The audience are often invited to look in a voyeuristic way, particularly at the human body and intimate moments, as they can enjoy a voyeuristic or scopophilic pleasure from doing so.
Goo Goo Dolls- 'Iris'
In this video the viewer is openly invited to look (as if) through a telescope at the narrative with Nicholas Cage and a woman. However, I think this is perhaps more a way of linking the performance with the narrative than to give the audience pleasure (sexual or otherwise) as the clips appear to be from a film, and so we just get an impression of seeing clips from a storyline that we are quite distanced from. There isn't really a voyeuristic element to this, I personally feel, as the lead singer, though looking at the characters through telescopes does not appear to do so with shame or his own sexual pleasure in mind, but in a sort of godlike/watching over them way. It seems more paternal, or like an omnipresent god keeping an eye on them.
Kylie Minogue- '2 Hearts'
In this video the audience is invited to watch Kylie as if they are in the audience and she is performing to them live in a seductive way. The eye contact accompanying her 'sexy' movements achieves this. The audience is being invited to get scopophilic pleasure from this video.
Sir Mixalot- 'Baby got back'
Theres alot of objectifying of the body in this video.
The way the women's bodies, not their faces, are what the camera is focused on, causes the audience to feel that their attention is also be drawn and focused onto these women's bodies. The camera tells the audience where to look, so when the camera is framed tightly on a woman's bum, then the audience feel that they are directing their own attention at the bum and hence are objectifying and watching the female body. This is also encouraged by the camera steadily zooming in closer to the body.
Showing posts with label analysis. Show all posts
Showing posts with label analysis. Show all posts
Wednesday, October 29, 2008
Example: 4. Demands of the record company...
Busted- 'What I go to School For'
Busted were a heavily marketed and commercial band, and therefore their record label would have had alot of say in the production of this video, particularly as it was the band's first video release. This makes it a very good video to look at in considering the techniques used to market and promote the actual band/artist through the music video.
Busted were a heavily marketed and commercial band, and therefore their record label would have had alot of say in the production of this video, particularly as it was the band's first video release. This makes it a very good video to look at in considering the techniques used to market and promote the actual band/artist through the music video.
- Loads of close-ups continuously of the band members here, particularly Charlie, and particularly through the performance section of the video. These provide good 'visual hooks' and are important in order to identify the performers to the audience. Direct adress also helps to achieve this identification here. This identification of the individual band members through these 'money shots' would have been especially important given that this was their debut video.
- Motifs such as 'the busted jump' (where all the band members jump with their guitars) can also be identified in this video, and can help to give the artist's videos a 'visual style'.
- The iconography of the band's image is also very solid, with their dress codes (rebelliously scruffy clothes; baggy jeans, sweat bands, badges, torn uniform, schoolboy ties- a bit of a visual trademark really), cheeky but not disgraceful behaviour (scruffy uniform, fancying a teacher, dropping a pencil on the floor so the teacher 'shows me more') and all three of them playing guitar together in the very low-slung fashion.
Example: 2. Relationship between lyrics and visuals...
The relationship is either:
- Illustration- where the lyrics are matched by the visuals (this is synchronous), however, this is not always done in a literal way and illustration could be symbolic. Often here the lyrics and narrative will go together tightly.
- Amplification- where new layers of meaning are added to the lyrics by the visuals.
- Disjuncture- where a contradiction occurs between the lyrics and image.
Avril Lavigne- 'Nobody's Home'
http://www.youtube.com/watch?v=Hbm4G_7rGzQ
(Sorry, embedding is disabled for this video)
This video I think is a good example of the relationship between the lyrics and visuals being illustrative, especially at the part where the homeless girl tries to call home, which indicates that she probably does 'want to go home'. However, it is a more symbolic relationship as someone picks up the phone, and therefore somebody is 'home'- so perhaps it is that 'nobody's home' in the way that she doesn't feel that she has a real 'home' to go to.
In this way the relationship is also one of amplification as it adds new meaning to the lyrics. We would not have necessarily linked the song with a story about a homeless girl who appears to have ran away from home for some reason without seeing the video.
Example: 1. Music Videos demonstrate genre characteristics...
Spice Girls- 'Wannabe'
This video, promoting the Spice Girls who were/are arguably the ultimate girl band, clearly demonstrates genre characteristics, such as:
This video, promoting the Spice Girls who were/are arguably the ultimate girl band, clearly demonstrates genre characteristics, such as:
- There are both individual and synchronised group dance routines.
- The individual group members breaking away and having individual moments where they are directly addressing the camera and performing with attention entirely on them.
- Lip-synching- though featuring in most genres' music videos, it is characteristic of the girl band/pop group to lip synch with no microphone or suggestion of the technical process of recording. The actual musical process is less important (generally) to these groups and their target audiences.
- Also recurrent themes such as fun and mischief making and female empowerment are genre characteristic of the girl band that can be seen here.
Slipknot- 'Duality'
This video, promoting a song by Slipknot, a metal band that are of a decidedly different genre to the Spice Girls demonstrates some clearly different genre characteristics.
- There is a big sense of a live performance, complete with all the equipment that would accompany this. This is a genre characteristic as the target audience for this group would be more into the musical process and probably seeing the band perform live.
- There is a far greater sense of realism with this video, reflected in the live performance and hand held camera style, that is common to this genre.
- Themes of chaos and anger/rage can clearly be seen here, that are common characteristics of this genre and the videos that accompany it.
Blink 182- 'All the small things'
I think this is a very interesting video in terms of genre characteristics of music video, as it is essentially mimicing and often mocking the characteristics of several other genres.
- This mocking and cheekiness is in fact characteristic of the playful, non-serious genre of 'pop-punk-rock' that Blink 182 conform to.
- When performing as 'themselves' they do so with the typical stage-style set up, including instruments, that is common to their genre. This is because their genre of music is also one that takes the musical and instrumental aspects more seriously.
Characteristics of other genres featured in the video:
- The boy/girl band- matching outfits (when leaving the plane at the beginning, and in the 'studio-performance' scene where they are wearing matching camouflage apparrel) are characteristic of this genre, as are the synchronised dance routines. Also the performances here are done so without microphones or musical equipment.
Wednesday, July 16, 2008
80s Videos
They're usually really low-budget (or at least would be to do now) and they're fun and usually really creative.
Duran Duran- Planet Earth
There is only one location for performance, but it is shot from many different angles and distances and therefore sustains interest. The frontman is very charismatic and the aesthetics of the band mean that the performance is visually engaging.
It is cut with some very surreal footage, in an almost-montagey format and includes shots of the band themself.
It is appropriate to the genre and time period as it is very ecclectic and surreal. It also fits with the 'planet earth' theme as it implies a sense of alien-ness.
I really like this video, and it would be so fun to do a song or style like it. Its very montagey and edited well to go with the music. I like the way the visuals totally reflect the tone of the song.
I would really have liked to do a video like this.
Duran Duran- Planet Earth
There is only one location for performance, but it is shot from many different angles and distances and therefore sustains interest. The frontman is very charismatic and the aesthetics of the band mean that the performance is visually engaging.
It is cut with some very surreal footage, in an almost-montagey format and includes shots of the band themself.
It is appropriate to the genre and time period as it is very ecclectic and surreal. It also fits with the 'planet earth' theme as it implies a sense of alien-ness.
I really like this video, and it would be so fun to do a song or style like it. Its very montagey and edited well to go with the music. I like the way the visuals totally reflect the tone of the song.
I would really have liked to do a video like this.
Tuesday, July 15, 2008
Music Video Analysis: George Michael
An analysis of the video for 'outside' by George Michael. It was the first video he released since he was outed following being arrested for comitting a 'lewd act' in a public toilet in the presence of an undercover cop.
URL: http://www.youtube.com/watch?v=da5uoggW9Eg&feature=PlayList&p=4F0172206D848CF8&index=1
It begins with a satirical clip of the beginning of what appears to be a German pornographic film. Its credits features such innuendous names such as 'Huu Jars' (i.e. 'huge arse') 'Heidi Kochenblauer' (i.e. 'koch' blower) 'Marchelo Uffenvanken'. This is clearly a rip off of the cheap and tacky films of this nature. The poor dubbing in the background also adds to this, with overtly sexual noises and also the almost sleazy, easy-listening jazz music.
There is an element of scopophilia as the male in the film visibly eyes up the female. She is also playing up to the camera i.e. us alot; i.e. when she fiddles with lips with her finger, directly addressing the camera. As she unties her top, the camera is tight on this, showing us effectively where and what he is looking at= scopophilia.
At this point it is significant that this is set in a toilet, and that the male had previously been innocently washing hands, only to be heavily seduced by the female; she even physically beckons him with her finger. This blantantly intentionally mirrors/relates to the situation that George Michael was in that lead to his arrest previous to this video. The fact that then a close up of her mouth as she blows a kiss at the camera loses focus only to regain focus as the mouth of a much less attractive, older policewoman who is holding her police badge at the camera and we hear sirens in the background. We have been put into George's position and been 'honey-trapped' and seduced and unfairly arrested. This directly addresses the event that George could either have taken to be very embarassing or made work for him. He is clearly resentful towards the situation and thinks himself treated unfairly.
The camera then switches to a more pizelated, blue-tones image of the policewoman, which cut out to a feedback-tinged blank screen as if a television has just lost signal. This plays on the theme of surveillance that runs through the video, particulaely CCTV-style surveillance. Also, before it cuts out there is a slight 'cinema-screen' liney disturbance to the picture (I am unsure of the technical name for it) which links with the 'Hollywood' theme as they are obviously notorious for film.
The word 'HOLLYWOOD' flashes up on screen, with the American flag 'running underneath' making up the actual text. The American anthem kicks in for a short time. This does not seem at all like a genuinely patriotic salute to the country. The Hollywood thing is clearly significant to the underlying theme of the video, that which is related to George Michaels own recent experience, which indeed occured in a toilet in Hollywood (which I have been to =) ).
Now we cut to a helicopter taking flight, which we assume is a police 'vehicle' as we can hear sirens in the background, and it is low-angle which further connotes that the vehicle is of authority. The fact that we see this before we see what has even happened, and the fact that the sound of the sirens and helicopter-chopping-noise appear to be cutting in over the music don't make us immediately sympathise with them. Especially as we think that the male seen previously was wronged by the police force.
Lots of slightly choppy angles from different cameras and make up of different movements (also alot of shots that appear to be shot from a helicopter), as well as shots of people watching and multiple cars being parked outside the toilet where the criminal activity is being carried out, as well as the numerous policemen physically moving the apparently non-resistant arrestee add to the sense of alot of hullaballoo being made out of something that does not seem to have so much police attention warranted, or indeed does not necessarily seem justifiably illegal.
Also, as the man is bundled into the police vehicle, the visuals juxtapose the lyrics 'go outside' as he in fact going inside, which could emphasise his now entrappment.
The 'heli-camera' then zooms out (slightly) of the scene of this man being arrested
The next two scenes are of a cliff-top and boat-top. They are introduced through cross cutting from one location to the other. At first the sweeping shots do not really reveal anything about what is happening in the location. They appear innocent shots sweeping over the sea and coast, or a boat. This is enigmatic, as we wonder at the significance of these shots, or perhaps are even second-guessing what will happen now. Both these establishing shots cut to a black and white, surveillance-style aesthetic which, coupled with the helicopter-style sweeping camera movement, and previous narrative in the video, gives the impression of police surveillance.
URL: http://www.youtube.com/watch?v=da5uoggW9Eg&feature=PlayList&p=4F0172206D848CF8&index=1
It begins with a satirical clip of the beginning of what appears to be a German pornographic film. Its credits features such innuendous names such as 'Huu Jars' (i.e. 'huge arse') 'Heidi Kochenblauer' (i.e. 'koch' blower) 'Marchelo Uffenvanken'. This is clearly a rip off of the cheap and tacky films of this nature. The poor dubbing in the background also adds to this, with overtly sexual noises and also the almost sleazy, easy-listening jazz music.
There is an element of scopophilia as the male in the film visibly eyes up the female. She is also playing up to the camera i.e. us alot; i.e. when she fiddles with lips with her finger, directly addressing the camera. As she unties her top, the camera is tight on this, showing us effectively where and what he is looking at= scopophilia.
At this point it is significant that this is set in a toilet, and that the male had previously been innocently washing hands, only to be heavily seduced by the female; she even physically beckons him with her finger. This blantantly intentionally mirrors/relates to the situation that George Michael was in that lead to his arrest previous to this video. The fact that then a close up of her mouth as she blows a kiss at the camera loses focus only to regain focus as the mouth of a much less attractive, older policewoman who is holding her police badge at the camera and we hear sirens in the background. We have been put into George's position and been 'honey-trapped' and seduced and unfairly arrested. This directly addresses the event that George could either have taken to be very embarassing or made work for him. He is clearly resentful towards the situation and thinks himself treated unfairly.
The camera then switches to a more pizelated, blue-tones image of the policewoman, which cut out to a feedback-tinged blank screen as if a television has just lost signal. This plays on the theme of surveillance that runs through the video, particulaely CCTV-style surveillance. Also, before it cuts out there is a slight 'cinema-screen' liney disturbance to the picture (I am unsure of the technical name for it) which links with the 'Hollywood' theme as they are obviously notorious for film.
The word 'HOLLYWOOD' flashes up on screen, with the American flag 'running underneath' making up the actual text. The American anthem kicks in for a short time. This does not seem at all like a genuinely patriotic salute to the country. The Hollywood thing is clearly significant to the underlying theme of the video, that which is related to George Michaels own recent experience, which indeed occured in a toilet in Hollywood (which I have been to =) ).
Now we cut to a helicopter taking flight, which we assume is a police 'vehicle' as we can hear sirens in the background, and it is low-angle which further connotes that the vehicle is of authority. The fact that we see this before we see what has even happened, and the fact that the sound of the sirens and helicopter-chopping-noise appear to be cutting in over the music don't make us immediately sympathise with them. Especially as we think that the male seen previously was wronged by the police force.
Lots of slightly choppy angles from different cameras and make up of different movements (also alot of shots that appear to be shot from a helicopter), as well as shots of people watching and multiple cars being parked outside the toilet where the criminal activity is being carried out, as well as the numerous policemen physically moving the apparently non-resistant arrestee add to the sense of alot of hullaballoo being made out of something that does not seem to have so much police attention warranted, or indeed does not necessarily seem justifiably illegal.
Also, as the man is bundled into the police vehicle, the visuals juxtapose the lyrics 'go outside' as he in fact going inside, which could emphasise his now entrappment.
The 'heli-camera' then zooms out (slightly) of the scene of this man being arrested
The next two scenes are of a cliff-top and boat-top. They are introduced through cross cutting from one location to the other. At first the sweeping shots do not really reveal anything about what is happening in the location. They appear innocent shots sweeping over the sea and coast, or a boat. This is enigmatic, as we wonder at the significance of these shots, or perhaps are even second-guessing what will happen now. Both these establishing shots cut to a black and white, surveillance-style aesthetic which, coupled with the helicopter-style sweeping camera movement, and previous narrative in the video, gives the impression of police surveillance.
Saturday, July 5, 2008
Music Video Analysis
My Chemical Romance's 'Welcome to the Black Parade'
URL: http://www.youtube.com/watch?v=S5nw1-_5-Vk
1. I am analysing 'Welcome to the Black Parade' by the band 'My Chemical Romance'. It was directed by Samuel Bayer.
The music belongs to the 'alternative rock' genre, and often categorised into the sub-genre 'emo'.
The video is highly stylised, with especial attention paid to the presentation of the band. They are all kitted out in matching 'marching band' outfits. The people marching behind the band are all clad in black, and the video is shot in black and white. The main narrative in the video (following the man in the hospital gown) is quite surreal, unclear and very dark; he begins by writhing around in a hospital bed surrounded by several old-fashioned-clothed nurses and we do not know what is happening to him or where he is, which is unnerving.
There is a strong sense of solidarity in the large crowd of people following behind the band in the 'parade' which adds to the sense of this implied in the lyrics with the repetition of 'let's' and 'we'. It makes the viewer feel involved and close to the band/song and the other fans, which is a key component in the success of the emo genre.
This type of visuals is very common to the genre of the music.
URL: http://www.youtube.com/watch?v=S5nw1-_5-Vk
1. I am analysing 'Welcome to the Black Parade' by the band 'My Chemical Romance'. It was directed by Samuel Bayer.
The music belongs to the 'alternative rock' genre, and often categorised into the sub-genre 'emo'.
The video is highly stylised, with especial attention paid to the presentation of the band. They are all kitted out in matching 'marching band' outfits. The people marching behind the band are all clad in black, and the video is shot in black and white. The main narrative in the video (following the man in the hospital gown) is quite surreal, unclear and very dark; he begins by writhing around in a hospital bed surrounded by several old-fashioned-clothed nurses and we do not know what is happening to him or where he is, which is unnerving.
There is a strong sense of solidarity in the large crowd of people following behind the band in the 'parade' which adds to the sense of this implied in the lyrics with the repetition of 'let's' and 'we'. It makes the viewer feel involved and close to the band/song and the other fans, which is a key component in the success of the emo genre.
This type of visuals is very common to the genre of the music.
Wednesday, July 2, 2008
Interesting Album Covers + Some Analysis
CD Album Covers
System Of A Down: Steal this album!
Manic Street Preachers: The holy bible
Manic Street Preachers: This is my truth tell me yours
Yeah Yeah Yeahs: Show your bones
System Of A Down: Steal this album!
Manic Street Preachers: The holy bible
Manic Street Preachers: This is my truth tell me yours
Yeah Yeah Yeahs: Show your bonesHighly colourful, vibrant: simple and eyecatching but also with engaging textures that add depth to image- looks textures and tactile and makes you want to touch/grab it. The vertical pattern makes up 'YYY' which is really nice and subtle branding for the band and also could represent a ribcage-shape to complement the title 'show your bones'.
Clashing colour combinations of orange, yellow and orange add to the 'eye-catchability' of the cover also.
On further investigation, it appears that the Yeah Yeah Yeahs ran a competition for fans to design a flag that may be incorporated into the cover or the artwork. They then decided to go with the artwork of a professional; Julian Gross from 'The Liars' instead, and this image is a small section of a flag designed by him. Some of the fans' artwork is included on the artwork in the accompanying booklet. Interview: http://www.prefixmag.com/features/Y/yeah-yeah-yeahs/393.
This is a very interesting way of making the fans feel involved with the band, however, and promote the image of the band as being close to their fans.
Spandau Ballet: Gold (the best of..)
Marilyn Manson: Mechanical animals Very androgenous and alien figure (nipples apparently originally used but decided against in order to emphasise this androgeny and alien-ness) which fits entirely with Marilyn Manson's self-branding. With his videos, and to some extent music, it seems he intentionally tries to create disturbing/futuristic imagery and also create controversy. In that respect, this cover-image of him in full-body latex, including prosthetic breasts, with crazy makeup, certainly fits the MM brand and sells this aspect of him well.
The plain, enigmatic background serves to displace the figure from any particular place or time, which further adds to the way it makes up question the gender and species of the image, as there are few other aspects that we could connote meaning from in the image. The sterile and grey nature of the background, as well as the cold, slightly harsh lighting also add to the futuristic and disturbing atmosphere of the image. It also ties in with the sterile 'mechanical' theme of the title.
Pink Floyd: Meddle
Duran Duran: Rio
Placebo: Sleeping with ghosts
Johnny Cash: The man comes around: American IV Released in 2002, and the last album released by cash during his lifetime, the simplicity and understatement of the big 'CASH' at the top and a relatively small image is made effective by the sheer icon-status of the man. This album does not need even his full name, and this is clear by the impact of the only four letters on the cover. Anyone that matters, upon seeing this cover, would know who the artist was, and probably by now a large proportion would know the name of the album, despite it not explicitly being stated on the cover.
The image, being highly shadowed and in black and white, almost blends in the the plain black background. However, largely owing to his icon-ishness and the respect felt towards him by almost all fans of [good] music, and given the proximity to inevitable death that this was released, it is a very powerful image. An almost indiscernable, enigmatic expression rhetorates Johnny Cash's effortless impact and permanent importance.
HIM: Deep shadows and brilliant highlights
Mr Bungle: Disco volante
Faith No More: Angel dust
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