very realistic gritty feels. The visuals I imagine would present riot archive footage. The main characters would be a younger generation of anti-socials. There would be many shots of Londons iconic landmarks with a very fast paced cutting rate, montage edits rather than a slow feel compared to a performance/ narrative based video.
Up In Flames - Coldplay - Mylo Xyloto
This song is very slow paced and calm. This is perfect as it can work well with a fast paced video creating contrast or with a slow cutting rate to create a link between music and visuals.
-Location would be an open water way, This would be dirty and barren.
-Characters include a young boy almost possessed sitting by himself whilst other children play football laughing and having fun.
-There would be a fire in front of the boy however the video is very saturated with the contrast altered to create a greater difference between shadows.The boy would be presented as a social outcast, the other children behind are to contrast his dull attitude mimicking the lyrics as his life has gone 'up in flames'
U Boat - Kasabian - Kasabian
Visuals ideas for this include a dreamy young individual who is homeless. It is a rainy cold day and he is wondering around suburban locations. He occasionally lip syncs and there is a slow cutting rate. There would be many artistic creative shots and a shallow depth of field to show gritty realism and bokeh.
HCT: Institutional Context - Music Industry
Who owns the record labels?
What is involved in a record deal?
Recording contracts are legally binding agreements between artists and/or bands and a record label. These contracts, when signed, commit the act and the label to certain obligations. The band or artist will always check the record labels capabilities and powers of the company in terms of connections with advertisement, merchandising, tour support etc. The legal document will involve information on the amount the record label will take from the earnings of the artist.
How are musicians promoted? Outline different types of marketing strategies/tools.
Musicians are promoted in a number of ways. This heavily depends on the size and current position the artist is in. For example small time bands/artists may want to use the internet to promote themselves via YouTube. They could post a music video in order to try and get their music heard. The power of using the internet allows the video to go viral and there reaching thousands of people at a time. For larger acts who are signed to record labels. The record label will take charge in promotion and use more commercial ways such as tv radio and large posters as they will have contacts in the press, with distributors, manufacturers, and so on that will help make the process go a little smoother.
How are musicians promoted? Outline different types of marketing strategies/tools.
Musicians are promoted in a number of ways. This heavily depends on the size and current position the artist is in. For example small time bands/artists may want to use the internet to promote themselves via YouTube. They could post a music video in order to try and get their music heard. The power of using the internet allows the video to go viral and there reaching thousands of people at a time. For larger acts who are signed to record labels. The record label will take charge in promotion and use more commercial ways such as tv radio and large posters as they will have contacts in the press, with distributors, manufacturers, and so on that will help make the process go a little smoother.
They may be able to arrange for some expenses - like manufacturing - to be covered on credit, whereas you, without a history with the company, will likely have to pay up front. It can be notoriously difficult to get distribution if your label consists only of your own releases, and getting press for your own music can be a challenge as well . A major record label can offer you all of these things on a larger scale, and there are a few areas which are reserved almost exclusively for major label artists, like many mainstream commercial radio stations and MTV.
HCT: Are Music Videos Commercials, Porn or Art?
Music videos have often been shown to occupy any three of these techniques. Sometimes videos are shown to be largely art and concept based allowing Auteurs to express their creative side whilst some use the visual aspect to build upon the artists meta-narrative and create a popular image for them gaining the public’s trust and attracting them to their music. Other critics have often remarked how music videos strongly adopt the ‘soft porn’ approach and expose the female body to entice audiences, this is known as the ‘male gaze’, explained by Laura Mulvey.
The music video could easily be seen as a commercial advertising tool. There is almost always medium or extreme close ups or the artists especially in modern popular music. This allows the audience to associate the music with the image. Artists are also sometimes shown with an object or certain style that is different or easily identifiable, setting them out from the crowd and being unique. The primary reason that music videos are viewed by some as commercials is because of the lifestyles and activities featured in the content of the video. This often means the artist will be portraying them to lead a wealthy lifestyle or one that the audience desires. These are often shown in the form or materialistic objects owned by the artist or perfect love stories etc. This surrealism is valued and wanted by the audience and therefore draws us to the artist or music. Acting exactly as a commercial would. A good example of this is the music video ‘Wild ones’ by Flo Rida where immediately at the beginning of the video we are exposed to the artist participating in sky dives in Dubai as well as driving exotic cars, flying private helicopters and driving expensive speed boats.
Laura Mulvey was the first to point out the excessive use females in a sexualised way in music videos creating the ‘male gaze’ She pointed out that many music videos in the modern day are versions of soft porn. She included that the sexualisation, voyeuristic treatment of the female body and dismemberment of the female body all enticed the male gaze and objectified women, showing total disregard for the females feelings and treating them as a ‘thing’ rather than a person with feelings. Mulvey explains-The “camera lingers on the subject from the perspective of the heterosexual male”, many females have a problem with this as it shows that the video is designed to be from the eyes of the male showing the media to be directing their products towards men.
Although a music video can easily be placed into the two categories explained before. A music video can very easily be place in the gap between the two where any type of image can be created through the creativity or the creator and therefore very much an art piece. Matt Hanson explains “it inhabits that crucial space between the commercial and the experimental”. This shows that a music video is something that can be completely concept based and creatively expressive as well as something that can accompany the music and artist in a certain way. This may be by expressing their personal views or interests or paying respects to certain people, even talking people back to different places in time. Also Auteurs are often credited for their work on music videos whether it be art, porn, or advertisement. However Auteurs are often shown to be producing something that is very arty. Therefore the visuals are very impressive as the creator is being very expressive. It is also interesting to the audience as it is normally something quite out of the ordinary or different to so many of the pop music videos out there today. For example the music video of ‘Heaven’ by Spike Jonez involves skate boarders of the Lakai team skateboarding in slow motion. These visuals accompanied with the music creates something special despite the fact they have no connection.
In conclusion, I believe all music videos can be categorised into commercials, art or porn without any exceptions. Many auteurs have created something that challenged the generic conventions of music videos whilst others have created purely market-driven advertisements. Some also include the use of the female and have fetishist undertones however I truly believe that every music video is an interesting creation in its own. Each has a style to it which makes it unique even if the music or video is somewhat mainstream. Different types of genres may have more soft porn aspects, where others such as indie may have a more creative arty aspect as well as the more pop culture showing more advertisement. With the modern view of art being almost anything and everything I think that music videos are all art forms even if the content may be porn or advertisement, the overall combination of these elements create art.
The music video could easily be seen as a commercial advertising tool. There is almost always medium or extreme close ups or the artists especially in modern popular music. This allows the audience to associate the music with the image. Artists are also sometimes shown with an object or certain style that is different or easily identifiable, setting them out from the crowd and being unique. The primary reason that music videos are viewed by some as commercials is because of the lifestyles and activities featured in the content of the video. This often means the artist will be portraying them to lead a wealthy lifestyle or one that the audience desires. These are often shown in the form or materialistic objects owned by the artist or perfect love stories etc. This surrealism is valued and wanted by the audience and therefore draws us to the artist or music. Acting exactly as a commercial would. A good example of this is the music video ‘Wild ones’ by Flo Rida where immediately at the beginning of the video we are exposed to the artist participating in sky dives in Dubai as well as driving exotic cars, flying private helicopters and driving expensive speed boats.
Laura Mulvey was the first to point out the excessive use females in a sexualised way in music videos creating the ‘male gaze’ She pointed out that many music videos in the modern day are versions of soft porn. She included that the sexualisation, voyeuristic treatment of the female body and dismemberment of the female body all enticed the male gaze and objectified women, showing total disregard for the females feelings and treating them as a ‘thing’ rather than a person with feelings. Mulvey explains-The “camera lingers on the subject from the perspective of the heterosexual male”, many females have a problem with this as it shows that the video is designed to be from the eyes of the male showing the media to be directing their products towards men.
Although a music video can easily be placed into the two categories explained before. A music video can very easily be place in the gap between the two where any type of image can be created through the creativity or the creator and therefore very much an art piece. Matt Hanson explains “it inhabits that crucial space between the commercial and the experimental”. This shows that a music video is something that can be completely concept based and creatively expressive as well as something that can accompany the music and artist in a certain way. This may be by expressing their personal views or interests or paying respects to certain people, even talking people back to different places in time. Also Auteurs are often credited for their work on music videos whether it be art, porn, or advertisement. However Auteurs are often shown to be producing something that is very arty. Therefore the visuals are very impressive as the creator is being very expressive. It is also interesting to the audience as it is normally something quite out of the ordinary or different to so many of the pop music videos out there today. For example the music video of ‘Heaven’ by Spike Jonez involves skate boarders of the Lakai team skateboarding in slow motion. These visuals accompanied with the music creates something special despite the fact they have no connection.
In conclusion, I believe all music videos can be categorised into commercials, art or porn without any exceptions. Many auteurs have created something that challenged the generic conventions of music videos whilst others have created purely market-driven advertisements. Some also include the use of the female and have fetishist undertones however I truly believe that every music video is an interesting creation in its own. Each has a style to it which makes it unique even if the music or video is somewhat mainstream. Different types of genres may have more soft porn aspects, where others such as indie may have a more creative arty aspect as well as the more pop culture showing more advertisement. With the modern view of art being almost anything and everything I think that music videos are all art forms even if the content may be porn or advertisement, the overall combination of these elements create art.
HCT: Auteur Analysis
- UNKLE- Heaven
.Cutting rate is slow which contrasts the explosions in the background, creating an engaging visual experience.
.Visuals linked with music as explosions are in time with the drop of the song.-Jay Z and Kanye West-Otis
.Low angle shot makes the singers seem large and domineering-powerfull.
.Colour is vibrant and clear making it pleasing to the eye.
.The use of a large American Flag is patriotic.
.The use of a large American Flag is patriotic.
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.The old look represents the indie look.
-Fatboy Slim-Praise You.
. The use of positive movement and expressive dancing creates a link between visuals and music
Fatboy Slim-Weapon of Choice
.The mise en scene is quite unconventional for this type of music however we are not surprised to see the actor in this environment.
Chris Milk
-Kanye West- Jesus Walks
.Mise en scene of the white costumes almost glowing in the dull black and white shots portrays them as almost holy.
Use of slow motion again is visually stunning and engaging.
Martin De Thurah
-James Blake Limit to your Love
.Shallow depth of field creates realism.
.Use of special effects helps show a story and enforces the music via visuals.
UNKLE-Heaven
The music video ‘Heaven’ by UNKLE is very much an art installation piece with little to know relation to the music on first viewing. With a very large proportion of the song being purely music and no vocal track there is little narrative to go on for making such a music video. There is no clear narrative although the visuals back up the music with slow cutting rates to represent the tempo of the music as well as being shot in slight slow motion which creates a smooth feel-possible what the artist wanted to show. The Spike Jonez originally creates this with co-director Ty Evans when filming the Lakai Skateboarding team. The backdrop was this music and they found it had a surprising link with the visuals with the skateboarders smoothly dodging the explosions through the skate park. The smooth camera movement represents the flowing movements of the skateboarders and also relates to the music. The explosions are also related to the music with the first being in time with the drop of the song. Although there is little stimulation for the audience through the music itself. Spike jonez is able to create a visual piece that excites the audience and enforces the music. Specifically the drop of the song when the slow paced start increases in cutting rate as the explosions commence reinforcing the bass line.
UNKLE-Heaven
The music video ‘Heaven’ by UNKLE is very much an art installation piece with little to know relation to the music on first viewing. With a very large proportion of the song being purely music and no vocal track there is little narrative to go on for making such a music video. There is no clear narrative although the visuals back up the music with slow cutting rates to represent the tempo of the music as well as being shot in slight slow motion which creates a smooth feel-possible what the artist wanted to show. The Spike Jonez originally creates this with co-director Ty Evans when filming the Lakai Skateboarding team. The backdrop was this music and they found it had a surprising link with the visuals with the skateboarders smoothly dodging the explosions through the skate park. The smooth camera movement represents the flowing movements of the skateboarders and also relates to the music. The explosions are also related to the music with the first being in time with the drop of the song. Although there is little stimulation for the audience through the music itself. Spike jonez is able to create a visual piece that excites the audience and enforces the music. Specifically the drop of the song when the slow paced start increases in cutting rate as the explosions commence reinforcing the bass line.
The post production work of the colour correction is a nice effect. There are certain colours like the greens and reds that are brought out more than usual to make the shots seem warm and easy to watch, the blues have been drained to further help this technique.
Can music videos be seen as an art form?
There is a debate between people arguing the view that a music video is just a video to match the music or purely an advertisement tool for the band image/ metanarrative. However there is also another view taken in that music videos are an art form that allows the director to express their creative side however it may be. Some believe that the quality of telling a story through the visuals is an appealing trait. Sean Duncan says ‘I’ve always loved that a music video can tell a story, just like a film. However, in making a music video you also have to fit the tale around a song. It’s not always easy to tell a cohesive story in such a short space of time, but the challenge is the fun part. There are many examples where the director has not been able to create a ‘cohesive story in such a short space of time’ meaning the audience/viewing is left was a video that is either misunderstood or the artist has intentionally made no attempt at any kind of narrative. This is when people consider the video as ‘art’. However the art form category should not be mixed with other videos where there is no narrative but instead the artist performing to the camera but not in an advertisement way.
The music video is a technique of linking the music to a visual representation for the audience to consume. As said before, the director and/or artist are able to show whatever they want. Even if not related in the slightest, so in these circumstances I believe music videos can most definitely be seen as an art form.
Can music videos be seen as an art form?
There is a debate between people arguing the view that a music video is just a video to match the music or purely an advertisement tool for the band image/ metanarrative. However there is also another view taken in that music videos are an art form that allows the director to express their creative side however it may be. Some believe that the quality of telling a story through the visuals is an appealing trait. Sean Duncan says ‘I’ve always loved that a music video can tell a story, just like a film. However, in making a music video you also have to fit the tale around a song. It’s not always easy to tell a cohesive story in such a short space of time, but the challenge is the fun part. There are many examples where the director has not been able to create a ‘cohesive story in such a short space of time’ meaning the audience/viewing is left was a video that is either misunderstood or the artist has intentionally made no attempt at any kind of narrative. This is when people consider the video as ‘art’. However the art form category should not be mixed with other videos where there is no narrative but instead the artist performing to the camera but not in an advertisement way.
The music video is a technique of linking the music to a visual representation for the audience to consume. As said before, the director and/or artist are able to show whatever they want. Even if not related in the slightest, so in these circumstances I believe music videos can most definitely be seen as an art form.
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