2. *Seeing the sounds (the relationship between the music
and the visuals, which illustrate, amplify or contradict the
music.)*
Slower/sadder song – longer takes/shots, slow-paced
editing
Fast/upbeat song – quick takes/shots, fast-paced editing
The structure, speed and beat of the song are represented
visually using variation footage over in chorus and verse.
Videos also represent the “voice” of the artist-/their
particular style.
THOUGHT THROUGH BEAT
3. NARRATIVE & PERFORMANCE
*Music videos are advertisements, as well as telling the
narrative of the song*
A performance element of the video needs to be present,
as well as a storyline, in order for the audience to watch
over and over again.
Artists typically act as both performer and narrator (main
subject of music video) to make the sequence feel more
authentic.
4. *The artist is the main subject “star” of the music video.*
Videos are used to promote artists- their music and fan base.
This increases sales and their individual profile.
Can usually clearly show the development of the artist.
Artists are clearly given most screen time. Proliferation of
close-ups and long takes on the artist.
Artists typically have a way that they are represented in e.g.
Rihanna is typically presented in a sexual manner.
STAR IMAGE
5. RELATION OF VISUALS TO SONG
*Disjuncture*
Meaning of the song is completely ignored. Images and
footage do not relate.
*Amplify*
The meaning of the song is exaggerated through the use of
visuals.
*Illustrate*
Meaning of the song is made clear through the video (most
common use).
6. TECHNICAL CODES
*Media language (camera angles, movement, lighting, editing
& visual effects) added in post production all work together to
create meaning for the video*
Atmosphere, tone and mood can be reflected through the us
of colour, speed of editing and variety of transitions.
Editing often follows the rhythm and tempo of the song-
cutting to the beat.
Setting is often used to communicate glamour and it is
important that the setting looks like what it is meant to look
like e.g. beach looks like a beach. This makes the video feel
authentic and therefore believable.
8. Beyonce - Countdown
The thought through beat aspect of Goodwin’s theory is exemplified massively in this music video.
The video is 3:32 mins long and there are a total of approximately 158 cuts. This averages out within
the length of the video to around a cut every 1.34 seconds- very often.
This fast-paced editing amplifies the lyrics and music as the cuts all change to the beat of the music
which is the main, most obvious aspect, of the music. Special effects that have been used on the
eyeshadow, leotard and wall behind the artist all change colour to the beat too- exaggerated the
thought through beat even more. The video represents the voice of the artist, as she is singing
throughout the video on each take. This represents Beyoncé as the performer that consumers know
her to be and that she is constantly portrayed as.
9. The performance aspect within the video is very distinct. Throughout the duration of the video,
Beyoncé is dancing and singing, wearing different costumes and styles, which gives the video a
more unique, contemporary feel as this artist is usually portrayed in a very sexual and glamorous
way. On average, most of Beyoncé's costumes worn in her performances and music videos are
very revealing and provocative. In Countdown however, there is a reduction in the amount of
revealing costumes worn, although some are still present. This may be to add variation to the
performance and interest the audience as she is not typically portrayed in this way. Not only this,
but the costume variation also slightly illustrates the lyrics and meaning of the song. She sings
“Ladies, if you love your man show him you the fliest, grind up on it, girl, show him how you ride
it”, suggesting that there is a sexual and loving aspect to the song, based on her lover and her
love for him- the video is illustrating the meaning.
10. The performance aspect is further exaggerated as throughout the whole video, Beyoncé is dancing. The dance
routines and setting, as well as technical codes such as speed of editing and overall editing, adds to the
performance flare and allows audiences to watch the video repeatedly, whilst it maintains it’s entertainment
and amusement.
The speed of editing, along with the thought through beat, exaggerates the beat and promptness of the song.
Many editing and transitional techniques have been used such as cutting, to compress the time and increase
the rate at which the whole video moves and parallel editing to show more than one clip of Beyoncé (star
image). Special effects have also been used, particularly on the eyeshadow, leotard and wall when they
change colour to the beat of the song and when there are multiple versions of Beyoncé dancing with a canon
effect, in a row. This creates a more interesting and entertaining music video as the editing and effects have
created an uplifting and bright setting, creating an energetic atmosphere.
11. The narrative of the music video is mostly in complete disjuncture to the lyrics and meaning of
the song. Nevertheless, the video still portrays certain aspects of the lyrics without necessarily
telling a story, amplifying or exaggerating the meaning behind the song.
The clothes and actions of the dancing, do not clearly relate to the lyrics and the meaning of the
song, in which she sings repeatedly about (who the audience presume) is her lover – “still the
one I need, I will always be with you”. There is also no present lover or partner within the video,
adding more disjuncture to the sequence. There is slight illustration with multiple dance moves
and winking, pouting and licking her fingers, connoting a slightly sexual performance, despite the
reduction of sexual costumes.
“My baby is a 10
We dressing to the 9
He pick me up, we 8
Make me feel so lucky 7
He kiss me in his 6
We be making love in 5
Still the one I do this 4
I'm trying to make us 3
From that 2
He still the 1”
12. The artist, Beyoncé, is clearly the main subject / “star” of the music video. She is present in every single
shot of the music video, besides a few such as the establishing shot of the dance studio, a close up of a
drum and some very short shots of dancers. All screen time is clearly given to the artist and a
proliferation of close ups and number of takes on the artist clearly demonstrates she is the main
subject of the video.
As mentioned before, the lack of revealing clothing shows another aspect of the artist that the fan base
and public had perhaps not been presented before now. In many shots she is covered up, and as many
fans may have known, this video was filmed at the beginning of her pregnancy. This is also connoted in
one very fast shot where she embraces her bump to the side, just before it cuts to another shot. This is
an example of the artist showing their development and promoting not only their music, but also their
fan base. Although there was a reduction, there is not a total decrease in sexual costumes. This further
promotes Beyoncé's image and how she is typically represented- sexually, but also a strong and
talented woman.
13. Michael Jackson –
The Way You Make Me Feel
Star image is a clear aspect of Michael Jackson’s music video for ‘The Way You Make Me Feel’. As a
huge star, Michael Jackson already had a gigantic fan base and had created a unique individual
profile with custom dance moves and sounds that were known worldwide to represent him.
Throughout this sequence, Michael Jackson has his classic backing dances and dance routine,
choreographed to include his well known dance moves in order to increase his profiles and make
the video ‘his own’. As well as being given the majority of the screen time, the length of takes on
the artist are typically quite long which focuses the audience’s attention solely on him and makes
them focus on him as the main subject. His original ‘look’- the cropped black trousers, and white
shoes are also worn in this video in order to portray his original, signature appearance.
14. The male walks out of an alley and stands in front of
the female while she's walking down the street,
although she ignores him and keeps walking. He gets
her attention by shouting, and then begins singing
"The Way You Make Me Feel" to her while also
dancing. Uninterested, she walks away. He follows her,
having been cheered on by his friends to pursue her.
Another dance routine begins, involving the males
friends, which leads to the male pursuing the female
throughout the neighbourhood.
The video ends with the male eventually winning the
female over, and embraces her, while a fire hydrant is
spraying out water.
This star image also fits in with the performance and narrative aspect of Andrew Goodwin’s theory.
“Music videos are advertisements, as well as telling the narrative of the song” is clearly applied to this
video. The focus on Michael Jackson as the main subject advertises his character profile and increases
his popularity and sales. Not only does the video contain a broad performance element, but also it
tells a story.
The short version of the video is seven minutes and fifty-four seconds long and the full version is nine
minutes and thirty-three seconds long. The video begins with a group of males trying to pick up
women, but they don't get any luck. One of the males (Michael Jackson) is told to go home and not to
hang around with the other guys anymore. When the male walks home, an elderly man, who is sitting
on the steps of his house, tells him to just be himself. Michael Jackson notices a female walking down
the streets alone.
15. Not only does the video follow the narrative of the song, illustrating the lyrics, but it also slightly
exaggerates the meaning of the song.
This is evident throughout the whole of the music video, as the artists follows a young woman
through the streets, attempting to win her over. It is made obvious by facial expressions and body
language that Michael Jackson wants to pursue her and is interested in the woman. This
exaggerates the lyrics and title of the song “they way you make me feel” and “it really turns me on”
– both the main lyrics in the chorus, repeated throughout the song.
As well as this, other lyrics such as “never felt so in love before”, “you’re the one for me” and “your
lonely days are gone” (whilst his leg is up at the side of the woman on the car and he makes sexual
motions towards her) connote that he is trying to persuade the woman by openly admitting his
affections and trying to seduce her. This mirrors the performance aspect further, as a story is being
told and the audience are able to watch the video over and over again.
16. Technical codes within this video play a major part in creating the atmosphere,
setting and emphasising the mood. The video made in 1987, released on October
31st
, use post-production editing techniques, camera angles, camera movement and
lighting to create the specific atmosphere that sets the mood for the video. The
setting, alley ways and streets at night, are all dimmed with very little lighting. There
is blue lighting and an emphasis on the shadows (especially on the dance routine), as
well as fog/smoke present at the start of the video. The colour blue could possible
connote the youth of the actors and actresses and the setting they are in being
surrounded by youth. The fog also exaggerates the intimacy of the artist and the girl
he’s trying to pursue.
The technical codes create an eerie, yet intriguing tone for the video, with gangs and
young people hanging around on the streets. This adds further to the performance
and narrative element, making the video feel more authentic and therefore
believable.
17. Thought through beat is a less obvious aspect of this music video. The video, being
quite old now in regards to when it was made, does not follow many stereotypes
regarding fast-paced editing with a fast or upbeat song. The body language and
dance moves of all actors and actresses in the video are all to the beat of the song.
This gives the video an authentic, believable feel. Nevertheless, although the takes
are quite long, this adds to the performance aspect as it tells a story. The long takes
allow the audience to observe the surroundings but also focus on the male and
female character dancing and moving through the streets.
The long takes also help the video to represent the ‘voice’ of Michael Jackson and his
portfolio as he is the one singing throughout the video. It allows the audience to
watch the dance choreography, full movement and the artist’s signature moves and
costume.
18. Distinct features are also included on this music video to give it individuality. Both long and short
versions of the video begin with an intro, without the song playing. You can hear men swooning over
the woman as she walks down the street, to a pop-style backing track. This music ends when we see
Michael Jackson come from out of the shadows and be ignored by the woman. He shouts ‘HEY’ in
order to attract the woman’s attention. There is silence for 44 seconds, creating tension and setting
the mood. He goes on to sing ‘you knock me off my feet now baby’ without any accompaniment and
then music begins to finally play, 1:07 into the video. This long intro creates the mood for the rest of
the video, and entertains the audience.
Close up camera shots and an over the shoulder shot of the main 2
characters at the beginning of the music video also allow the audience
to see them close up and in detail, as these shots are a couple of the
very few that occur through the sequence. By allowing the audience to
see them up close at the start, it applies narrative to the music video as
they are able to see the characters in detail. The close up of the woman emphasises her beauty,
connoting glamour and attraction of pretty, slim women.
19. London Grammar - Strong
This music video features a man who literally turns himself into a human firework display,
for the benefit of his beloved daughter. This idea promotes the performance and narrative
behind the video, both being exaggerated elements within the video.
At the start of the video, we see a car driving into a city (establishing shot) and a man
proceed to set out lots of equipment (birds eye shot) and go on to make himself into a
‘firework man’. The video leaves a lot to interpretation of the audience, suggesting this
video is just a section of a much longer, deeper narrative.
As a result , the audience are open to analyse the video however they want.
In this video, unlike many others, the artist is not the main subject or performer, despite
still appearing in the video. This makes the audience focus more on the storyline within the
video, rather than the band, adding to the interpretation of the whole sequence.
20. ‘Strong’ is quite a slow, calm song. The video demonstrates thought through beat as the
takes are generally longer and the video as a whole has fewer cuts than fast songs. The
video represents the voice of the artist, as although they do not appear in each take, the
singer Hannah Reid, sings throughout the video and the band are also shown standing on
the bridge in the setting of the video. Slow-paced editing is used which demonstrates their
particular style and the song itself, including many clips being edited with slow motion.
This relates to technical codes of
Andrew Goodwin’s theory, as post
production editing, lighting, visual
effects and movement all work
together to work toward creating an
alternative video with deeper meaning
and atmosphere. The setting, LA, is also
used to communicate the divide
between what is happening in the video and the busy city as this emphasises the actions of
the actor (making himself into a human firework) and the stereotypical bustling city, which
appears to be empty besides the man and his daughter. The clear lighting at the beginning
of the video allows the audience to see detail
21. In regards to relation of visuals to the song, the music video is very open to interpretation,
giving it disjuncture as the meaning of the song is not overly clear on emphasised through
the use of visuals. However, there is slight illustration of some lyrics, connoting that the
music video is intended as a simple allegory for parenthood. The lyrics ‘if a child cries what
would you not give them?’ are illustrated. The video represents that parents do everything
for their children, selflessly and without question, with the unspoken understanding that
one day their children will do the same for them. This is illustrated in the video- the man
looks after the girl, and then right at the very end the girl looks after the man.
22. There is no general ‘star image’ within this video as the artist/band, London Grammar,
do appear in it, yet they do not take on a role or part in the video and appear more as to
promote their music and profile. Fans will want to see the band and this will also
increase their fan base as a whole due to an appearance in their own video.
Not only this, but the lack of star image also portrays the band’s whole style as very
alternative and unique. They are featured, yet the image is quite blurry or unfocused,
emphasising the idea that they do not wish to appear as the star, or main subject of the
music video.
