Music Video Analysis: Technical Codes and Intertextual Influences
1. Adapted and updated version of
I Thompson’s presentation, taken from the TES website
www.alevelmedia.co.uk
2. This presentation will focus on music video with
particular attention to the technical codes and
conventions of the music video.
It also examines how music videos came about
and how new technologies have revolutionised the
quality of each video
There is scope for independent research and
analysis on concepts such as intertextuality and
web virals.
3. Since cinema was invented it created the ability to
bring songs and music to life.
Advances in technology have transformed the
music video into what it is today.
What other technologies have changed
consumption of music videos?
4. Surprisingly, music videos
have been around since the
1920s
Many Jazz musicians of the
time, such as Bessie
Smith, made short films to
accompany popular songs –
the talkies…
Bessie Smith
5. 1965: Bob Dylan Films
Subterranean
Homesick Blues as a
segment for D. A.
Pennebaker's film,
Dont Look Back –
widely credited as one
of the first modern
music videos.
6. 1970: The record industry discovers
TV-Shows as a great opportunity to
promote their artists
They (companies and bands) focus
on producing short "Promos", early
music videos which started to
replace the live performance of the
artist on the TV-stage
7. 1975: Bohemian Rhapsody a
groundbreaking video released by
Queen marked the beginning of the
video era and set the language for
the modern music video. The video
is considered one of the first to use
advanced visual effects
http://www.youtube.com/watch?
v=fJ9rUzIMcZQ&ob=av2e
8. Camerawork
As with any moving
image text, how the
camera is used and
how images are
sequenced will have
a significant impact
upon meaning.
9. Camerawork
Camera movement, angle and
shot distance all need to be analysed.
Camera movement may accompany movement of
performers (walking, dancing, etc) but it may also
be used to create a more dynamic feel to stage
performance, by for instance constantly circling the
band as they perform on stage.
10. Camerawork
The close up does predominate, as in most TV,
partly because of the size of the screen and
partly because of the desire to create a sense of
intimacy for the viewer.
It also emphasises half of the commodity on
sale (not just the song, but the artist, and
particularly the voice)
11. The most common form of editing associated with
the music promo is fast cut montage, rendering
many of the images impossible to grasp on first
viewing thus ensuring multiple viewing. There are
videos which use slow pace and gentler
transitions to establish mood.
Notice how this video (click image) uses a
variety of camera and editing techniques.
12. Often enhancing the editing are digital effects
which play with the original images to offer
different kinds of pleasure for the audience.
This might take the form of split screens,
colourisation and of course blockbuster film
style CGI.
13. The key innovation in the development of
the modern music video was, of course,
video recording and editing processes,
along with the development of a number
of related effects such as chroma-key or
Green/Blue Screen
14. The advent of high-quality
colour videotape recorders and
portable video cameras enabled
many pop acts to produce
promotional videos quickly and
cheaply, in comparison to the
relatively high costs of using film
This proliferation of technology also
allowed relatively unknown
artists/amateurs to write and produce
music tracks quickly and cheaply with
free online distribution.
15. However, as the genre developed and
became more commercial/profitable, music
video directors increasingly turned to
35mm film as the preferred medium, while
others mixed film and video.
By the 1990s, several technical codes
became common in music video:
Most common form of editing associated
with the music promo is fast cut montage
16. Many images impossible to grasp on first
viewing thus ensuring multiple viewing
Split screens, colourisation are also commonly
used effects
Non-representational techniques, in which
the musical artist is never shown, become more
common (alternative narratives)
Lack of edits, Long take/steadicam also a
common experimentation
17. The rise in popularity of music video channels
MTV and VH1 may have been some of the first, but the
advent of Sky, cable and freeview services in the
noughties led to huge demand for good quality videos
and genre themed channels like Q, Smash hits, Kerrang.
Case study: Channel U and how it evolved into AKA
http://www.channelaka.tv/
You should also consider the rise and impact of video
sharing websites like Youtube in finding and nurturing
new talent.
18. Andrew Goodwin writing in ‘Dancing in the Distraction
Factory’ (Routledge 1992)
1. Music videos demonstrate genre characteristics
(e.g. stage performance in rock video, dance routine.
2. There is a relationship between lyrics and visuals
3. There is a relationship between music and visuals
http://www.youtube.com/watch?v=sRYNYb30nxU
19. 4. The demands of the record label will include
the need for lots of close ups of the artist and the
artist may develop motifs which recur across their
work (a visual style).
5. There is frequently reference to notion of
looking (screens within screens, telescopes, etc) and
particularly voyeuristic treatment of the female
body.
6. There is often intertextual reference (to films, tv
programmes, other music videos etc).
http://www.youtube.com/watch?v=9rlNpWYQunY&ob=av2e
20. It is perhaps not surprising that so many music videos
draw upon cinema as a starting point, since their
directors are often film school graduates looking to
move on eventually to the film industry itself.
Most mainstream music videos have a cinematic feel
– largely thanks to new technologies and post
production techniques.
There are several lucrative tie-ins these days,
including synergy of soundtrack releases and
exclusive artist recordings.
21. It is perhaps not surprising that so many music
videos draw upon cinema as a starting point,
since their directors are often film school
graduates looking to move on eventually to the
film industry itself.
Intertexuality is when media texts reference
another media text – this can either be reflected in
the style of the video or done in a humourous way
(like a parody). It can help audiences take further
levels of meaning away from a text.
22. David Fincher: Madonna Vogue and
Express Yourself, Aerosmith, Paula Abdul.
Spike Jonze: Fatboy Slim Praise You
Michael Gondry : Bjork, Foo Fighters
Michael Bay – Osmonds, Meatloaf,
Antoine Fuqua – Coolio, Gangsta’s Paradise
Simon West – Rick Astley
23. From Madonna’s ‘Material Girl’ (Mary Lambert
1985, drawing on ‘Diamonds are a Girl’s Best
Friend’) to recent indie artists like Oasis
mimicking the Beatles, etc.
There are many examples of cinematic
references which dominate music video and
you should highlight these in your research.
Fan made music videos on the web, such as
youtube, often use parody or intertextuality to
go viral and get ‘likes’
25. The intertextual image is
not necessarily of
Monroe, but of the
Hollywood archetype of
the sexy blonde who uses
her looks to get what she
wants.
Whilst Madonna has
constantly reinvented
herself since, can you
think of any other blonde
artists doing the same?
26. Television is often a point of reference too, as in
The Beastie Boys’ spoof cop show titles sequence
for Sabotage (Spike Jonze 1994) one of the more
famous.
27. Visual reference in music video coming from a
range of sources, though the three most frequent
are perhaps cinema, fashion and art
photography.
Fashion sometimes takes the form of specific
catwalk references and sometimes even the use
of supermodels, as by George Michael in both
‘Father Figure’(Morahan/Michael 1988) and
‘Freedom’ (Fincher 1990).
http://www.youtube.com/watch?v=slTYj2h6OfY for a bit of intertexual Mulvey Gaze
action
28. Probably the most memorable example of
reference to fashion photography is Robert
Palmer’s ‘Addicted to Love’ (Donovan 1986),
parodied many times for its use of mannequin
style females in the band fronted by a besuited
Palmer. Shania Twain copied it for her ‘Man I
feel like a woman’ (Paul Boyd 1999).
30. The influence of video games will predominate for the
younger audience with the more plasticised look of
characters emerging (as seen for example in Robbie
Williams’ ‘Let Love be your Energy’ dir. Olly Reed 2001
and The Red Hot Chilli Peppers ‘Californication’
dir.Jonathan Dayton and Valerie Faris 2000)
And now, we have the next level of music video mash
up http://www.youtube.com/watch?v=6-iOKHjy3sQ
31. Linkin Park Breaking The Red Hot Chili Peppers
Robbie Williams Let Love Be
Habit (2003) Californication 1999
Your Energy ( 2001)
32. John Stuarts description of the music video
“incorporating, raiding and
reconstructing ” is essentially the essence of
intertextuality.
Using something with which the audience may be
familiar to generate both potentially nostalgic
associations and new meanings. It is perhaps more
explicitly evident in the music video than in any other
media form, with the possible exception of advertising.
All of the music videos playable in this presentation used
some form of intertextuality – can you tell?
33. ◦ Rock/Metal – The hue of these videos are dark and deadly
colours, although the contrast is bright in order to emphasize
particular symbolised colours.
◦ The videos are mainly performance based, long-shots in
order to show the whole band and individual mid-shots of
each instrumental band player (mainly vocalist). Narrative
music videos are also used but more than likely feature
snippets of the band performing also.
◦ The overall mood is dark and depressing portrayed with
lyrics, sounds and visuals. The sound can often been quite
emotional, meaningful, self-expressed, with apparent satanic
messages. conventionally.
34. The band and extras are generally dressed in
black, have multiple piercings, dark heavy eye-
makeup and sometimes pale skin or masks.
Sometimes black and white or negativity effects
are used to scare and shock audiences.
The demeanour is edgy, and lip-syncing and head
banging is used
35. Indie – The conventions for Indie music vary in
particular artists.
The main ones are the black and white camera
effects used, reality settings, hue of bright colours,
vintage clothing and band performances
depending on the lyrics.
The split is with some narrative visuals, and some
performance based, although some artists tend
not to feature in their videos.
36. The narratives are not particularly a reflection of
the lyrics, only for particular parts e.g. the chorus
there is direct narrative.
37. RnB – The hue is bright, and the settings are generally in
mansions, nightclubs, outside areas, boats, beaches etc.
The tone to the music is usually light, involving some type
of narrative setting or performances. There are generally
background dancers, (mainly women) who are
synchronised around the sounds of the music. Voyeurism
is shown through the women, they are dressed revealingly.
The wealth of the artist is shown through belongings; cars,
jewellery, swimming pools, money, and designer clothing.
38. The narrative matches the lyrics of the song usually and
lip-syncing is used. The songs are usually relaxing, and
express the good things in life.
39. ◦ Pop – Usually performance based, with frequent lip-
syncing.
◦ The routine is danced based or narrative reflecting the
meaning/hidden meaning of the lyrics.
◦ The hue of the video is extremely bright, with a lot of
typical gender based colours (pink and blue) or symbols
for certain moods e.g love = red.
◦ The band/artist wears the same type of colours, mainly
being modern/fashion based (mainstream clothing styles).
40. The main artist is almost always showed somehow in the
video, and the vibe of the music fits the fun-filled video
(attracting younger audiences).
Main storylines are centrally about love or friends so
audience easily relate to this.
And then there’s this...