Choosing my different music videos
After finding suitable music videos examples for synergy, concept, performance and narrative I went through and analysed them. Splitting up the analysis into:
- Camera shots, angles, movements and composition
- Editing
- Sound
- Mise-en-scene - location, set design, costume and makeup, props and lighting
My Narrative Music Video Choice:
Girls Like Girls by Hayley Kiyoko.
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Artist: Hayley Kiyoko
Album: This Side of Paradise Released: 2015 Genre: Pop Producer(s): James Flannigan Songwriter(s): Hayley Kiyoko; Owen Thomas; Lily-May Young |
My Analysis of this music video:
Script for this music video:
(Let music video play at start) The music video Girls Like Girls by Hayley Kiyoko has a strong sense of circular narrative. For this analysis I will mainly be focussing on different narrative theories as it makes it easier for viewers to understand why the directors chose certain techniques. (Directors names on music video) Directed by both Hayley Kiyoko and Austin Starrett Winchell, they show this style of narrative by the beginning sequence of the video being used at the end. (Show end sequence) In the ending sequence we see that the main character - Coley (played by Stefanie Scott) has grazed her face and we also see this at the beginning (Show beginning sequence) we see her riding her bike with the same wound.
This music video is a good example of Vladimir Propp's character theory. The narrative contains three-character types: the hero (Coley) (short clip of her), the villain (Trenton played by Hayden Thompson) (short clip of him) and the princess/prize (Sonya played by Kelsey Asbille) (short clip of her). The music video follows this theory by the narrative following the hero, the disruption caused by the villain and the princess being a love interest to the hero and a side character.
Based on Andrew Goodwin's theory on key codes and conventions, Girls Like Girls has a typical key convention of having iconography and a music video style connected to a specific music genre, in this case indie-pop. (Start going up to when they pull up to house on bikes) Iconography can be seen in the mise-en-scene, with the use of the vintage bike props. (Smoking scene) The genre is represented through the use of colour. The typical use of soft pastel like colours is often used in indie music videos.
Before the music video starts there is an establishing aerial shot that shows long roads, this foreshadows the sense of depth and freedom (play end of video) that comes at the end of the music video (again anticipating the circular narrative).
The narrative fits Tzvetan Todorov's theory on circular narrative; he stated that narrative has 5 steps. These are:
(scene when they are smoking) In the equilibrium section of the music video, the two girls and a guy are hanging out. The bond between the two girls is focused on through the use of slow shot movements in tight framings which contain extreme close ups. The closeness of the camera and the eyeline match signifies the closeness and intimate nature of the girls.
(Makeup scene) The mise-en-scene also helps to establish the girls relationship in the video. The colour tones depict whether or not an environment is safe. A harsh yellow tone is used here symbolising an unsafe environment, rather than the previous scene where more pastel orange tones were used, connoting warmth.
(Sofa scene) In the disruption section of the narrative the guy starts to become jealous of the two girls, and is constantly breaking up intimate moments between them, getting more forceful as the video continues. This is emphasised through the editing and camera shots in the music video. After every intimate close up between the girls there is always a medium long shot showing all three characters, to demonstrate the guy breaking up the girls’ affectionate moments. An example of this is when he harshly pulls the love interest off the sofa, the harshness of this gesture is amplified by the quick cuts and the shot reverse shot.
(Sat by pool) The realisation of the issue comes when the two girls are about to kiss. When the guy sees this he forcefully pulls the main character by her hair and tosses her across the garden, once again separating the two girls. The other girl - Sonya (a romantic interest to both the other characters) is then shouted at by Trenton. (Trenton yelling) Everything has become hectic at this point as he forcefully yells at her in the one of the only diegetic parts of the music video - "don't look at her look at me!" (play scene from music video). This will captivate the audience's attention away from the non-diegetic sound, making them have more emotion towards the narrative storyline.
(Coley hitting Trenton) There is restored order when the girls attempt to repair the damage caused by the jealous male character. In the music video Coley (the protagonist) fights the anti-agonist (Trenton) for the love of the girl. The director uses a low camera angle to connote that Coley is more dominant and thus foreshadows her win.
(Sonya pulls Coley of off Trenton) The final part of the theory is equilibrium (again). In this section the two girls share an intimate moment and kiss. The ending then becomes the beginning as we see the main character in the same shot as the first sequence riding her bike with the same graze on her face, but this time the character is smiling. The body language is emphasised by the close-up shot on the actress’ face as well as the background being blurred and the foreground (her face) being in focus, drawing the audience's attention to it.
This music video is a good example of Vladimir Propp's character theory. The narrative contains three-character types: the hero (Coley) (short clip of her), the villain (Trenton played by Hayden Thompson) (short clip of him) and the princess/prize (Sonya played by Kelsey Asbille) (short clip of her). The music video follows this theory by the narrative following the hero, the disruption caused by the villain and the princess being a love interest to the hero and a side character.
Based on Andrew Goodwin's theory on key codes and conventions, Girls Like Girls has a typical key convention of having iconography and a music video style connected to a specific music genre, in this case indie-pop. (Start going up to when they pull up to house on bikes) Iconography can be seen in the mise-en-scene, with the use of the vintage bike props. (Smoking scene) The genre is represented through the use of colour. The typical use of soft pastel like colours is often used in indie music videos.
Before the music video starts there is an establishing aerial shot that shows long roads, this foreshadows the sense of depth and freedom (play end of video) that comes at the end of the music video (again anticipating the circular narrative).
The narrative fits Tzvetan Todorov's theory on circular narrative; he stated that narrative has 5 steps. These are:
(scene when they are smoking) In the equilibrium section of the music video, the two girls and a guy are hanging out. The bond between the two girls is focused on through the use of slow shot movements in tight framings which contain extreme close ups. The closeness of the camera and the eyeline match signifies the closeness and intimate nature of the girls.
(Makeup scene) The mise-en-scene also helps to establish the girls relationship in the video. The colour tones depict whether or not an environment is safe. A harsh yellow tone is used here symbolising an unsafe environment, rather than the previous scene where more pastel orange tones were used, connoting warmth.
(Sofa scene) In the disruption section of the narrative the guy starts to become jealous of the two girls, and is constantly breaking up intimate moments between them, getting more forceful as the video continues. This is emphasised through the editing and camera shots in the music video. After every intimate close up between the girls there is always a medium long shot showing all three characters, to demonstrate the guy breaking up the girls’ affectionate moments. An example of this is when he harshly pulls the love interest off the sofa, the harshness of this gesture is amplified by the quick cuts and the shot reverse shot.
(Sat by pool) The realisation of the issue comes when the two girls are about to kiss. When the guy sees this he forcefully pulls the main character by her hair and tosses her across the garden, once again separating the two girls. The other girl - Sonya (a romantic interest to both the other characters) is then shouted at by Trenton. (Trenton yelling) Everything has become hectic at this point as he forcefully yells at her in the one of the only diegetic parts of the music video - "don't look at her look at me!" (play scene from music video). This will captivate the audience's attention away from the non-diegetic sound, making them have more emotion towards the narrative storyline.
(Coley hitting Trenton) There is restored order when the girls attempt to repair the damage caused by the jealous male character. In the music video Coley (the protagonist) fights the anti-agonist (Trenton) for the love of the girl. The director uses a low camera angle to connote that Coley is more dominant and thus foreshadows her win.
(Sonya pulls Coley of off Trenton) The final part of the theory is equilibrium (again). In this section the two girls share an intimate moment and kiss. The ending then becomes the beginning as we see the main character in the same shot as the first sequence riding her bike with the same graze on her face, but this time the character is smiling. The body language is emphasised by the close-up shot on the actress’ face as well as the background being blurred and the foreground (her face) being in focus, drawing the audience's attention to it.
My Analysis of this music video:
Script for this music video:
For my second music video I have chosen Finesse (Remix) by Bruno Mars and Cardi B. I have used this video because of how it strongly attracts and engages audiences.
An audience theory that can be applied to this music video is the Theory of Semiotics by Roland Barthes. Semiotics is the study of signs, which is something that conveys meaning. There are 3 types of signs in this study:
In this theory he discusses how our automatic actions and thoughts are governed by a complex set of cultural messages and conventions. For instance, when we see the different colours of a traffic light, we automatically know how to react to them. In relation to the music video for 'Finesse', audiences instinctually know how to react to
But this is a sign which has been established by cultural convention over a long period of time and which we learn as children, and requires a deal of unconscious cultural knowledge to understand its meaning. Everyone is a semiotician, because everyone is constantly unconsciously interpreting the meaning of signs around them, and signs don’t only need to be visual – they can be aural or sonic signs too, such as the sound of a police siren, usually heard before the vehicle is seen.
An audience theory that can be applied to this music video is the Theory of Semiotics by Roland Barthes. Semiotics is the study of signs, which is something that conveys meaning. There are 3 types of signs in this study:
- Iconic signs - icons are signs where meaning is based on similarity of appearance
- Indexical signs - show evidence of what’s being represented. An example of this type of sign in the music video for 'Finesse' are the artists and dancers costumes. Instinctually gold = wealth
- Symbolic signs - these signs have an arbitrary or conventional link
In this theory he discusses how our automatic actions and thoughts are governed by a complex set of cultural messages and conventions. For instance, when we see the different colours of a traffic light, we automatically know how to react to them. In relation to the music video for 'Finesse', audiences instinctually know how to react to
But this is a sign which has been established by cultural convention over a long period of time and which we learn as children, and requires a deal of unconscious cultural knowledge to understand its meaning. Everyone is a semiotician, because everyone is constantly unconsciously interpreting the meaning of signs around them, and signs don’t only need to be visual – they can be aural or sonic signs too, such as the sound of a police siren, usually heard before the vehicle is seen.
Sources:
https://www.slideshare.net/ZahraKhan37/roland-barthes-semiotics
https://vanseodesign.com/web-design/icon-index-symbol/
https://www.imdb.com/title/tt8027052/
https://www.slideshare.net/ZahraKhan37/roland-barthes-semiotics
https://vanseodesign.com/web-design/icon-index-symbol/
https://www.imdb.com/title/tt8027052/
My Concept Music Video Choice:
Virtual Insanity by Jamiroquai
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Artist: Jamiroquai
Album: Travelling Without Moving Released: 1996 Label: Sony Soho Square Producer(s): Al Stone |
My Analysis of this music video:
Script for this music video:
(Play start of music video) Released in 1996, Jamiroquai's music video for Virtual Insanity, is a concept video that pays homage to the idea that as the future progresses, humanity could become enslaved by the advancements of technology if we don't take initiative and solve the problem first. (Picture of Glazer come on) Jonathan Glazer (the director of the video) combines oddities that were then combined into an aesthetically bizarre and unorthodox, conceptual music video for this hit song. This is expected of Glazer who sets himself apart from other directors with his surreal style and abstract ideas.
(clip near start of video of set) The video is intriguing through its use of props and set design which can be seen in the mise-en-scene. (from first blank setting to corridor) It intrigues audiences by shifting them back and forth between blank settings with only one object being the focal point, such as (clip of sofa) the sofa or (clip of cockroaches) the cockroaches. (different clip of blank room, find more if need be) The music video is evidently filmed in an enclosed room with featureless, white walls and a moving grey floor, but this is all accompanied by intense luminous high-key lighting. The bleakness of the video could be of significance as it detracts from any obvious or subconscious message that could have been conveyed to viewers through the use of colour or props, but it is perhaps symbolic of the emptiness that humanity could face with advancing technology.
(clips of moving floor) A special effect that could be inferred as having a deeper meaning is the moving floor laden with a variety of sofas, but yet still remains minimal. It can be inferred that this feature is used to illustrate the idea that (as a race), we are constantly moving but we aren't going anywhere if we let technology delay our ability to progress and evolve as a society.
(different clip - colours) Colour psychology is introduced to the audience yet again through the dismal, two-toned, almost monochromatic colour palette of the walls, floor and surrounding objects. Aesthetically it is far from pleasing and ultimately conveys the emptiness that would ensue if we were to become controlled by technology.
(carry on from before) There is symbolic iconography through the cockroaches and the crow in the music video. They both add contradicting messages. (0:47) Cockroaches are typically unaffected to outstanding forces. The director may have used this animal to put forward the underlying message that as humanities impending decline continues, these will be the only remaining creatures to withstand humanities disregard of emotions and society due to the obsession with technology. (0:43) Likewise, the symbolism behind the crow is that it is normally associated with death or decay. However, through positive connotations, it is also admired as a messenger. Therefore, representing hope and the breakthrough in human neglect to change humanity for the better.
Glazer gets audiences to listen to the underlying message of the music video through the use of camera shots, angles, movements and star appeal. (scenes of Jay Kay) In terms of star recognition and based on Richard Dyer's 'Star Theory', Jay Kay (the lead singer of Jamiroquai) would have been used as a key tool in order for the viewers to recognise and become influenced by what he is trying to convey throughout the song. He is the most well known band member, therefore the intentions of the record label would be that considering he already has a wider established fan-base than the other band members, he would have been used as an influential person to convey the message.
In the music video, the star appeal is shown by there being (example of mid-angle) no use of high-angled camera shots when the audience is shown Jay Kay, thus eliminating the idea that he has been empowered or disempowered, but instead is shown to have equal status throughout the video. Presumably the director’s reason for this is to make sure that audience members listen to the message behind the song, if Jay was portrayed through low-angled camera shots (which connotes empowerment), or disempowered with multiple high-angled camera shots, the audience would be dismissive of the message.
(close-ups on lip syncing) Sound is also used to emphasise the theme of the song. Non-diegetic sound (which is shown by the singer lip-syncing) is used so that audiences wouldn't be distracted by anything else, so they are compelled to listen to the song, clearly hearing the lyrics. The words often speak of impending technological advancements and how the future could be drastically altered if we don't pay attention to these advancing concepts. For example the lyrics, "And it's a wonder man can eat at all. When things are big that should be small" (0:14 {previous words} and then keep playing video). This chiastic structure could be referring to genetically modified food (GMO), which was first produced in 1994 as GMO can make usually small food, big. In a metaphorical sense, by making big things out of small things we’re not focussing on the parts that should matter, like our deleterious impact on the planet.
(clip near start of video of set) The video is intriguing through its use of props and set design which can be seen in the mise-en-scene. (from first blank setting to corridor) It intrigues audiences by shifting them back and forth between blank settings with only one object being the focal point, such as (clip of sofa) the sofa or (clip of cockroaches) the cockroaches. (different clip of blank room, find more if need be) The music video is evidently filmed in an enclosed room with featureless, white walls and a moving grey floor, but this is all accompanied by intense luminous high-key lighting. The bleakness of the video could be of significance as it detracts from any obvious or subconscious message that could have been conveyed to viewers through the use of colour or props, but it is perhaps symbolic of the emptiness that humanity could face with advancing technology.
(clips of moving floor) A special effect that could be inferred as having a deeper meaning is the moving floor laden with a variety of sofas, but yet still remains minimal. It can be inferred that this feature is used to illustrate the idea that (as a race), we are constantly moving but we aren't going anywhere if we let technology delay our ability to progress and evolve as a society.
(different clip - colours) Colour psychology is introduced to the audience yet again through the dismal, two-toned, almost monochromatic colour palette of the walls, floor and surrounding objects. Aesthetically it is far from pleasing and ultimately conveys the emptiness that would ensue if we were to become controlled by technology.
(carry on from before) There is symbolic iconography through the cockroaches and the crow in the music video. They both add contradicting messages. (0:47) Cockroaches are typically unaffected to outstanding forces. The director may have used this animal to put forward the underlying message that as humanities impending decline continues, these will be the only remaining creatures to withstand humanities disregard of emotions and society due to the obsession with technology. (0:43) Likewise, the symbolism behind the crow is that it is normally associated with death or decay. However, through positive connotations, it is also admired as a messenger. Therefore, representing hope and the breakthrough in human neglect to change humanity for the better.
Glazer gets audiences to listen to the underlying message of the music video through the use of camera shots, angles, movements and star appeal. (scenes of Jay Kay) In terms of star recognition and based on Richard Dyer's 'Star Theory', Jay Kay (the lead singer of Jamiroquai) would have been used as a key tool in order for the viewers to recognise and become influenced by what he is trying to convey throughout the song. He is the most well known band member, therefore the intentions of the record label would be that considering he already has a wider established fan-base than the other band members, he would have been used as an influential person to convey the message.
In the music video, the star appeal is shown by there being (example of mid-angle) no use of high-angled camera shots when the audience is shown Jay Kay, thus eliminating the idea that he has been empowered or disempowered, but instead is shown to have equal status throughout the video. Presumably the director’s reason for this is to make sure that audience members listen to the message behind the song, if Jay was portrayed through low-angled camera shots (which connotes empowerment), or disempowered with multiple high-angled camera shots, the audience would be dismissive of the message.
(close-ups on lip syncing) Sound is also used to emphasise the theme of the song. Non-diegetic sound (which is shown by the singer lip-syncing) is used so that audiences wouldn't be distracted by anything else, so they are compelled to listen to the song, clearly hearing the lyrics. The words often speak of impending technological advancements and how the future could be drastically altered if we don't pay attention to these advancing concepts. For example the lyrics, "And it's a wonder man can eat at all. When things are big that should be small" (0:14 {previous words} and then keep playing video). This chiastic structure could be referring to genetically modified food (GMO), which was first produced in 1994 as GMO can make usually small food, big. In a metaphorical sense, by making big things out of small things we’re not focussing on the parts that should matter, like our deleterious impact on the planet.
My Performance Music Video Choice:
A Thousand Years by Christina Perri
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Artist: Christina Perri
Album: The Twilight Saga: Breaking Dawn, Part 1: The Score Released: 2011 Songwriter(s): Christina Perri; David Hodges Length: 4:45 |
My Analysis of this music video:
Script for this music video:
(Video for first chorus) A Thousand Years by Christina Perri is a performance based music video as she is performing solo to the camera. Possible themes could be the idea of a journey and the continuously changing moods. The video was released on the 18th October 2011 and directed by Jay Martin, for the promotion of the movie Twilight: Breaking Dawn Part 2.
(First cut between music video and movie) The idea of time passing can be seen through the links between the music video and the movie (through the use of synergy). A good example is at (2 minutes) 2 minutes, where the audience can see a jump cut between the artist and the film. (Cut to artist walking down aisle) Christina Perri is seen walking down an aisle but the camera is focussed on the train of her dress, there is then a jump cut to a (Bella walking down aisle) two shot close up of the character ‘Bella’ walking down the aisle. The audience will subconsciously know that she’s doing this through (still of wedding dress) the costumes, (clip of walking) and her and Christina Perri’s synced walks, tying together the two shots.
(lead up to time lapse) An editing technique that is used to portray time passing is a time lapse, which is seen at 3:08. The medium close-up shot before the timelapse dissolves into it. (rising sun) The directors reason behind using a timelapse here might be to emphasise the normally subtle rising of the sun.
(Start with artist forward holding candle into film) The different moods are conveyed throughout the video through the mise-en-scene, more specifically the colour tones, camera shots and props. (holding candle till end of blue part) The blue colour tones seen at the start of the song, match it’s seriousness and sad nature. (clip of sea and then pause if too short) As does the opening establishing shot of the sea, which connotes the feeling of loneliness. (artist holding candle forward) The change in mood is then shown in the next chronological scene through the change in warmer toned colours, possibly foreshadowing optimism. (still of her staring into blue) On the other hand, the artist is later on displayed in silhouette with the use of low key lighting, which is used to show drama. This could symbolise her longing to find someone. Jay Martins possibly uses the silhouette here to show that the singers character is empty and colourless until someone comes and makes her life brighter, which is why he uses a long shot to show her staring into the blue surroundings. In contrast to the dark colours, (video of first wedding scene) when there is a jump cut to the wedding scene in Twilight, the lighting and the colours are much brighter.
(start at 1:03 and another clip of candles if 1:03 too short) Props are brought in to convey meaning. The white candles seen throughout the music video, connote purity, almost demonstrating that the artists character is becoming more open. Giving the idea that she might have found what she’s looking for.
(First cut between music video and movie) The idea of time passing can be seen through the links between the music video and the movie (through the use of synergy). A good example is at (2 minutes) 2 minutes, where the audience can see a jump cut between the artist and the film. (Cut to artist walking down aisle) Christina Perri is seen walking down an aisle but the camera is focussed on the train of her dress, there is then a jump cut to a (Bella walking down aisle) two shot close up of the character ‘Bella’ walking down the aisle. The audience will subconsciously know that she’s doing this through (still of wedding dress) the costumes, (clip of walking) and her and Christina Perri’s synced walks, tying together the two shots.
(lead up to time lapse) An editing technique that is used to portray time passing is a time lapse, which is seen at 3:08. The medium close-up shot before the timelapse dissolves into it. (rising sun) The directors reason behind using a timelapse here might be to emphasise the normally subtle rising of the sun.
(Start with artist forward holding candle into film) The different moods are conveyed throughout the video through the mise-en-scene, more specifically the colour tones, camera shots and props. (holding candle till end of blue part) The blue colour tones seen at the start of the song, match it’s seriousness and sad nature. (clip of sea and then pause if too short) As does the opening establishing shot of the sea, which connotes the feeling of loneliness. (artist holding candle forward) The change in mood is then shown in the next chronological scene through the change in warmer toned colours, possibly foreshadowing optimism. (still of her staring into blue) On the other hand, the artist is later on displayed in silhouette with the use of low key lighting, which is used to show drama. This could symbolise her longing to find someone. Jay Martins possibly uses the silhouette here to show that the singers character is empty and colourless until someone comes and makes her life brighter, which is why he uses a long shot to show her staring into the blue surroundings. In contrast to the dark colours, (video of first wedding scene) when there is a jump cut to the wedding scene in Twilight, the lighting and the colours are much brighter.
(start at 1:03 and another clip of candles if 1:03 too short) Props are brought in to convey meaning. The white candles seen throughout the music video, connote purity, almost demonstrating that the artists character is becoming more open. Giving the idea that she might have found what she’s looking for.