Saturday 8 July 2017
Wednesday 5 July 2017
The history of music video (3) and notes from class
An example of a home video style music video, with no cuts, is Fatboy Slim - Praise You
An example of a one take music video, which does not feature the artist in it, is Wiley - Money in my Pocket
Wiley - 'Cash In My Pocket' from Ben Moulden on Vimeo.
Goodwin's Music Video Analysis
Andrew Goodwin writing in 'Dancing in the Distraction Factory'. (Routledge, 1992)
1) Music videos demonstrate genre characteristics
2) There is a relationship between lyrics and visuals
3) There is a relationship between music and visuals - largely to do with editing
4) The demands of the record label will include the need for lots of close ups of artists and the artist may develop motifs which recur across their work - a visual style
5) There is frequently reference to notion of looking (screens within screens) and particularly voyeuristic treatment of the female body
6) There is often an intertextual reference - to films, tv programmes, etc.
Reference for intertextuality: Orange's advert featuring Snoop Dogg - references the film and music industry
Stylistic intertextuality - by imitating the style of a film, tv genre or video game
Contemporary intertextuality: Madonna - Material Girl makes reference not necessarily to Marilyn Monroe but to the archetypal Hollywood blonde who uses her looks < references a 'Diamond's are a Girl's Best Friend'
The purpose of intertextuality:
John Stuarts description of the music video 'incorporating raiding, reconstructing' is essentially the essence of intertextuality.
An example of a one take music video, which does not feature the artist in it, is Wiley - Money in my Pocket
Wiley - 'Cash In My Pocket' from Ben Moulden on Vimeo.
Goodwin's Music Video Analysis
Andrew Goodwin writing in 'Dancing in the Distraction Factory'. (Routledge, 1992)
1) Music videos demonstrate genre characteristics
2) There is a relationship between lyrics and visuals
3) There is a relationship between music and visuals - largely to do with editing
4) The demands of the record label will include the need for lots of close ups of artists and the artist may develop motifs which recur across their work - a visual style
5) There is frequently reference to notion of looking (screens within screens) and particularly voyeuristic treatment of the female body
6) There is often an intertextual reference - to films, tv programmes, etc.
Reference for intertextuality: Orange's advert featuring Snoop Dogg - references the film and music industry
Stylistic intertextuality - by imitating the style of a film, tv genre or video game
Contemporary intertextuality: Madonna - Material Girl makes reference not necessarily to Marilyn Monroe but to the archetypal Hollywood blonde who uses her looks < references a 'Diamond's are a Girl's Best Friend'
The purpose of intertextuality:
John Stuarts description of the music video 'incorporating raiding, reconstructing' is essentially the essence of intertextuality.
The history of music video (2) and notes from class
Camera movement may accompany movement of performers (walking, dancing, etc.) but it may also be used to create a more dynamic feel to stage a performance, for instance by constantly circling the band as they perform on stage.
The close up does predominate, as in most tv, partly because of the size of the screen and partly because of the desire to create a sense of intamicy or the viewer.
Techinical Codes - Editing
Through the most common form of editing associated with the music promo is fast cut montage, rendering many of the images impossible to rasp on first viewing thus ensuring multiple viewing, there are videos which use slow pace and gentler transitions to establish mood.
This is particularly apparent for the work of many female solo artists with a broad audience appeal.
Often enhancing the editing are digital effects which play with the original images to alter different kinds of pleasure or the audience. This might take the form of split screens, colourisation and block buster film from style CGI.
Example: (The Verve - Bittersweet Symphony)
Cinematography:
- Tracking backwards with performer in centre of frame
- Hand held close ups
- Over the shoulder
- POV shot of girl in the eyes of performer
- Low angle mid shot of group of men
- Depth of field (focusing on him as a performer)
Editing:
- Cuts every 2-6 seconds
- Blue filter/negative saturation to portray cold and moody atmosphere
- Uses continuity editing for seamless cuts
Development of technical codes
The key innovation in the development of the modern music video was, of course, video recording and editing processes along with the development of a number of related effects such as chroma key or green/blue screen.
The advent of high quality colour video recorders and portable video cameras enabled many pop acts to produce promotional videos quickly and cheaply in comparison to the relatively high costs of using film.
In the 1990s, a number of technical codes became common:
- Most common form of editing associated with the music promos is a fast cut montage
- Many images are impossible to grasp on fast viewing thus ensuring multiple viewing
- Split screens, colourisation are also commonly used effects
- Non - representation techniques in which the musical artist is never shown, became more common
- Lack of edits; long takes/steadycam a common experimentation
- However as the genre developed,music video directors increasingly turned to 35mm film as the preferred medium, while others mixed film and video
- By the mid 1980s, releasing a music video accompanied by a new single had become the standard
The close up does predominate, as in most tv, partly because of the size of the screen and partly because of the desire to create a sense of intamicy or the viewer.
Techinical Codes - Editing
Through the most common form of editing associated with the music promo is fast cut montage, rendering many of the images impossible to rasp on first viewing thus ensuring multiple viewing, there are videos which use slow pace and gentler transitions to establish mood.
This is particularly apparent for the work of many female solo artists with a broad audience appeal.
Often enhancing the editing are digital effects which play with the original images to alter different kinds of pleasure or the audience. This might take the form of split screens, colourisation and block buster film from style CGI.
Example: (The Verve - Bittersweet Symphony)
Cinematography:
- Tracking backwards with performer in centre of frame
- Hand held close ups
- Over the shoulder
- POV shot of girl in the eyes of performer
- Low angle mid shot of group of men
- Depth of field (focusing on him as a performer)
Editing:
- Cuts every 2-6 seconds
- Blue filter/negative saturation to portray cold and moody atmosphere
- Uses continuity editing for seamless cuts
Development of technical codes
The key innovation in the development of the modern music video was, of course, video recording and editing processes along with the development of a number of related effects such as chroma key or green/blue screen.
The advent of high quality colour video recorders and portable video cameras enabled many pop acts to produce promotional videos quickly and cheaply in comparison to the relatively high costs of using film.
In the 1990s, a number of technical codes became common:
- Most common form of editing associated with the music promos is a fast cut montage
- Many images are impossible to grasp on fast viewing thus ensuring multiple viewing
- Split screens, colourisation are also commonly used effects
- Non - representation techniques in which the musical artist is never shown, became more common
- Lack of edits; long takes/steadycam a common experimentation
- However as the genre developed,music video directors increasingly turned to 35mm film as the preferred medium, while others mixed film and video
- By the mid 1980s, releasing a music video accompanied by a new single had become the standard
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