Narrative and Performance

Steve Archer had a theory in 2004 and stated that often music videos will cut between a narrative and a performance of the song by the band. The music video for 'Gives You Hell' by All American Rejects fits this theory. For the artist is part of the story acting as a narrator and participant at the same time. Lip sync close ups are the miming of the playing instruments remains at the heart of music videos, as if to assure the band can really kick it. Also in Steve Archer's theory he mentions that a carefully choreographed dance might be part of the artist's performance, but that can not be applied to this music video. 


The narrative of this music video is a linear-narrative and is about two neighbours and one house being neat and calm and one being wild and fun. At the beginning of the narrative this is immediately clear by the colour codes used. One house is colourful and vibrant, which looks energetic and lively. In contrast the other house is in calm neutral colours suggesting plain ordinary and boring personality. The setting of the first minute of the music video is set at night time, which fits the lyrics, 'I wake up every evening'. The neighbours in the brightly coloured house are then performing the song, which ties in performance into the narrative. The lead singer of the band is the main character in the narration, and both 'neighbours' are played by him. 


Without the music video, the song may be interpreted as being about the emotions felt when there is hatred, such as after a break up or after a fight. When seeing the music video with the song, people may have different reactions to the deeper meaning. The lead singer plays two main characters, the man living in the fun house, and the man living in the perfect house. This may represent two different sides of himself, maybe what he is like and what he aspires to be like. 


The visuals narrate the lyrics throughout, such as, 'and where's that shiny car, did it ever get you far?' The miss-en-scene denotates a perfect house, new car, a smartly dressed successful couple with the wife making freshly squezzed lemondade. The connotations of this is the American Dream is not as great as it seems, because life is meant to be fun and exciting too. At 1.08 the man who is from the perfect house starts singing, ''Do you know where you are? And truth be told I miss you, and truth be told I'm lying'. This backs up the idea that the narrative is about two different sides of one person.
There is also a shot of homemade lemonade being poured, and then a shot of music being turned up louder, contrasting lives. This music video is a perfect example of music videos cutting between narrative and performance. 

Genre Cycles (Steve Neale)

Steve Neale - Genre Cycle on Prezi


Although I have shown the genre cycle of horror films in my above explanation, this concept can be applied to music videos too. It can in fact be applied to any media text, I have looked at a variety of youtube music videos and have been applying Steve Neale's theory of the genre cycle, and I think it is a great way to explain the different approaches to making different verions of text of the same genre.

Sven E Carlsson Theories

Sven E Carlsson's theory is that binary oppositions drive the narration of the music video forward, e.g black and white theme. Also that there are two main types of music video; performance and conceptual. Performance clips where the video mainly shows an artist (or artists) singing and/or dancing. Conceptual clips are where something else is shown during the song's duration which may have symbolism or an artistic meaning.

Performance Clip

There are three main types of performance clip; song performance, dance performance and instrumental performance. A way of telling if a music video is a performance clip is that the artist is likely to be shown in more than one setting.

In performance clips the artist (artists) can be used as a commercial exhibitionist. An example of this is Nichole Scherzinger's music video for 'Try With Me'. Here, Nichole has been used as a selling item who people would aspire to be like. High key lighting is used throughout and an elegant luxurious setting makes the video appear high quality throughout. As the commerical exhibitionist Nicole wants success therefore evokes the charisma of stardom and sexuality. There are no backing dancers or special effects, all focus is on her and she is using suggestive body language in an elegant white (symbolic of purity and wealth) dress.

Another type of performance clip is the electronic shaman, and an example of this is The Maccabee's music video Pelican. The artist is invisible and it is only their voice that anchor the visuals. The video has a unique video for it shows objects being split into two and also shows abstract shapes. The video is symbolic of looking into the world for it seems to be cut up, and then at the end the narrative reverses back to the beginning. This shows an artist approach to the band's music video whilst also showing a narrative.




A type of performance clip is also a telivised bard, and an example is Radiohead's music video Just. Here the group are shown performing, but they are not involved in the narrative shown. The artist is a singing storyteller, and uses on screen images instead of inner, personal images. There is a clear narrative in the music video, which illustrates the lyrics perfectly. The narrative is about curious people asking questions who end up getting themselves into a mess too, hence fitting the lyrics, 'you do it to yourself'.

Narrative Clip

An example of a narrative clip in terms of Carlsson's theory is The A Team by Ed Sheeran. The music video is understood as a silent movie to a musical background hence it is a narrative clip. The story is easy to follow and contains no lip-synchronisation. The narrative in this video is about a women who's life is messed up and she sells love to men for money for drugs. The video is in mainly low key fitting the upsetting storyline.

Art Clip

An example of an art clip is Massive Attack's music video for Teardrop. The music video is very abstract with emerging shapes, focused around a baby in a womb. The artist is invisible and it is only their voice that anchor the visuals. The visuals switch between multiple shapes, and this is compliments the music of being an experimental genre. A variety of shots have been used such as extreme close ups followed by emerging darkness. There are visual binnary oppositions throughout such as high key then low key tone. There are also conceptual binnary oppositions throughout such as life (developing baby) and death (all black screen symbolising death). There is no perceptual visual narrative.

Hip Hop/Rap Conventions Parody

I recognised the typical conventions of Hip Hop/Rap music videos, and I made a parody video showing these conventions. I also got to practise using Final Cut Pro so I now know how the software works for when I plan to make my music video. 

 For the first shot I constructed a low angle close up shot, which is typical in hip hop/rap music videos to introduced the artist as being powerful. The location is on the stairs, because hip hop/rap videos are often set in urban settings. 

When people think of hip hop/rap music, drinking, clubbing, smoking and drugs are often associated, because of the stereotypical view from society. Therefore I did a shot of the bouncy ball (artist) in an arcade, giving the impression he may be clubbing. 

Hip hop/rap music videos often show a male artist surrounded by women dressed in suggestive clothing. In the short clip I made, I used two female figures to show this typical convention. I tried to film them typically behind the lead singer, and dancing, because they are often made to be seen in a sexual vulnerable way in Hip Hop/Rap music videos.

When people think of Rap or Hip Hop music videos, because of the lyrics, iconography such as an urban location is assumed. Therefore in one of the shots I used a location with fancy cars, and in another location I filmed graffiti on the wall in the background. Smoking and drinking are also associated with Rap/Hip Hop music videos, hence I took some mid-shots of the artist (bouncy ball) supposedly smoking and drinking alcohol.

Conventions of different genre music videos

I looked at the different conventions and iconography used in different music videos to define the genre. After looking at a variety of music videos for each genre, these are the repetitive features I noticed for each...


Pop

In Pop music videos the iconography that keeps being used is voyeurism, often of the main vocalist. Typical conventions include a dance routine a some point, often trying to be different by having interesting costumes, for example in Jessie J's Price Tag there is a dance routine section where she is a clown. Other conventions that define the Pop genre include lip syncing and the performance is often narrative based, with the visuals being used to illustrate lyrics. The lead singer is almost always present, wearing trendy clothes and dramatic makeup. High key lighting is often used at some point throughout the video, and the overall tone is often bright.

Rock

In Rock music videos the overall tone of the video is dark and quite low key, to give the video an edge and signify genre. The music videos are often very performance based and there is rarely dance routines or a strong narrative. A typical convention of rock music videos is seeing jumping around with guitars, live performances with lots of enthusiasm and energy. Iconography for rock music videos include the band members having piercings, tattoos and wearing dark clothes, which often matches the darker deep meaning of their song lyrics.

Indie
In most Indie music videos there is the iconography of Indie music videos having a casual dress code of jeans and a top. The music videos don't normally include lots of special effects and seem to have quite a low production value, because of how Indie music originated. Indie music videos are often half narrative-based and half performance-based, but it can vary a lot from one Indie band to another. It is conventional for Indie music videos to have some odd shots or clips that don't illustrate the music and have a symbolic meaning or represent something. Some arty strange aspects of Indie music videos don't represent anything and the band felt like adding it in, for it is stereotypical for Indie artist(s) to be portrayed care free.

Hip-hop/Rap
A iconographic element of the mise-en-scene is that in hip-hop/rap genre music videos, they tend to be set in an urban location, often around graffiti and big buildings. Conventionally a lot of low angle shots are used to make the artist(s) be shown as superior and powerful, as well as asserting authority. Dress code for hip-hop/rap genre music videos stereotypically includes hoodies and hats. There is often voyuerim used and music videos tend to have a lot of lip syncing. Even if there is a strong narrative and it is not all performance based, the lead artist tends to be featured a lot. Clubs, smoking, alcohol, drugs are also stereotypically often found in a hip-hop/rap music video.

Album cover print analysis

Angel - Wonderful

This album cover has been constructed to look like ripped up images and letters out of magazines, which makes the artist come across as artistic and fun. It also differentiates itself on the market to other albums with one photo and the album title, which is very common for this genre of music (R&B). The album is targeted at teenagers and young-adults, but the artist and modern composition of the album may attract a wider audience of younger children and adults.

The large central image of the artist looking directly at the camera with a serious expression asserts seriousness and confidence. The high-contrast photography make the eyes, cheekbone and bottom lip of the artist eye-catching. The denotation of the perhaps 'sparkling' eye, has the connotation that he may be 'wonderful' (title of album), because eyes are known to be the key to the soul. Therefore the technical codes used make the artist comes across as powerful by his captivating strong glare in a close up shot.

In the other photos of the artist on the album cover, there is one of him looking serious which is quite simple to see.  The two images bottom left of the artwork are of the artist laughing and having a good time. The happier images of the artist are under the 'ripped up' effect and are not as noticeable when first looking at the album. The composition of photographs is symbolic of the artists personality, that he takes his music seriously but underneath he is a fun energetic happy man.

The bold typography of the album title 'Wonderful' is colourful and every letter has a different colour scheme and font, working with the background of the album cover this reinforces the look of a magazine being cut and ripped up. This signifies the artist as an edgy artist and compliments the music's variety of instruments and effects used.

In the bottom left hand corner there is a black background with dark grey text in a font which is likely intended to look like handwriting. On top of that background in bold white there is 'Angel', the artists name. I think this is intended to look like the artist's signature to give the album a personal effect. Above the artist's name to the left is the logo of the ace of spades, and there is also an ace of spades in the 'o' in the central typography. In popular myth and folklore it is known as the death card. On one of the ace of spades in the album artwork there is a smiley face drawn on the shape, this could be seen as symbolic that this is an album to make people feel happier and that the artist has been through difficult times.






Ellie Goulding - Bright Lights

This album cover follows the typical construction of a female artist album cover, a posed image of the artist with the artist's name and album name on display. The artist is looking down and away from the camera with her head tilted back, hence portraying her as relaxed and peaceful, and arguably vulnerable. A shallow focus has been used so that the artist is the central gaze. This album cover has been used to attract a wide audience of teenagers to adults, and even children, anybody who is interested in calm, peaceful, soothing music.

The typography of the artist name and the ablum name is in a bright colour which looks like light, illustrating the album name 'bright lights'. There is high key lighting from behind the artist, and there are dots of orange and yellow (light) surrounding the central artist and text. The high key lighting contrasts with the shadows of the artist's hair (central right) and the dots used ontop as a layer, tie the picture together well. Also, by placing the artist in the middle of these two high contrasting sections, the artist is portrayed as being a neutral shade hence reinforces the calm and peaceful overall tone, implied by body language.

The artist's hair is blowing in the wind which has the connotations of romance. She has been represented as very feminin by her body language. The colour codes used for the artist's costume has been chosen carefully for she is wearing white. White is the colour symbolic of innocence, purity, goodness and light (fits well with album title). The photo may be interpretated as the artist taking a breath of fresh air, which fits the genre of music which is calm and uplifting. Another perspective is that the denotations of the technical codes used, composition, and typography may connotate the artist as an angel.




Two Door Cinema Club - Tourist History

 The colour scheme of this album cover is very contrasting, the top of the album cover is pitch black an the background gradually gets lighter, whilst a dark coloured cat is central of the cover with typography central gaze on top. The typography is bold in white, and represents the band as original and ready to make a statement.

The cat's eyes are the vocal point of this album artwork the green eyes have white in them looking as though the cat has been electrocuted or is electric. This promotes the genre of music well, because Two Door Cinema Club are an Indie-Rock band, and the electric look represents the electronic in the band's lively energetic music. The cat on a tiled floor is quirky and definitely original signifying the Indie genre. The cat may be seen as symbolic depending on the audience's demographics and psychographics. The preferred reading would be that the cat is symbolising independence, adventure, freedom and wildness.

The Wanted

This album has been constructed to attract quite a wide audience, because there isn't any strong conventions of a particular genre. The overall tone of the album is quite low key with costume and setting being dark tones, this makes the artists and the typography stand out with higher contrast. The effect of all of the band wearing the same colour makes them look united and symbolises that they stick together. They are all wearing black and black symbolises strength and power. Sven E Carlsson's theory can be applied that this is a performance clip for the artists are being sold as commercialists. The selling point of this album is the band members for all focus is on them. Therefore the primary audience would be young people and pop music fans, and the secondary audience would be people who find the album cover attractive. 
All of the band members are looking directly at the camera except for one member at the back in the middle who is looking to the viewers right. This could be for a dramatic effect to differentiate him from the group. Perhaps signifying that he has a more emotional connection to the lyrics of the song than the other band members. The body language of serious expressions compliments the colour code used and reinforces the message that they are strong and powerful and take there music seriously. Whilst also hoping to catch the audiences attention.

The setting of the photograph is in a car, and a black bag is in the foreground. This could represent the band escaping. Promoting the idea of the uses and gratification theory, that the audience could use the album to fulfil the need of escapism.

Textual Analysis

I am analysing 'Summertime In The City' by Scouting For Girls. I am going to apply Andrew Goodwin's framework of key features which distinguish the music video as a form (1992). The music video was directed by Remy Cayuela. The genre of this song is clearly Pop, and this is known by the catchy, repetitive lyrics and beat. Also there is a moderate tempo with a sexual nature to the song, which would usually attract teenagers and young adults.

The lyrics for the song are about youth having fun in the British summer. The visuals illustrate many of the lyrics, such as at 1.18 "Boys go silly" there is a mid shot of a boy in swimming trunks and sunglasses in the pouring rain making a sandcastle out of mud on the grass. Although, the visuals also contradict the lyrics such as at 1.06 "Here comes the summer" is repeated whilst people are sunbathing and it starts heavily raining. This is for a comedy effect for it reflects the unreliable British summer weather. Also it represents Brits as wanting to have fun no matter what the weather is like.

There is also a strong relationship between music and visuals. At the very beginning of the music video there is a piano solo which is shown in the visuals by using a close up shot, and when the drums kick in there is a shot of the drums too hence making a very smooth introduction. The video cuts to the beat to some extent, but the most noticeable part where there is a relationship between music and visuals is at 1.55. A man spills a drink on a woman and the music stops with the lead singer pulling a puzzled expression, added sound effects of a rewind noise heighten the emotion of clumsiness. This again is to imply humour and reinforce the repeated line throughout, 'boys go silly'!

The record company is looking to sell this track by representing Scouting For Girls as young, fun and having a good time. The brand image of the band is centralised by the lead singer, for throughout the music video there are many close ups of him. In the close ups of the lead singer the majority of the time he is looking directly at the camera, whilst using a shallow focus when other band members are in the background, making the lead singer the central gaze.

The notion of looking in the music video highly shows voyeurism, which is introduced early into the video at 0.18 where a woman who is wearing a pencil skirt and shirt is walking, and a high angle tracking shot is used to make her seem vulnerable. This is followed by a quick extreme close up of the woman's chest whilst she is unbuttoning her shirt. Later on at 1.44 a long shot is used to show the women in a bikini led down in the rain with her head back using a fan. Hence the change in costume and the women's body language portrayed by camerawork shows city women becoming more sexually displayed in the summer. At 2.00 another high angle tracking shot is used to follow a line of girls putting sunscreen on each others backs in a line. This once again shows women in a vulnerable sexual display and is a typical convention of women in pop genre music videos hence meets the target audiences expectations.

The music video is half performance-based and half narrative-based. There is not a strong narrative to the video for there is a lot of visuals purely to fit the lyrics, because there is not a deeper meaning to the lyrics. The music video helps simply to reinforce the brand image of Scouting For Girls being fun loving and not taking life to seriously.

In conclusion this music video has all the typical conventions of a pop genre music video, including bright colours, main emphasis on the lead singer, girls dancing around and many visuals matching lyrics. Therefore, Scouting For Girls' video can be applied to Andrew Goodwin's theory and be distinguished as being constructed in pop genre form. The iconographic use of voyerism and the half narrative-based video portray the band as being easy going, looking for fun, and enjoying life. Also, the video also uses humour about the British weather, hence young people would easily relate to this video.