VIDEO KILLED THE RADIO STAR

AN INTRODUCTION TO MUSIC
VIDEO



A2 INDUCTION 2014



FOR YOUR A2 COURSEWORK YOU WILL PRODUCE:
1


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


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 believe that there are many successful ways to promote and market an album. One
of which is through social media. Over the recent years we have seen a rise in the
use of social media to market and promote certain products and campaigns. More
and more I am seeing artists and bands promote through social media whether that
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be through Twitter, Facebook, Instagram and many other platforms. Bands such as
the Arctic Monkeys I know released tweets about their newest album AM which was
released last year (2013) I believe they also used Facebook and Instagram but
Twitter is my main platform area to use. Another affective way to promote and
market an album is the Television. Millions of people all over the world sit down for at
least half an hour a day to watch TV so what better way to promote than through TV
advertising. Although a almost faultless idea and way to promote, I have seen
through my own experiences that only the most well-known and lets face it wealthy
artists and bands market through television. Artists such as Beyonce and Kanye
West are more likely to use television to advertise than those up and coming bands
an artists. This is probably due to the fact these well known and world famous artists
are multimillionaires by now and if they were to throw money away it is more than
likely not even going to be affecting them as they are constantly selling. For those up
and coming artists and bands such as Sam Smith, The Vamps and Lewis Watson
their main way to seek publicity and advertise in my opinion is through Youtube.
They may or already do use TV marketing but on a much smaller scale than the likes
of Beyonce and Rhianna. Their adverts may be streamed after shows such as
Britains Got Talent or a programme of a similar sized audience, something which is a
much smaller scale than those targeted by big name artists. Youtube can be the
ideal way to market if an artist is just finding their way in the music world as creating
and having an account is free and whether it takes a few months or a couple of tears
to be noticed by big name record labels the opportunity to be discovered doesn't cost
them anything, apart from all the equipment they have had to buy for themselves.


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

Social media and television adds are the ones that I come across on a regular
basis as i check Twitter/Facebook etc on a daily basis and like the majority of
other people around the world I sit down after a long day and watch TV. I think
social media is where i find out about the latest albums to be released. A great
example is when Beyonce released a secret album called Beyonce and posted
video snippets of the songs and music videos as well as posting images of
costumes and video scene backgrounds. I think this is an effective way to market
because most people my age use social media on a daily basis.


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?

As someone who takes a great interest in fashion I believe the style of a band is
one of the key elements as to what I would like about them. I like to think that I
listen to a wide range of music from many different genres. Indie and Indie Rock
are my favoured genres and bands like the Arctic Monkeys, Miles Kane and
Foals I take a great interest in. I like to listen to bands and artists that have
something that makes them individual and different to artists from a similar
genre/background etc. If a band or artist produces music that I simply dont enjoy
I wont take the time to listen to much more of their material as I would find them
unappealing. Although most Indie and Indie Rock bands sound the same i
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believe what they stand for and their styles as a band are very much different. I
like to listen to artists such as Nicki Minaj, Kanye West, Drake and Beyonce who
are all part of the Hip hop/RnB genre. I enjoy listening to them because all of the
material they produce is unique and represents each individual in a different
light. I believe that I can be easily influenced when it comes to artists and genres
that arent necessarily named as mainstream. Both parents listen to a lot of
Northern Soul and Motown music and because of this I have grown to enjoy that
genre of music as well. I get so interested with the way people who listen to
Motown dance and shuffle and think it is a breath of fresh air to see and listen to
something so different to the normal pop, Hip Hop and RnB music we are faced
with day in day out.


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 like to watch music videos when Im relaxing or in contrast when Im busy at
work. I like the sound of different types of music whatever Im doing. The main
channels I use to watch music videos tend to be Youtube or Vevo. I watch music
videos in the comfort of my own home or on long journeys via bus or train. Even
when I don't intend to watch the music video and intent to just listen to the song
its difficult to get away from the video itself as it is rare to find a good quality
version of the song without it being the music video itself.

TASK 2
IN THE SPACE BELOW LIST AS MANY FEATURES/CONVENTIONS OF MUSIC VIDEOS THAT
YOU CAN THINK OF.
Make up/Costume
Performance/Narrative
Lighting
Lip Synching
Instruments (possibility)
Long, Mid and Close up shots
Panning
Artist or band the song is by included in the video
Relationship between the lyrics and the scenes within the video
Storyline (narrative)
Extras
Extravagant/Elaborate Mise en scene (depending on budget to work with)

Analysing Music Videos :


1. Genre Categories:
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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.

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
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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.


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
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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 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








NAME OF TRACK: SNAP OUT OF IT
ARTIST:ARCTIC MONKEYS
Year:2013
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FEATURES OBSERVATIONS EXAMPLES
GENRE
CHARACTERISTICS


MOST VIDEOS OF THIS
GENRE, ESPECIALLY THOSE
CREATED BY ARCTIC
MONKEYS HAVE VERY
STRANGE AND DIFFERENT
IDEAS.
CUTTING TO THE MAIN CHARACTER
EATING AND FRYING WHAT APPEARS TO
BE SOME KIND OF MEAT.
RELATIONSHIP
BETWEEN LYRICS AND
VISUALS?

MAINLY CLEAR BUT
SOMETIMES ODD AND
RANDOM SCENES THAT DO
NOT LINK WITH LYRICS.
WHATS BEEN HAPPENING IN YOUR
WORLD WHEN THE MAIN CHARACTER
IS WALKING AROUND WHAT WE
PRESUME TO BE HER HOUSE.

RANDOM SCENES THAT ARENT LINKED
WOULD BE SCENES OF THE MAIN
CHARACTER CRYING AND AGAIN EATING
MEAT.
ARE THERE CLOSE-
UPS OF THE ARTIST
AND STAR IMAGE
MOTIFS?
CLOSE UPS ON MAIN
CHARACTER MOSTLY
AS WELL AS HAVING THE BAND INCLUDE
IN THE VIDEO THE BAND HAVE ADDED IN
A FEMALE CHARACTER WHO I SUSPECT
IS SUPPOSED TO BE A PAST LOVER OF A
BAND MEMBER.
IS THERE REFERENCE
TO THE NOTION OF
LOOKING?
MAINY REFERENCES TO THE
NOTION OF LOOKING
THE MAIN CHARACTER IS DRESSED IN
LINGERIE THROUGHOUT THE VIDEO.
ARE THERE
INTERTEXTUAL
REFERENCES?


IS THE VIDEO
CATEGORY
ILLUSTRATION,
DISJUNCTURE OR
AMPLIFICATION?
HOW MUCH OF EACH?
THIS VIDEO IS A MIXTURE
OF THE THREE
SOME STRAIGHT FORWARD
ILLUSTRATIVE SCENES WHERE THERE IS
A CLEAR LINK BETWEEN VISUAL AND
LYRICS. SOME SCENES WHERE THERE IS
NO LINK AND SOME SCENES THAT
COULD BE CLASSES AS IRRELEVANT AND
NOT IMPORTANT TO THE VIDEO.


TASK 3
TEXTUAL ANALYSIS OF MUSIC VIDEOS
NAME OF TRACK: WAVES (ROBIN SCHULZ REMIX)
ARTIST: MR PROBS
8









FEATURES OBSERVATIONS EXAMPLES
GENRE
CHARACTERISTICS


THIS SONG IS CLASSED AS
HOUSE MUSIC. THERE
ARENT REALLY ANY
STEREOTYPICAL ELEMENTS
OF HOUSE MUSIC APART
FORM THE SONG ITSELF
BEING LAID BACK AND THE
VIDEO VERY SIMPLISTIC.
IMAGES OF THE OCEAN, TWO MAIN
CHARACTERS AND A BAR. SIMPLE IDEAS
AND NOTHING OVER COMPLICATED TO
CONNECT THE LAID BACK THEME OF
THE SONG TO THE THEME OF THE MUSIC
VIDEO.
RELATIONSHIP
BETWEEN LYRICS AND
VISUALS?

OBVIOUS LINKS BETWEEN
VISUAL AND LYRICS
SCENES OF THE OCEAN WITH THE LINES
WAVE AFTER WAVE.
ARE THERE CLOSE-
UPS OF THE ARTIST
AND STAR IMAGE
MOTIFS?
CLOSE UPS OF THE TWO
MAIN CHARACTERS
MOST HOUSE MUSIC VIDEOS DONT SHOW
THE ARTIST INSTEAD USE CHARACTERS
TO CREATE A NARRATIVE.
IS THERE REFERENCE
TO THE NOTION OF
LOOKING?
I BELIEVE THERE ARE
REFERENCES TO THE
NOTION OF LOOKING AS THE
TWO CHARACTERS APPEAR
TO BE IN LOVE OR HAVE
BEEN IN LOVE
FLASHBACKS OF THEM BEING
TOGETHER BEING PLAYFUL AND
INTIMATE LOOKING AT EACH OTHER,
CARESSING, HOLDING HANDS AND
WALKING TOGETHER.
ARE THERE
INTERTEXTUAL
REFERENCES?

INTERTEXTUAL
REFERENCES OF RELIGION.
THERE ARE REFERENCES TO GOD
WHICH MAY PRAGMATICALLY BE AN
INDICATION THAT THE MAIN
CHARACTER NEEDS SOME KIND OF
GUIDANCE.
IS THE VIDEO
CATEGORY
ILLUSTRATION,
DISJUNCTURE OR
AMPLIFICATION?
HOW MUCH OF EACH?
THERE ARE NO
COMPLICATED SCENES IN
THIS VIDEO AND IT SEEMS
TO TELL A CLEAR STORY SO
ID SAY ITS A NARRATIVE.
LYRICS SUCH AS DRIFTING AWAY ARE
REPEATED. FLASHBACKS OF THE TWO
MAIN CHARACTERS ARE OFTEN SHOWN
WHILE THESE ARE BEING SUNG
SUGGESTING THAT THEIR LOVE MAY BE
FADING AND DYING OUT.

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TASK 3
TEXTUAL ANALYSIS OF MUSIC VIDEOS







FEATURES OBSERVATIONS EXAMPLES
GENRE
CHARACTERISTICS


PROVOCATIVE VIDEO,
TYPICAL OF WOMEN IN THIS
GENRE
DANCERS IN LIMITED AND REVEALING
CLOTHING AND DANCING
PROVOCATIVELY
RELATIONSHIP
BETWEEN LYRICS AND
VISUALS?

CLEAR LINK. BOTH THE
VIDEO AND LYRICS.
LOOK AT HER BUTT SHOTS OF WOMEN
DANCING.
ARE THERE CLOSE-
UPS OF THE ARTIST
AND STAR IMAGE
MOTIFS?
NOT MANY CLOSEUPS SOME CLOSE UPS OF MAIN ARTISTS LIP
SYNCING WITH DANCERS IN THE BACK
GROUND
IS THERE REFERENCE
TO THE NOTION OF
LOOKING?
MANY REFERENCES TO THE
NOTION OF LOOKING
ALL WOMEN IN THE VIDEO ARE
WEARING REVEALING CLOTHING AND
DANCING PROVOCATIVELY
ARE THERE
INTERTEXTUAL
REFERENCES?

SOME INTERTEXTUAL
REFERENCES TO SEXUALITY
AND HIDDEN
RELATIONSHIPS. ALSO SOME
REFERENCE TO PHALIC
SYMBOL
MAIN ARITSTS DANCING AROUND A
MALE SAT DOWN. THE LYRIC WITH
REFERENCE TO ANACONDA CA BE
SEEN AS A PHALLIC REFERENCE. THE
SCENERY IS MADE OF LEAVES AND
SEEMS TO HAVE A JUNGLE THEME
CONNOTING WIGH THE IDEA OF
ANACONDAS, SNAKES THAT LIVE IN THE
JUNGLE.
NAME OF TRACK: ANACONDA

ARTIST: NICKI MINAJ

10


IS THE VIDEO
CATEGORY
ILLUSTRATION,
DISJUNCTURE OR
AMPLIFICATION?
HOW MUCH OF EACH?
ID SAY THAT IT IS AN
ILLUSTRATIVE VIDEO BUT
ALSO SOMETIMES HAS SOME
AMPLIFICATION.
MAINLY EVERYTHING LINKS BACK TO
THE LYRIC OF THE SONG BUT NEAR THE
END WHERE THE MAIN ARTIST IS
DANCING ON AND AROUND THE MALE
CHARACTER MAY SEEM OUT OF PLACE.

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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?
2. In what context did you encounter it?
3. What influence do you think this context might have had on your interpretation
of the text?
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?
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)?
8. What sort of person does it assume you are?
9. What assumptions seem to be made about your class, age, gender and
ethnicity?
10. What interests does it assume you have?
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)?
15. What responses does the video seem to expect from you?
16. How open to negotiation is your response (are you invited, instructed or
coerced to respond in particular ways)?
17. Is there any penalty for not responding in the expected ways?
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?