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 that the major elements of an album marketing campaign must i nclude digital
distribution (e.g. physical CD or strictly MP3/iTunes or can be streamed) [this can include
audio/picture advertisements on their sites before an album is released] , an online presence
(via an official website, Facebook page, Twitter) this is so that the band in question can keep in
personal contact with their fans.


2. WHERE HAVE YOU ENCOUNTERED THESE ELEMENTS IN YOUR DAILY LIFE?

I have encountered many of the elements that I have listed in my daily life due to the fact that I
am an avid user of Spotify and do come across various advertisements on the site when I am
listening (e.g. audio adverts in between songs, picture/gif/linkable banners). Also, when I use
Twitter there is a Who to follow suggestions box which is influenced by the people I already
follow and generate accounts that they think I would be interested in.


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?

Fortunately, I enjoy a wide range of music, but I think that the most important factors that
make me like a band/artist is that it must keep me interested and not want me click away.
(e.g. attractive album/single art) They also must have a personality, and have a vibe that I
havent come across before. The way in which I decide if a band is cool or not is determined
by if I have their songs/albums on repeat, triggering me to go and discover more about who Im
listening to.

WHAT MAKES THE MUSIC VIDEO UNIQUE?

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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 generally watch most of the music videos that I come across on You Tube or Vevo. I think that
these two platforms are very easy to use and very accessible. Not only that, I can count on
them both to produce high-quality links and suggestions to new artists that are similar to the
one that I might be listening to at the time.

TASK 2
IN THE SPACE BELOW LIST AS MANY FEATURES/CONVENTIONS OF MUSIC VIDEOS THAT YOU CAN THINK
OF.
Camera angles
Sound (diegetic and non-diegetic)
Mise en scene (props, lighting, costume hair and make-up location/setting, colours)
Performance or narrative
Editing style
Genre of the music video
Symbolic technique (e.g. facial expressions, gestures, poses)

Analysing Music Videos :


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

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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.

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)


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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
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.


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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

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

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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).

TASK 3
TEXTUAL ANALYSIS OF MUSIC VIDEOS




FEATURES OBSERVATIONS EXAMPLES
GENRE
CHARACTERISTICS



INDIE POP/ELECTRONIC
LOCATION: HOUSE
EACH CHARACTER IN THE
MUSIC VIDEO IS
STRUGGLING TO FIND
THEIR OWN HAPPY LITTLE
PILL
THE USE OF STROBE LIGHTING,
EDITING STYLE/DIRECTING.
PALM TREES, SERIOUS THEMES

CAPTURES THE STRUGGLE OF
SOMEONE THAT DOESNT KNOW WHAT
THEY WANT.
RELATIONSHIP
BETWEEN LYRICS
AND VISUALS?


DRUG/ALCOHOL
REFERENCES IN
CONNECTION TO THE SONG
TITLE.
BUYING HAPPINESS.
MIMING
OWL WISDOM?
GIRL STANDING BY THE
WINDOW, SUDDENLY CUTS
TO A SHOT OF HER
MEDALS
TROYE LOOKING OUT OF
THE WINDOW
MAN AND WOMAN IN THE
POOL -
COCAINE
SIPPING LIFE FROM BOTTLES
LIGHTING FLICKERS TO THE TONE OF
THE BEAT CONNOTING THE FEELINGS
WHEN UNDER THE INFLUENCE.


BUYING HAPPY FROM SHOPPING
CARTS



BRING COLOUR TO MY SKIES

ILL TAKE A DIP INTO THE UNKNOWN
RELATIONSHIP
BETWEEN MUSIC AND
VISUALS?


ATMOSPHERIC,
LIGHTS TURN OFF WHEN
THE DRUMS HIT
THE WALL FAN TURNS
QUICKER WHEN THE BEAT
RETURNS

MAN ON THE FOOTBALL PITCH.

INSTRUMENTAL BETWEEN SINGING,
VARIOUS AMOUNT OF FLICKERING
BETWEEN LIGHTS/EDITING
NAME OF TRACK: HAPPY LITTLE PILL

ARTIST: TROYE SIVAN

Year:

8













TASK 3
TEXTUAL ANALYSIS OF MUSIC VIDEOS
ARE THERE CLOSE-
UPS OF THE ARTIST
AND STAR IMAGE
MOTIFS?
MANY MID-SHOTS OF THE
STAR SINGER AND OTHER
CHARACTERS INVOLVED.
STROBE LIGHTS ON THE
SINGER/EASILY IDENTIFIED.
MAN IN THE SHOWER -





WOMAN APPEAL.
IS THERE REFERENCE
TO THE NOTION OF
LOOKING?

MOST OF THE SHOTS HAVE
BEEN PLACED IN THE
CENTRE OF THE SCREEN

E.G. WHEN TROYE IS SINGING, A LOT
OF SPACE EITHER SIDE, BLUE
BACKDROP. DOESNT IN ANYWAY
DISTRACT THE VIEWER FROM
FOLLOWING THE ACTION.
ARE THERE INTER
TEXTUAL
REFERENCES?


TROYE LOOKING AT
STROBE FLICKERING
LIGHTS ON THE TV
CONNOTES TO THE PINK/RED PASTEL
STROBE LIGHTING ON THE STAR
THROUGHOUT.
IS THE VIDEO
CATEGORY
ILLUSTRATION,
DISJUNCTURE OR
AMPLIFICATION?
HOW MUCH OF
EACH?
ORIGINAL, NON-
RELATABLE TO ANY
EXISTING IDEAS.
DISJUNCTURE.


FEATURES OBSERVATIONS EXAMPLES
GENRE
CHARACTERISTICS



POP
LOCATION: BAND SETTING,
NEW YORK, UNKNOWN
BEACH SETTING
INSTRUMENTS, PIANO
MODERN FASHION, CONTEMPORARY-
ROMANCE STORY.
RELATIONSHIP
BETWEEN LYRICS
AND VISUALS?


SPLIT SCREEN, ONE IN NEW
YORK, ONE IN ANOTHER
LOCATION, BOTH LEADING
SIMULAR LIVES.
IF ONLY NEW YORK WASNT SO FAR
AWAY
NAME OF TRACK: ALREADY HOME

ARTIST: A GREAT BIG WORLD

Year:

9



























RELATIONSHIP
BETWEEN MUSIC AND
VISUALS?


THE MAN IS IN THE CITY,
THE WOMAN IS BY THE
BEACH LONG DISTANCE
RELATIONSHIP.
I PROMISE THE CITY WONT GET IN
OUR WAY
ARE THERE CLOSE-
UPS OF THE ARTIST
AND STAR IMAGE
MOTIFS?
CLOSE-UPS OF THE
ACTORS-
CLOSE-UP ON THE STARS
PERFORMING WITH
INSTRUMENTS.
THIS CREATES THE ILLUSION AS IF
THEY ARE LOOKING AT EACHOTHER IN
DIFFERENT LOCATIONS.


IS THERE REFERENCE
TO THE NOTION OF
LOOKING?

THE AUDIENCE ARE SPLIT
BETWEEN LOOKING EITHER
LEFT OR RIGHT-
THE EDITING IS FAST PASED TO
CONNOTE THE FACT THAT THE
CHARACTERS WISH TO BE TOGETHER.
SPLIT BETWEEN
PERFORMANCE/NARRATIVE.
ARE THERE
INTERTEXTUAL
REFERENCES?


LAPTOPS,

APPLE, PRODUCT PLACEMENT.
IS THE VIDEO
CATEGORY
ILLUSTRATION,
DISJUNCTURE OR
AMPLIFICATION?
HOW MUCH OF EACH?
ILLUSTRATION. TELLS A
CLEAR STORY THAT
QUICKLY LEADS TO A
CONCLUSION AT THE END
OF THE VIDEO.


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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?
1. Fairly new, unique and interesting.
2. Fan of the band, I follow their music & videos.

2. In what context did you encounter it?
All: Youtube.
3. What influence do you think this context might have had on your interpretation of
the text?
All: My general knowledge on social and moral demeanours.
4. Which conventions of the genre do you recognize in the text?
1. Indie pop/Electronic
2. Pop

5. To what extent does this text stretch the conventions of its genre?
I think that the first video stretches the conventions of this type of genre due to the fact that
it mixes Indie pop and Electronic sounds and incorporates that into a video that cant exactly
be explained.
6. Where and why does the text depart from the conventions of the genre?
1. Doesnt stick to a particular theme, storyline
2. One-on-one, side by side storytelling

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 audiences appropriate for these type of videos would be someone of my
own age (teenagers) due to the fact that they are two common songs that you would hear
in the charts, and that the theme of the songs are relatable to the modern day era.
8. What sort of person does it assume you are?
I dont think it necessarily has to assume that I only enjoy one type of genre of
music, I think it portrays me as the type of person that is able to enjoy various artists
and songs and that I have an open mind and taste.

9. What assumptions seem to be made about your class, age, gender and ethnicity?
10. What interests does it assume you have?

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I dont think it necessarily has to assume that I only enjoy one type of genre of music, I
think it portrays me as the type of person that is able to enjoy various artists and songs and
that I have an open mind and taste.
11. What relevance does the text actually have for you?

12. What knowledge does it take for granted?

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)?
Between the two, I think that they both are very unique videos in the sense that
ones purpose is to spread a message and the other is to tell a story.

15. What responses does the video seem to expect from you?
I think that the most common response someone of my age may expect is that the
music is enjoyable and that the video is aesthetically pleasing and matches the
theme of the artist.

16. How open to negotiation is your response (are you invited, instructed or coerced to
respond in particular ways)?
I dont think that I am coerced to respond in a particular way due to my place in
society but I do believe that we are all entitled to an opinion on certain aspects of
social and moral media.

17. Is there any penalty for not responding in the expected ways?
I think that some people may think that the videos are too stereotypical and those
who like to be outside of the box and enjoy expressing opinions that do not follow
the modern day representation.

18. To what extent do you find yourself 'reading against the grain' of the text and the
genre?


19. How typical do you think this video is of Music Videos?