16 October 2011
Research: Music Video
This music video by David Guetta and Usher uses special effects such as the ground thumping ((1:24) and cement cracking (1:26) in order to connote the heaviness of the beat. This meets the audience's needs as they would be concerned with how easy the song is to dance to due to the nature of the genre of 'Without You'. In my video, I will pay particular attention to how the way that I edit and film my footage matches the genre.
Looking at Conventions of Genre
I looked at my foundation portfolio work from last year and took freezes so that I could compare them to shots of a similar genre. For this, I used Girl, Interrupted and The Notebook. This helped me to understand conventions of genre which will then help me make a music video with a suitable narrative.
15 October 2011
Michael Jackson v Alien Ant Farm - Smooth Criminal
To build upon my understanding of the development of music videos, I have looked at the differences between Michael Jackson's video for Smooth Criminal (1988), and Alien Ant Farm's cover (2001).
The balance between narrative and performance is similar in that both videos are primarily performance. Michael Jackson's uses a 'barfight' narrative whereas AAF replace this with Michael Jackson references (which would require Barthes' referential code to fully appreciate).
These intertextual references include AAF doing dance moves like Michael Jackson (anti-gravity lean, Thriller routine), eyes which mimic the eyes at the end of Thriller, and lit up paving slabs as seen in Billie Jean, to name a few.
In terms of the tempo, AAF's cover is faster. This is more contemporary and suits the target audience as bands such as AAF and Blink-182 were very popular at this time as they represented anti-establishment. In the original, the tempo changes throughout as it goes slower while Michael Jackson stops singing. This connotes that the world is dull without him and creates a need for him while also emphasising his performance.
AAF perform in a boxing ring which refers to the barfight scenario seen in the original. The high saturation signifies a lack of seriousness and more care free.
This task has shown me how fashion within music and videos changes over time, and therefore that the institution has to tend to this in order to successfully interpret the audience's needs.
The balance between narrative and performance is similar in that both videos are primarily performance. Michael Jackson's uses a 'barfight' narrative whereas AAF replace this with Michael Jackson references (which would require Barthes' referential code to fully appreciate).
These intertextual references include AAF doing dance moves like Michael Jackson (anti-gravity lean, Thriller routine), eyes which mimic the eyes at the end of Thriller, and lit up paving slabs as seen in Billie Jean, to name a few.
In terms of the tempo, AAF's cover is faster. This is more contemporary and suits the target audience as bands such as AAF and Blink-182 were very popular at this time as they represented anti-establishment. In the original, the tempo changes throughout as it goes slower while Michael Jackson stops singing. This connotes that the world is dull without him and creates a need for him while also emphasising his performance.
AAF perform in a boxing ring which refers to the barfight scenario seen in the original. The high saturation signifies a lack of seriousness and more care free.
This task has shown me how fashion within music and videos changes over time, and therefore that the institution has to tend to this in order to successfully interpret the audience's needs.
The Buggles: Video Killed the Radio Star
Being the first MTV music video to ever be aired in August 1981, it is clear to see how videos have developed over the years. This gives me insight into the history of the music video and shows me that performance within music videos has been consistently common and popular with the audience since the beginning, even if they are often a hybrid-genre between performance and narrative.
Narrative: Meeting the Audience's Needs
The success of many videos is due to the institution meeting their audience's needs. It is important to understand the target audience and therefore what they are wanting from a product. In some music videos, the narrative is based upon struggles and overcoming them - a popular theme for young adults. This kind of narrative can be seen in the following music videos, despite being of various genres:
Narrative: Genre
In music videos, there are three different genres within the narrative.
1. Performance - the video shows the song being performed
2. Narrative - the video is made up of a storyline
3. Experimental - the codes and conventions of the genre are challenged, with a unique piece being produced at the end, as seen in Red Hot Chili Peppers' 'Can't Stop' video.
1. Performance - the video shows the song being performed
2. Narrative - the video is made up of a storyline
3. Experimental - the codes and conventions of the genre are challenged, with a unique piece being produced at the end, as seen in Red Hot Chili Peppers' 'Can't Stop' video.
Narrative: Barthes' Codes
Roland Barthes (1990, originally published 1973) defined five narrative codes:
1. Hermeneutic code - offering a puzzle to the audience with a delayed (or occasionally unanswered) answer.
2. Proairectic code - a series of logical consequences stemmed from a particular event.
3. Semic code - the connotations which are suggested by characters, objects, and settings, which are likely to be suited to the narrative.
4. Symbolic code - the binary oppositions and conflict between opposing forces in the narrative.
5. Referential code - the knowledge and ideologies that the audience brings to the film which aids understanding of the narrative e.g. in spoofs
Katy Perry feat. Kanye West - E.T.
To help me to understand these codes, I have studied and analysed Katy Perry and Kanye West's music video to 'E.T.'.
I found that the hermeneutic code applies to this video as the audience is left unaware of who these characters are, where they are, and what species they are. From 3:55, there appears to be some form of a conclusion or answer by the human removing his astronaught suit, while Katy Perry's character morphs into a faun-like creature. However, as the audience do not understand the narrative at the start, the coda has little to offer as an answer.
The semic code could also be applied in that the setting of space connotes the sci-fi narrative.
1. Hermeneutic code - offering a puzzle to the audience with a delayed (or occasionally unanswered) answer.
2. Proairectic code - a series of logical consequences stemmed from a particular event.
3. Semic code - the connotations which are suggested by characters, objects, and settings, which are likely to be suited to the narrative.
4. Symbolic code - the binary oppositions and conflict between opposing forces in the narrative.
5. Referential code - the knowledge and ideologies that the audience brings to the film which aids understanding of the narrative e.g. in spoofs
Katy Perry feat. Kanye West - E.T.
To help me to understand these codes, I have studied and analysed Katy Perry and Kanye West's music video to 'E.T.'.
I found that the hermeneutic code applies to this video as the audience is left unaware of who these characters are, where they are, and what species they are. From 3:55, there appears to be some form of a conclusion or answer by the human removing his astronaught suit, while Katy Perry's character morphs into a faun-like creature. However, as the audience do not understand the narrative at the start, the coda has little to offer as an answer.
The semic code could also be applied in that the setting of space connotes the sci-fi narrative.
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