As I haven't used Adobe Photoshop CC 2015 very often and when I have I give up because I have made something stupid or got confused with some basic mechanic the software allows.
Using the influences of many other indie bands I have decided to include an illustrative aspect, a cartoonist theme simultaneously mixed with a picture of TRASH or a similar picture.
I have gone for a comic book background that I find really interesting when parallel with the black and white photo of TRASH, however, due to my inexperience with the software I was unable to create a relevant edit of the photograph and ended up creating a stupid, messy album cover.
Next time I will plan a more artistic and believable album cover as I will have more experience, despite my lack of experience I believe aspects of this worked really well, the balance of colours, the overlay of TRASH on a simple cartoon background is something that I am seriously contemplating and am planning to extend upon.
One other edit I completed was this one that I prefer.
This edit is much more professional and the fine tuning of the photo has been completed to a higher standard. I also prefer the effect that I have used and the colours it creates, furthermore, the cartoon-esque vibes are a lot stronger in this rendition. It makes them look like a superhero team.
I have done some research into how my album cover should look so I decided to make a collage of similar artists to TRASH (Top Right in the collage).
TRASH
Trash's album titled 'Urban Glow' features an artistic illustration of an urban area with 'TRASH' written in road so it can be distinguished from the buildings. Because I am doing a song by TRASH I will be taking a lot of inspiration from their previous work. The colours used are blues and purples that merge together and form a messy design of a busy city.
The chief convention from this CD cover is its illustrative theme, the cartoon style that creates a doodle-esque aura to the cover. In reference to the song I am doing (Brochures) I could feature an illustration of a holiday place or of a framed picturesque scene. To delve deeper into TRASH's satirical tendencies I could even draw or edit a picturesque utopia-like setting and show its flaws and downfalls. I will have to do further investigation and experimentation into the software required to do this as I am not the best artist.
The Black Keys
The second album cover I have used is 'The Black Keys' album called 'Brothers' that I have analysed in further detail on a previous blog. The Black Keys are a similar genre to TRASH and their simplistic cover and minimalist style could be a heavy influence in my CD cover of TRASH.
Bombay Bicycle Club
An indie-rock group that definitely has a close sound to TRASH's also has a similar style of CD cover with the symbolic illustration of a body opposed to a city. The organs and abstract drawing of a brain and tongue is rather interesting. The illustrative natures of some CD covers could be a definite feature within mine as it is a repetitive aspect.
Athlete
A 2002 alt-rock group that I believe is a more evolved and developed band of TRASH. I was originally going to do an Athlete song for my A2 music video but decided that the songs were too sad and I could have incorrectly portrayed the song and my intentions could have been misconstrued. If I had made a poor music video then it could seem that I am mocking the band and a lot of its themes which I wouldn't intend to do and therefore chose not to. The band's CD cover is a picture of a deconstructed vehicle turned into a chair with a lot of hospital wires interweaved through it that is reference to it's main song featured in the album called 'Wires'. The machine is the sole focus of the CD cover and once again it is an abstract photo. This one is not a drawing but it is of a similar, uncommon theme that indie groups often do because of their deviance from mainstream music. Most indie-rock bands pride themselves on their differences.
ALT-J
One of the most famous indie-rock groups, ALT-J feature another abstract piece of artwork. The graphic is very nature-like and contemporary with the tone of the cover. The CD cover doesn't include any information such as: Artist Name or Album Name or even Production Company. The Album is actually called 'An Awesome Wave' and the art perfectly encapsulates that of a wave with curved and jagged colours colliding with a wall of blue (potentially the sea). After further investigation the album artwork was actually a multi-layered radar image of the Ganges river delta in Bangladesh. It was acquired from an Earth satellite and overlaid images from different dates of the river. The artwork shows an abundance of colour colliding with variations of background radiation. This is innovative artwork with overlaid satellite images is an interesting idea for an album cover.
Spector
Moth Boys is a 2015 album from the indie-rock band Spector that is probably most like TRASH. The album cover is simply a symmetrical photograph of an abandoned room. From what looks like the remnants of a DJ set the previous night with rubbish scattered on the floor shows the depth of the room completely. The portrait of an empty room once again shows how effective simplicity can be, my CD cover will definitely be a simplistic design with aspects and design of a cartoon illustration combined with a photo similar to Spector's Moth Boys.
Conclusion
The CD cover I will create will be a hybrid of illustrative art, potentially abstract combined with a simple photograph similar to Spector's or Athlete's.
For my preliminary project for my A2 music video I did Beck's Everybody's Gotta Learn Sometime and I decided to give it a very arty feel with a simplistic performance piece that features a blurry lens, poured water rewinded and close-ups on flowers. A very arty piece that I shot with my friend (who is the main guitarist in the band I am making a music video for) in an attempt to create an illusory, weird, utopia-like film involving nature and blandness. I believe that I achieved my aspirations but was disappointed with the overall music video that I had made, I made a lot of mistakes with editing, planning and with some technology. Therefore, in my music video I will plan a lot more and use a lot more technology I am familiar with and will explore avenues of editing that I am willing to learn to a high standard.
I have decided to do some research not only into the genre of indie-rock but into their style as a whole (music video and social media tendencies).
One band that is similar to TRASH is Spector, especially through their
stylistic music video in All The Sad Young Men directed by Laura Baker. It follows a similar style to TRASH's Hot Coffee through its low-quality montage of friends. Verification of the band's genuine friendship and suaveness. Similar to each other in their satirical nature as in All The Sad Young Men they are playing on a '1D' Merchandise Booth as they probably don't listen to '1D' but are sarcastically mocking the band. However, differences occur with motifs and professionalism of footage, throughout All The Sad Young Men it focusses on a young woman and young man having a good time whilst out at a party but it is juxtaposed by the anti-love song, the depressive lyrics of:
"do you like my clothes? my hair? my conversation? did you hear me when i said you were the inspiration? it's all meaningless now as it was meaningless then all the miserable girls all the sad young men"
These lyrics hint at the author's paramour unappreciating them parallel with a man and a woman dancing that emphasises the sexualisation of the woman dancing around a pole. The rather melancholy lyrics about inattentive relationships parallel with the drunken madness of a night out with the couple hints at a greater sadness as happiness and depression is compared so closely.
At further investigation due to the words "did you hear me when I said you were the inspiration?" hints at a autobiographic song as it is implied the lyricist was referencing a love song that they had written. The repetition of 'meaningless' gives the song an uncomfortable take on young relationships and creates a rather misanthropic feel and depressive tone.
TRASH are similar with style of music video but opposite with messages in songs. Brochures is about running away with your lover and All The Sad Young Men displays messages of disappointment and the waste of time that relationships are.
Spector are also similar to TRASH in another of their songs, as they mock the indie-rock genre (similar to TRASH when they mocked the fickleness of music taste when they claimed to be selling Stone Roses tickets. The music video shows somebody googling "indie rock video"
which hints that the genre is similar and are all out to copy each other. The lack of individualism and originality in indie rock is a key issue that Spector are addressing here and TRASH do similar things through their Tweets.
The group I will be shooting a music video for is a new and young indie band from Chesterfield and are called 'TRASH'.
Through social media 'TRASH' portray themselves very immature, unprofessional and generally messy (supported by their homemade music video called..), they frequently post satirical images and statuses and mock many stereotypes of the teenage generation and their stupidity over social medias.
The image I am referencing is where 2 of their members are posing in front of adult magazines with a creepy smirk and their guitar. This is a typical TRASH social media stunt as they are highlighting their immaturities and their sense of humour. Their teenage boy childishness is juxtaposed with Evan Martin (guitarist) and his excess of facial hair. They frequently use Twitter and Facebook to post funny statuses such as "I wanna be a door" and "selling 30 stone roses tickets £300 each. good price retweet" that mock many teenagers and their fickleness in music taste.
Through social media and their music videos it is apparent that TRASH don't want to be taken too seriously, despite their songs motifs and mature messages their appearance is that drives them as a satirical band. These pictures together show their closeness, friendship and togetherness as a group and I want to reflect this in my music video by having all of them in it and having film that expresses their close bonds.
TRASH are a young band but have already made a few music videos, one being for their song "Hot Coffee". The video is shot on what seems to be a home video camera, I would like to recreate this authenticity and homeliness parallel with them shooting in a recording studio, the ambience of the montage forces the band and audience a bond and introduces us to what seems as inside jokes with the witty group.
With Evan Martin (Guitarist) picking his nose on camera to Bradley Weston (Drummer) changing the tire on his car, this homemade concoction of touring, recording and FIFA 10 is the reason for such a funny, informative and unique concept of a music video.
Editing
Hot Coffee's editing appears that it has been rushed and completed on Windows Movie Maker and I won't be recreating this in mine. With discussions with the band I will be able to create a music video with innovative editing and interesting camera shots whilst being able to showcase my skills whilst complying to TRASH's minimalist approach they love using with their editing, shooting and appearances.
BBFC
regulate music videos standing for British Board of Film Classification. They regulate music videos through Age Ratings An age rating is a
guidance for the audience and the guardian of the viewer to suggest whether it is a suitable film or not. In the interview with Krissi Murison, associate editor of the Sunday Times on the Today Programme (Radio 4), she stated that "[regulation of music video] would work with the constant parental supervision but in real life I'm not convinced". Another option is full censorship, however, censorship of music videos only promotes that song instead of deterring them from watching it, for example, The Prodigy's Smack My B***h Up (uncensored version) has 1,940,869 views where as the censored version has about 4,000 views. A different take onto the situation is that instead of censoring everything, banning and preventing everything the other option is to just have open relationships with the children, by keeping them fully aware of the internet and the videos that it has on it, this removes the 'coolness' of censored videos by having the right amount of exposure. One example of a banned music video was M.I.A. - Born Free probably because the video features the mass genocide of gingers. This video was banned off of YouTube and was only viewable on Vevo, this is due to its severely racist themes and tendencies within. The ideological concerns with is are racism, a crime that is contemporarily being combatted by a lot of organisations. Another banned music video was Robin Thicke's Blurred Lines, a song I had no intention of listening to, however, due to its controversy I felt obliged to watch the video to see what the fuss was all about, after the helium balloons spelling out "Robin Thicke Has A Big D**k" I realised. Lily Allen mocked Thicke's helium balloon exhibition and spelled out "Lily Allen Has A Baggy P***y" in her song "Hard Out Here" and critics called her out on it. Later on Lily Allen caused controversy again with her song "Our Time" as MTV wanted a clean version. Lily Allen responded. "MTV want to ban the 'Our Time' video during the daytime, unless they get a clean edit that show you a) NOT DRINKING FROM A FLASK and b) NOT DISPLAYING ANTISOCIAL BEHAVIOUR FROM DRINKING BY FIGHTING WITH THE HOT DOG. I told the label we are NOT making a clean version of the video." and I stand by Lily Allen's statement, this video shows mild taboo that everyone is familiar with, this is in fact quite comical, Thicke's uncensored video isn't. M.I.A.'s version isn't. The Prodigy's video is not.
In my opinion regulation of such abundance is impossible, even though I wouldn't want my younger siblings watching the mass genocide of gingers but there is nothing stopping them from claiming to be over 18. I think the only potential solutions are 1) not hiding anything, just having the age rating as a warning but having an open relationship with the younger audiences.
The underlying message to Q Magazine's article was that Mini-Movies are ruining Music Video.
They state that Mini Movies such as Bitch Better Have My Money by Rihanna is "long, self-regarding, hubristic and flamboyantly expensive" to this I agree, and I also find the parallel statistics of artists who create a Mini-Movie and quickly perish in the music industry pretty humorous. The music video is just horrendous, excessively bloody just to be controversial. It makes me cringe to think that Rihanna's producers thought it was a good idea to make this video.
The article regards Mini-Movies as a last stab at regaining popularity at being different but there are not many good examples, however, saying this I really enjoyed Kendrick Lamar's Alright because it wasn't "snooty" as the article suggested others were. It's political messages and portrayal of the racial injustice in America between black people and the authorities features a hard hitting poem that ends with Kendrick Lamar being shot, inferring that whenever a Black Man stands out, is deviant to everyone else (as Kendrick flies in his video and stands on a lamppost) the policeman doesn't interact with him, he just points his finger and shoots. The video has strong messages as it initially is parallel with a narration by Kendrick Lamar and the message is amplified.
These two Mini-Movies are great examples of a good Mini-Movie and a terrible Mini-Movie. One complimenting what the article states, one contradicting it.
Mini-movies give the song a strong narrative and has the potential to have a real strong effect and message. However, the risk can turn sour and be misconstrued.
I have decided to do my Case Study on JeromeD. Hurd who directs a lot of hip-hop music videos for Kendrick Lamar and ScHoolBoy Q most famously but also directs for other rappers such as King Los in his song WAR. He also helps Ty Dolla Sign with his music videos a lot too but I will just be focussing on the 3 artists mentioned prior.
Kendrick Lamar
Backseat Freestyle
In JeromeD's videos he always begins with a black screen and a series of titles, artist name, song title and then JeromeD but in Backseat Freestyle the editing oscillates wildly, it flickers back and forth in a monochromic tone. It then begins to title a series of places 'Paris, France' and then the conventional information in his videos such as 'JeromeD.com' but then in red writing 'Compton, CA' shows up with Lamar singing 'Martin had a dream'. The straight up connotations of equality from Martin Luther King's iconic speech is parallel with the visual aspect of 'Compton, CA' the semantics of Compton (even more so now the film Straight Outta Compton has been premiered globally) are very much of hip-hop and black culture.
Backseat Freestyle is in monochrome for all of the music video, JeromeD does this in a lot of his music videos, he puts a B&W effect on his videos that have address the inequality between Black and White cultures. He doesn't do this in Collard Greens by ScHoolBoy Q, The One by Treasure Davis or Swimming Pools (Drank) that are more party songs and don't address the white/black racial tensions that rappers accentuate frequently.
JeromeD focusses on editing as a key convention in a lot of his music videos - the radical editing in this and other songs he has directed for (Collard Greens) is used frequently to set the pace of the song by altering the colours and splitting the film symmetrically down the center.
Swimming Pools (Drank)
JeromeD also directs Kendrick Lamar's song named Swimming Pools (Drank) that is aesthetically pleasing with Kendrick Lamar suspended in the air falling into a swimming pool (of liquor) but the fall is rather the journey of the song. The lyrics claim he is 'diving' into the pool but the video implies that is falling from grace and drowning in the pool, there is a juxtaposition of lyrics and visuals which could infer that Lamar has desire to portray himself as a rapper that likes partying and getting drunk but he is actually different (complimented by the psychological confusion stated later on in the song). However in this video there is no titles at the start. This could be due to this song coming out in 2012 and the songs where the titles are at the start was all made in 2013 until now. This is an example of an iterative adaptation of JeromeD where conventions are created probably by accident, it acts as an informative and necessary additive in his videos. It not only provides the context but it sets a neutral tone, the titled-opening occurs in JeromeD's music videos where they accost racial inequality, examples: War - King Los, Backseat Freesyle - Kendrick Lamar.
Swimming Pools is a different style of film altogether compared to JeromeD's other stuff, the song shows Lamar in isolation away from the party opposed to Collard Greens. The party scene in Swimming Pools is deviant to any other party scene, JeromeD has utilised a slow-motion effect on the party scene and has laid over the video Kendrick Lamar's 'conscience' talking to him which implies psychological issues, weakness and paranoia that the protagonist could be experiencing. The tone and pace is a lot less than in other songs directed by JeromeD, however he retains his editing prowess and aesthetically intriguing conventions.
King Los
War
The music video in War is in stark contrast to other JeromeD's projects, the editing is lacking, he utilises one long shot throughout the entire video that tracks different characters and always comes back to the TV screen (complying to Goodwins theory of voyeurism as he suggests in music videos we very often watch TV/look inside a camera etc), a recurring theme in this song as the relationship between lyrics and visuals(complying to Goodwins theory about the relationship between lyrics and video) are emphasised with the lyrics "It’s a war on your TV screen every mornin’ / Not a war with the bombs and helicopters swimming / But the a war for your soul / That’s what everyone ignoring"
the TV shows King Los singing and clips of religion, community and distressing images of an abuse of power. This montage has a very strong effect when parallel with the semantics of war against equality, the oppression of black people and the reliance on God and community, friends and family. The juxtaposition between people holding hands and police brutality is a harsh, realistic portrayal that King Los feels strongly about.
At the end of the music video when the two protagonists leave their home and family and get into a car, when they do this a man runs up to the car and shoots them both. These two concepts JeromeD and King Los utilise are both political statements that reflect the zeitgeist of Black Americans.
ScHoolBoy Q
Hands On The Wheel
I have already done one textual analysis about ScHoolBoy Q and focussed on JeromeD's editing techniques and Collard Greens so I decided to analyse another song by ScHoolBoy Q that JeromeD has directed and include a type of comparison of them.
The video is monochromic and begins with the titles "ScHoolBoy Q" "A$AP Rocky" who the song is featuring and then "Hands on the Wheel" the video is swinging like a pendulum onto two male protagonists that are smoking, this one clip is repeated a series of times but a bit differently each time, upside down and reversed but each time with a sporadic white flash giving the song an edgy feel, even though its repeated it isn't monotonous due to the pendulumic swing and movement. The video cuts to Q rapping with the video cutting to other repeated clips of women dancing and bottles/cans of alcohol. Similar to Collard Greens there are many connotations to drug taking and getting intoxicated supported by the sporadic editing that gives a visceral representation of the effects of drugs, this is a key theme in ScHoolBoy Q's videos with JeromeD.
The video also features women dancing next to the protagonists, the women are portrayed secondary to the rapper for multiple reasons: 1) they aren't the focus of the video, the record label want the rapper to be the central focus of the video to boost fame. Goodwin could claim that these are due to the demands of the record label as the portrayal of the artist is mainly by appearance and it is required that they appeal to their desired audiences. 2) Mulvey would argue that women are portrayed as second class citizens, they are decorative objects to make the rappers look more masculine.
The term greatest is a very subjective word but NME have designed a list that I believe is generally there, including Foo Fighters - Everlong that I think is probably one of the best music videos every made, probably being biased due to my Grohlian love but it is truly art. Everlong's music video is very to my taste, the surrealism that occurs in it. It is very much like one of them dreams you have where you wake up and have no idea what just happened.
The music video focusses on dreams and nightmares and just general freakiness but it is probably the best music video ever made.
The Foos are notorious for their stupidly funny music videos with Everlong, Learn to Fly and Long Road to Ruin. Their styles are very Hollywood with Long Road to Ruin even having a TV Series introduction to their music video with a cast list and theme song. The narrative then takes over and it follows a plot of Grohl, the main character. It has a very weird 80s hospital drama aura and is absolutely hilarious to watch with Dave Grohl crying every 10 seconds, pretending to be this macho character but is really this emotional guy. They subvert a lot of themes in their music videos and is something that I am seriously considering to base my music videos on. A parallel story of live-performance based and a narrative that the band follows.
Pretty much every Foo Fighters music video could be on the list but Everlong's surrealism and comedy is too much to handle, it is artistic and humorous.
It is clear after reading this list that the top music video directors are Spike Jonze (who was 2 of the best 10 in the list with Beastie Boys - Sabotage and Weezer - Buddy Holly)
But one of my favourite additions to the list was number 19, Hot Chip's I Feel Better directed by Peter Serafinowicz (Darth Maul!) that focusses on the brainwashing of this Boy Band's fan base as he slowly eliminates all of the group and makes himself the leader. A common trend in this list is humour and this video doesn't lack in that.
Q's music video of Collard Greens has an artistic style featuring a variety of editing techniques such as making the main artist shown in a kaleidoscope effect, in negative and his head floating. The abundance of editing techniques gives the song a rather psychedelic and edgy aura coinciding with the songs expeditious rhythms. This complies to Goodwin's theory stating that the music will have a relationship with the video, this is evident here including the multi-coloured-kaleidoscopic-psychotomimetic effects that JeromeD utilises effectively.
JeromeD
JeromeD is a well-known music video director that uses house parties frequently in his music video, for example he also directed Kendrick Lamar's (who is also featured in this song) Swimming Pools (drank) that uses a house party in his video too but almost in polar opposite ways. The houseparty in Q's video is full of dancing and nude women, the frequently shown butterfly tattoo on a women's bum forces us to see women as a sexual object, they are dancing for Q and due to all the women in this video to have large boobs and bums out it complies to Mulvey's theory of the male gaze, voyeurism is apparent within Collard Greens as we are not only looking at Q and Lamar rapping but due to the centric positioning of most of the people in the video, it makes us feel like we are also being watched as actors in the video are staring back at us many times.
Voyeurism is also a convention of Goodwin's theory, he believes that all music videos have a sense of voyeurism in and when compared to this music video, it is true, we are constantly watching people dance.
Collard Greens is a modern hip hop song that features rap, beat boxing and DJ scratching from Q, rap being a sub-genre of hip hop I struggled to find another genre in this song. Altman believes there is no longer a rigid genre structure, genres are more fluid and leak into one another. No song is to a single genre or it would be very boring and generic. After a lot of analysis of this music video and its hip hop conventions I struggled to prove Altman's theory, however, I then realised that this music video wasn't created to intellectually comply to a lot of theories but instead it was rather visceral and just felt like it hadn't only been influenced by hip hop, but also by Reggae as the final part of the video, the party progresses from the house to outside, in pools and on a beach and it becomes less psychedelic and slower, it becomes like a completely different music video, it gets quite lethargic, quite drowsy.
I believe that the music videos are being forced to adapt to the audiences wants, for example within this music video it snaps to simple white text such as 'ScHoolBoy Q' and 'JeromeD' and 'Kendrick Lamar' but later on it also says '#Oxymoron' converging to modern trends as on Twitter they use # so that the audience can also get involved. Music videos are becoming ephemeral trends, creativity is being strained and some artists will fall but some will flourish, for example Q getting a film director to make his music video is showing the adaptation artists are going through and the progression of music video as a concept which forces them to get creativity and forces the birth of 'mini-movies'.
In his book that was published in 1992 named Dancing In The Distraction Factory, Andrew Goodwin states that most music videos follow certain conventions depending on genre. There are 6 main conventions
1) The first is that Music Videos demonstrate genre characteristics (e.g. stage performances in metal songs, dance routines for a boy/girl band)
2) The second is that there is a relationship between lyrics and visuals (either illustrative, amplifying or contradicting)
3) There is a relationship between music and visuals (once again, illustrative, amplifying or contradicting)
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, such as in Lana Del Ray's videos she continues with her vintage, American work with hand-held cameras and home footage.
5)There is frequently reference to notion of looking (screens within screens, televisions, even telescopes) and particularly voyeuristic treatment of the female body.
6) Lastly there is often intertextual references to films, TV programmes and other music videos. For example in Happy there is intertextuality with The Minions from Despicable Me as the song is features in the film, there is a deal that ensures both are beneficial for each other for a certain amount of money.
Music videos may adhere to this theory however if they don't it could be due to the theory becoming outdated, it was published in 1992 and media is changing at a rapid rate. There could be an evolution and therefore a change in the conventions of music video and therefore it requires a new media theory.
In this blog I have analysed Pharrell Williams' song titled Happy with Goodwin and Mulvey's theory. I researched Laura Mulvey's theory of the Male Gaze in my own private study sessions, my research will be shown in a later blog post.
I have analysed the focal points of the History of Music Video. The integral points of music video, the following are what I believe to be the most significant.
I am currently in a certain turmoil between songs I wish to create a music video for. In complete honesty I am unsure of the genre I want to discover, it could be interesting doing a hip-hop video such as Kendrick Lamar, Flying Lotus or Childish Gambino and have the focus on the male rapper with everything else subsidiary or I could go for an ostentatiously artistic video which I could have extreme fun going creative on and having a large impact on.
As I am working on my own this time the song of choice will have to fit my criteria, I will have to have good ideas to work with it, enjoy the song and be willing to create a music video for it, so I will have to pick a pre-existing song I know I enjoy and can get creative with.
The potential options are the following:
Kendrick Lamar / Backseat Freestyle - this song is interesting and I could really go against the stereotypes of black rap, or I could go typically with the fast paced, egotistical culture of wealth and sports, physical fitness. In one of Lamar's videos he utilised visual typography very well. The editing would be the focus in this video.
Athlete / Chances - a slow song that addresses some pretty serious themes such as loneliness and missed opportunities. Overall some aspects I could cover pretty extensively and artistically.
Beck / Everybody's Gotta Learn Sometime - featuring in one of my favourite films, Eternal Sunshine of a Spotless Mind featuring Jim Carrey following similar themes such as Chances, however, I enjoy this break up song a lot more than I enjoy listening to Chances as I am a big fan of Beck.
After a great deal of thinking I will be creating a music video for Beck / Everybody's Gotta Learn Sometime due to it's sombre feel. I believe I can create some artistic shots and convey serious emotion in this music video and could even give it a pretty sinister tone. I possess a plethora of ideas for this song and think it will look extremely professional with a great use of mise-en-scene and camera shots.
For the second year of my Media Course we will be asked to create Music Video as the coursework, aspects of different theories and methods will be assessed.
I am very excited and am already generating ideas, as an avid listener of a lot of different genres, from contemporary hip-hop to punk to jazz. I can't wait to take influences from a lot of different sources and create an interesting artistic music video.
I will be working alone this year as I believe it grants more flexibility and creativity, however, saying this, I will be working closely to my friends who also do media but my piece will be better, of course.
Last year the group struggled with communication and organisation so I believe as I am working on my own I will be able to stuff done more efficiently.
Andrew Goodwin's theory of music videos was brought out through the book named Dancing In The Distraction Factory, this was released in 1992, this information is vital contextually and could be the reason for some artists not complying to the media theory.
I am analysing The Police's song named Roxanne, released in 1978 from the album Outlandos D'amour.
Goodwin's theory states that music videos should have a relationship between:
Visuals and Lyrics Visuals and Music Genre Characteristics Intertextuality Notion of Looking Voyeurism Live performance/Narrative video/Abstract video
Throughout the music video there is no direct reference to any of the lyrics, however, through mise-en-scene of red-hued lighting, there could be an allusion to the infamous red-light district that fits very much with the songs motifs as The Sting sings about Roxanne 'selling her body' and 'putting on the red light'. Also, the red light becomes more predominant in comparison to other Police songs as a few of their most popular songs are in black and white,
There are relationships between the visuals and music within the music video continuously through editing at 1:26 and 2:10. Also, the band are playing in sync with the song throughout the music video, this also links into voyeurism as we watch all members of the band play their instrument and sing along to the song and therefore there is mise-en-scene of gigging, a live performance.
The genre characteristics are obvious throughout the video as The Police are an 80s rock band, this is shown by the stage performance with screaming fans singing and dancing to them, this was typical for an 80s rock band as similarly U2 and AC/DC follow this trait. The visible guitar and drum playing, sweating singer and dancing fans compliment the genre characteristics of The Police's.
Roxanne's music video editing features are rather advanced and create a sense that the visuals are as an art form.
Also in this music video, complying to Goodwin's theory there is a notion of looking, the lead singer barely breaks free from a long stare into the camera, a gaze into the audience, probably because as The Sting is the lead man they are flaunting his appearance to attract the audience as he is most recognizable and still is.
Voyeurism is featured heavily, not of females though. There are no females in the video that are represented sexually, only the males in the band that are being looked at by the audience, the attendees of the gig indulge in the live performance forming a personalisation with the audience. Also, as we watch the band play, voyeurism occurs.
The music video is of a live performance that is interjected with clips of a sound test, there is no narrative or abstract themes in the video, it is fully of the live performance.
