VIDEO KILLED THE RADIO STAR

AN INTRODUCTION TO MUSIC VIDEO

A2 INDUCTION 2014


1
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


2

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)?

The major elements of an album marketing campaign, for me, are the way the band/artist
dresses. Their style of dress reflects the type of music that they do. For example, Green Day have
a punky look hence their genre of music will be rocky/punky. The style of the band/artist may
dictate what audience they will receive. Another element would be how the band/ar tist portrays
themselves as individuals and as a group. In most cases, the band/artists personality may dictate
what audience they will receive; again their personalities and experiences will reflect the type of
songs/music they will produce. Many will not want to listen to their music, due to the type of
people they are.


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

I have encountered these elements in my daily life, by watching their interviews. From their
interviews, you can have a good idea on what the band/artist is like and whether their music is
worth listening to. How someone may dress can dictate what genre of music they listen to. For
example, if someone is dressed in a punky/rocky style, they listen to that genre of music.
Stereotypes play heavily in what I have encountered.

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?
The factors that make me like a band is their personality. Their music/songs reflect their
personal experiences, if they are likeable, and write about songs that are relevant; I will listen to
their music and buy their album. If the band/artist receives respect for the music that they create, I
will listen to their music, due to its respect.


WHAT MAKES THE MUSIC VIDEO UNIQUE?
A storyline of its own, is what makes a music video unique.

3
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 watch music videos when Im watching TV and happen to be on a music channel. I watch them
in my home.

TASK 2
IN THE SPACE BELOW LIST AS MANY FEATURES/CONVENTIONS OF MUSIC VIDEOS THAT YOU CAN THINK
OF.
Performance video.
Narrative.
Mixture of performance and narrative.
Animation.


Seeing the instruments being played.
A chorus/verse/bridge to the song and music video.
Shots of the lead singer singing the lyrics.
Repetition of shots and lyrics.
Most shots are on the lead singer.
Quick varied shots, close ups, mid shots, panning shot.
Seeing the whole band/artist.
The video and lyrics in songs have to be linked.
Order with start, middle and ending to music video.
Choreographed dance routine.
Editing gives impression of jumping from scene to scene in video.
The scenery gives the genre, style of mood of the song.

Illustration.

Amplification.

Disjuncture.


4



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
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

5
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
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)


6
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 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

7
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).










8


TASK 3
TEXTUAL ANALYSIS OF MUSIC VIDEOS




FEATURES OBSERVATIONS EXAMPLES
GENRE
CHARACTERISTICS



EDM (ELECTRONIC DANCE
MUSIC), POP

WILD WEST THEME

RELATIONSHIP
BETWEEN LYRICS
AND VISUALS?


ILLUSTRATION. LOVERS ON THE SUN MID SHOT OF THE GIRL ON
HORSE, GRABBING THE SUN AND PUTTING IT IN
HER POCKET. THE GIRL IS THE GOODS LOVE
INTEREST.
RELATIONSHIP
BETWEEN MUSIC AND
VISUALS?


AMPLIFICATION. THE PACE OF THE MUSIC VIDEO PICKS UP
TOWARDS THE CHORUS AS THE BEAT REFLECTS
THE URGENCY PORTRAYED THROUGH THE
HORSES GALLOPING.
CHASE SCENE BETWEEN VILLAIN AND GOOD.
ARE THERE CLOSE-
UPS OF THE ARTIST
AND STAR IMAGE
MOTIFS?
THE SEXY AND THE GOOD HOLD
THE MOST TIME IN THE MUSIC
VIDEO, INDICATING THAT THEY
ARE THE MAIN STARS.
CLOSE UP OF THEIR EYES, SHOWING THE
INTENSITY.
IS THERE REFERENCE
TO THE NOTION OF
LOOKING?

THE MALE GAZE TAKING HER TOP OF, BRA AND PANTS.
ARE THERE
INTERTEXTUAL
REFERENCES?


WILD WEST DUAL EYE CONTACT BETWEEN WHAT SEEMS TO BE
FATHER AND DAUGHTER, FORESHADOWING A
DUAL BETWEEN THE TWO.

AMBIENT SOUND OF CRICKETS AND SCENERY
FROM A WILD WEST MOVIE.
NAME OF TRACK: LOVERS ON THE SUN

ARTIST: DAVID GUETTA FEAT SAM MARTIN


9
IS THE VIDEO
CATEGORY
ILLUSTRATION,
DISJUNCTURE OR
AMPLIFICATION?
HOW MUCH OF
EACH?
MOSTLY DISJUNCTURE. HOWEVER
IN THE CHORUS THEIR SEEMS TO
BE ILLUSTRATION AND
AMPLIFICATION. MOSTLY LOVERS
ON THE SUN AND REFLECTING
THE BEAT OF THE SUN.


10
TASK 3
TEXTUAL ANALYSIS OF MUSIC VIDEOS

FEATURES OBSERVATIONS EXAMPLES
GENRE
CHARACTERISTICS



INDIE POP

DANCING TO THE MUSIC
INSTRUMENTS
EAST COAST
RELATIONSHIP
BETWEEN LYRICS
AND VISUALS?


ILLUSTRATION
-KARATE KID REFERENCE
ACTING AS A HAPPY RELATIONSHIP WITH THE
MALE SINGING THE CHORUS
RELATIONSHIP
BETWEEN MUSIC AND
VISUALS?


AMPLIFICATION TAPPING TO THE BEAT
MALES SMUDGES LIPSTICK METAPHOR IN
RUINING THE RELATIONSHIP
ARE THERE CLOSE-
UPS OF THE ARTIST
AND STAR IMAGE
MOTIFS?
STARS OF THE MUSIC VIDEO
OBTAIN THE MOST SPOTLIGHT

IS THERE REFERENCE
TO THE NOTION OF
LOOKING?

MALE GAZE BRA AND PANTS
ARE THERE
INTERTEXTUAL
REFERENCES?


ROMANTICS STANDING OUTSIDE HER HOUSE IN THE RAIN
IS THE VIDEO
CATEGORY
ILLUSTRATION,
DISJUNCTURE OR
AMPLIFICATION?
HOW MUCH OF EACH?
MOSTLY AMPLIFICATION AND
ILLUSTRATION

NAME OF TRACK: CARRIED AWAY

ARTIST: PASSION POT


11
TASK 3
TEXTUAL ANALYSIS OF MUSIC VIDEOS
TEXTUAL ANALYSIS OF MUSIC VIDEOS




FEATURES OBSERVATIONS EXAMPLES
GENRE
CHARACTERISTICS



FOLK
BLUES
ROCK
ARTIST PLAYING A GUITAR
SIMPLE VIDEO
RELATIONSHIP
BETWEEN LYRICS
AND VISUALS?


ILLUSTRATION SINGING/MIMING THE SONG

MY MANY ARTEFACTS SOMEONE IN THE CROWD
IS HOLDING AN ANTIQUE VASE
RELATIONSHIP
BETWEEN MUSIC AND
VISUALS?


AMPLIFICATION THE SOUND OF GUITARS, EZRA IS PLAYING THE
GUITAR
ARE THERE CLOSE-
UPS OF THE ARTIST
AND STAR IMAGE
MOTIFS?
IN A CROWD, THEY ARE ALL
STOOD STILL AND HE IS THE ONLY
ONE MOVING FREELY AND
SINGING

IS THERE REFERENCE
TO THE NOTION OF
LOOKING?

NONE
ARE THERE
INTERTEXTUAL
REFERENCES?


HIGH SCHOOL MOVIE THE WHOLE CROWD COMING TOGETHER DUE TO
ONE SONG/PERSON
IS THE VIDEO
CATEGORY
ILLUSTRATION,
DISJUNCTURE OR
AMPLIFICATION?
HOW MUCH OF EACH?
THERE ARE ELEMENTS OF ALL
THREE IN THE MUSIC VIDEO
ILLUSTRATION ARTEFACTS, MIMING SONG
AMPLIFICATION STRUMMING THE GUITAR WHEN
YOU CAN HEAR GUITAR
DISJUNCTURE THE VIDEO AS A WHOLE
NAME OF TRACK: BUDAPEST

ARTIST: GEORGE EZRA


12
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?
I chose the text because I like the song.
2. In what context did you encounter it?
I just was listening to the radio and the song came on.
3. What influence do you think this context might have had on your interpretation of
the text?
It didnt have much influence on me, as the song was unique and stood out for me due
to its simplicity.
4. Which conventions of the genre do you recognize in the text?
The one instrument, guitar, playing suggests that is a folks genre as they are famous
for the music videos/songs to consist of guitars and the artist playing it in the video.
5. To what extent does this text stretch the conventions of its genre?
This text matches the conventions of its genre; however it has implicated new ways in
portraying it by involving a simple set and a crowd of people.
6. Where and why does the text depart from the conventions of the genre?
This text doesnt depart from the convention 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)?
I think that the type of audience this video was aimed at is 16-25 year olds. This is
typical of this particular genre/style of music.
8. What sort of person does it assume you are?
It assumed that Im a person in the crowd, just blending it with everyone else.
9. What assumptions seem to be made about your class, age, gender and ethnicity?
From the class, it looks as if the crowd is waiting for a train, which consist of different
classes. Casual clothes, to formal attire. Also it suggests that they are 16-25 as they
may be waiting to meet up with a friend or go to work. There are both genders and all
ethnicities in this video, which suggests that everyone is equal.
10. What interests does it assume you have?
The interests it assumes I have, is going about my daily life like a normal person. That
you can find a friend in the most peculiar places.
11. What relevance does the text actually have for you?
It just shows that when youve spent as much time together, you will make friends and
get to know people.
12. What knowledge does it take for granted?
I dont think it takes any knowledge for granted. The music video portrays different
aspect of everybody.
13. To what extent do you resemble the 'ideal reader' that the video seeks to position
you as?

13
I dont think that I resemble the ideal reader, just someone who likes the song; so
therefore will watch the music video.
14. Are there any notable shifts in the video's style (and if so, what do they involve)?
No, there arent.
15. What responses does the video seem to expect from you?
Just that the video is portraying a normal crowd, where everyone blends it with each
other and we may not acknowledge each other. Only until we are put into a social
gathering that expects us to socialise.
16. How open to negotiation is your response (are you invited, instructed or coerced to
respond in particular ways)?
The negotiation in my response is that I think this music video in inviting.
17. Is there any penalty for not responding in the expected ways?
No, this video doesnt seem to give one if you dont respond in the way they expect
you. I dont think there any specific expectations in how you respond to this music
video.
18. To what extent do you find yourself 'reading against the grain' of the text and the
genre?
I dont find myself doing that at all. I just enjoy the song and music video along with it.
19. How typical do you think this video is of Music Videos?
Not very. I think that every music video is different in many different ways. They will all
receive a variety of criticism from a whole diverse range of people, as everyone is
entitled to their own opinion and will react differently. They all have their own story to
tell and can appeal to different types of people.