Indie folk is a music genre that arose in the 1990s from musicians in the indie (independent) rock community influenced by folk and classic country music. The genre became popular in late 1990s United States and in the United Kingdom in the early 2000s, with local scenes including Omaha, Nebraska, London and Melbourne. Indie folk combines the catchy melodies of indie rock with the acoustical sounds of contemporary folk music. The genre is also related to indie rock, folk rock, lo-fi and folk punk.
Typical instruments include acoustic guitar, double bass, piano, harmonium, mandolin, drums, banjo, violin, accordion, brass instruments and electric guitar.
Early artists include Ani DiFrance and Dan Bern. Other modern indie folk artists feature Ben Howard, Bombay Bicycle Club, Edward Sharpe & The Magnetic Zeros, Fleet Foxes, Jake Bugg and Kate Nash.
Typical codes and conventions in indie folk music videos feature:
- The fashion is very casual and natural. The artists often dress to match their setting. Some formal attire is also common, like shirts buttoned to the top and waist coats.
- Ambient lighting is often used in videos and photo-shoots to give the calm and relaxed atmosphere that the genre is associated with.
- Photo-shoots are often shot outside, using a vintage filter and soft lighting. If the band has a few members then the whole band will be in the promotional shot, and not often in strict hierarchal order to show the laid back fell of the music.
- There is a general lack of manufactured imagery to avoid constructing with the themes, everything is usually natural with a focus on the environment.
- Many videos related to the genre generally have a laid back playful theme, and show candid shots.
I will use these codes and conventions in my own music video production to exaggerate the indie folk genre. Researching the genre has given me a much better understanding of techniques to use and how effective they can me in music videos.
Below are 2 examples of primary research in the form of pre-existing indie folk music videos, the codes and conventions are apparent throughout:
Edward Sharpe & The Magnetic Zeros - Home (2012)
https://www.youtube.com/watch?v=_3hWYXOg1Cg
Lana Del Ray - Video Games (2011)
https://www.youtube.com/watch?v=cE6wxDqdOV0
Despite not classed as the indie folk genre, this music video features many codes and conventions of the indie folk genre.
To begin the research process for my music video production I researched the following techniques and referenced professional music videos that use these techniques:
- Music and visuals
- Genre
- Artist close-up
- Star iconography
- Looking and voyeurism
- Intertextuality
Process strengths -
- I researched each technique via the internet, and found examples from existing mainstream music videos. During my research into Goodwin and Vernallis' theories, I applied their said codes and conventions to the following mainstream music videos:
Miley Cyrus - music and visuals
Foo Fighters - genre
The Strokes - artist close-up
Kiss - star iconography
Rihanna - looking and voyeurism
Iggy Azalea - intertextuality
I found these videos on YouTube, at their direct primary source. I have also referenced the videos to prove their validity. This research has helped me to gain a better understanding of how to use the technique effectively, and see it from the audiences point of view and the effect it has on the viewer.
- Researching music videos from different genres including pop, alternative rock, indie rock, hard rock, R&B and hip hop has given me a better view on how these techniques are used throughout different genres. To improve I could have looked at a music video from the indie folk genre, as that is the genre I chose.
Process weaknesses -
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Outcome strengths -
- I now have an improved understanding of effective visual techniques to use in music video production, which will help me greatly in creating my own music video production.
Outcome weaknesses -
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Recommendations for further research -
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Theorist research - Goodwin and Vernallis
I began by exploring Andrew Goodwin's theory where he identifies 5 key aspects of music videos, and then Carol Vernallis' theory based on the manufacturing and editing of music videos including narrative, editing, camera movement/framing and diegesis. During this stage of research I then looked up the theorists books, Goodwin's Dancing in the Distraction Factory (1992) and Vernallis' The kindest cut: Functions and meanings of music video editing (2001).
Process strengths -
- I planned the layout of my blog post beforehand, so the structure is clear and simple to read. I titles the sections, thought beats - seeing the sound, narrative and performance, the star image, relation of visuals to song and technical aspects of music video. This is something that I have learned to do to from previous units to be careful on my time management.
- I sourced reliable information to reference including books, websites, published research and online videos. I also used internet search engines including Google and YouTube, which adds variation to my sources.
Process weaknesses -
- Despite collecting numerous sources, I feel that a even bigger range would be more beneficial, such as magazines, journals, radio interviews, documentaries and archived radio recordings. This would give me
Outcome strengths -
- After researching Andrew Goodwin and Carol Vernallis in great detail, I now have a very clear understanding of both theorists and theories. I feel this is extremely useful, not just in my music video production but in future projects. I applied Goodwins theory by using thought beats, relating visuals to the song Oats in the Water by Ben Howard, and featured technical aspects in my own music video. I also drew inspiration from Vernallis and considered editing and camera movements/framing when filming.
Outcome weaknesses -
- Time management was an issue which I have been trying to overcome through numerous units. Upon reflection I should have gathered all of my sources at once, rather than at different times whilst writing my blog post. This made it confusing whilst referencing quotes from the sources. I researched before I began the blog post, but also researched during, whist writing. This was to get a better understanding but this is something I could improve.
- I correctly listed references in the bibliography (alphabetical order), which makes it easier to find the references and go directly to the primary source.
- Despite researching Goodwin and Vernallis thoroughly, I feel that I did not use this research effectively enough in my music video concept, and could have expanded more.
Recommendations for further research -
I believe that I could have improved by referencing a wider range of sources e.g. magazines, journals, radio interviews, documentaries and archived radio recordings. I mainly focused on text-based sources and feel that the quality of work could be improved by stepping out of my comfort zone and finding visual/audio clips.
Despite researching Goodwin and Vernalis thoroughgly, I did not use the full extent of my research and understanding in my final music video, which has been wasted in this project but could aid me in any further music video production.
4 contemporary music video analysis
After researching key techniques used in music video and key theorists Andrew Goodwin and Carol Vernallis, I then researched 4 contemporary music videos linked to my chosen abstract indie folk genre. The videos I researched include Ben Howard - Esmerelda (2012), Ben Howard - Oats in the Water (2012), Boards of Canada - Reach for the Dead (2013) and My Morning Jacket - Spring (2015).
Process strengths -
- I took screenshots of my favourite visual moments to draw inspiration from and include in my own music video. This gave me visual influence along with photographers I researched, Kazuyuki Okajima, Syoin Kajii and Keith Johnson.
Process weaknesses -
- I could have researched the technical aspects in a greater depth, and looked at aspects such as camera angles and movement. This would have given me a better understanding of
Outcome strengths -
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Outcome weaknesses -
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Strengths -
- I researched 4 abstract music videos which I drew inspiration from for my own music video production.
- I took screenshots of some of my favourite technical shots from each video, to draw inspiration from when creating my own music video.
- My time management could be better managed as I took longer than I initially planned to source the videos, as I could not find many genre specific videos.
Evaluate process -
I found it very difficult to find abstract music videos linking to the indie folk genre. I discovered not many mainstream music videos exist for my planned theme of ocean scenes and waves.
Recommendations for further research -
To improve, I would analyse the techniques in greater depth to gain a better understanding and then use them in my own music video. I would also manage my time better and find a more efficient way of sourcing music videos from the indie folk genre, by using more online resources.
Questionnaire - quantitive research
Process strengths -
- When distributing my questionnaire I tried to reach a reliable audience by using family and friends. In my mind this would be a quick, easy and effective way of collecting valid results, however this did have other effects that proved to be one of my process weaknesses (see below).
- I published my survey online via www.surveymonkey.com, as this was the easiest platform to distribute and collate the results. The results are worked out automatically via percentages by the site, so it makes it easier to collate the results. I have used the site to conduct surveys before, and it has proved very effective in gathering information.
Process weaknesses -
- My questions were fairly genre specific, but I feel that I could have improved by tailoring my questions more around the indie folk genre, rather than just focusing on abstract. Questions such as "what features do you expect to see in an abstract music video" would have given me clearer results and helped me to plan my music video production in better detail. By doing this I would have had a better idea of what an audience asks, rather than asking less specific questions like "what is your gender", there were 46.15% male respondents and 53.85 female, which has little relevance and does not give me much information about how to plan, film and edit my music video.
- Although I distributed my questionnaire to a specific audience, I feel that this was an easier route and a sure way of getting quick and reliable results. By limiting my survey to a select group of people, a wider audience could not be reached and therefore the answers were not as varied as they could have been. If I had have posted the questionnaire online to a wider audience I could have attained a wider range of audience and therefore answers. It could also be argued that by sending it to limited people there is an ethical bias, where my audience could be from a specific cultural background and therefore attain similar answers.
Outcome strengths -
- I collated my questionnaire results with an in-depth analysis of the answers by working out the percentages and then creating a graphic visual pie-chart of my results (http://sarahdavismediahnc.blogspot.co.uk/2015/05/questionnaire-results.html) which makes my results clear and easy to view. Outcome weaknesses -
Recommendations for further research -
- I understand that by sending my questionnaire to a limited handful of people my results have been limited, despite attempting to send it to a mixture of ages, however with a majority of ages between 18-24.
- If I were to create the questionnaire again then I could also tailor my questions to make them more genre specific to the indie folk genre music genre, and abstract music videos as that was my initial aim, and would give me more detailed responses and therefore help me in planning then producing my own music video.
Focus group - quantitive research
Process strengths -
- I researched the genre and pre-existing music videos from the indie folk genre, to get a better understanding of what questions to ask the focus group. I played the group 2 clips from indie folk music videos, showing them extracts from Ben Howard's Oats in the Water and Esmerelda. The participants told me their favourite visual aspects of each video and techniques that they would change or improve.
Process weaknesses -
- The focus group was formed of 8 A2 film students, which is a limited number and could have been improved. The respondents had dissimilar interests to my indie folk genre, and when I asked them to give any suggestions of any music videos that they liked, all of the suggestions were from the pop music genre (Ed Sheeran and Sia) and were unrealistic for my time frame and budget. I feel that the audience were not suited to my abstract genre and were fixed to a more modern popular music genre. This is explained in Goodwin's theory where he states that a star image attracts a younger audience by feeding them into the mainstream. Due to this I feel that the outcome was not very beneficial in showing me what an audience wants, as they were not fans of the indie folk genre.
- I had originally planned to tape record the meeting but due to a technical malfunction I was forced to take notes. This was helpful when reviewing my feedback, and I found that talking to a group of people face-to-face in an interview type style and asking them questions was useful as I could keep asking questions and they could expand on them, but a voice recording would have been extremely helpful and given me their responses word for word.
Outcome strengths -
Outcome weaknesses -
- When reviewing the groups answers and feedback, I realised that I could have asked more genre specific questions linking with the indie folk genre, to attain more detailed responses. Questions such as "if you were to create your own abstract music video, what would you aim to include" and "can you name some of your favourite abstract music videos in regards to concept and visuals?" would have been great to ask and gain answers to, as this would have given me a clearer understanding of what an audience wants from a music video of my genre.
Recommendations for further research -
- The validity of my focus group answers could have been resolved by conducting a focus group with an audience that already has an interest in indie folk music music and abstract music videos, or has a wider variation of key factors such as age and ethnic/cultural background.
Early editing - cutting (editors cut, directors cut, final cut)
- There are several editing stages and the editors cut is the first. Sometimes referred to as the "assembly edit" or "rough cut", it is normally the first pass of what the final film will be when it reaches picture lock. The film editor usually starts working while principal photography starts. Likely, prior to cutting, the editor and director will have seen and/or discussed dailies (raw footage shot each day) as shooting progresses. Screening dailies gives the editor a ballpark idea of the directors intentions. Because it is the first pass, the editors cut might be longer than the final film. The editor continues to refine the cut whilst shooting continues, and often the entire editing process goes on for many months and sometimes more than 1 year, depending on the film.
- When shooting is finished, the director can then turn their full attention to the directors cut, collaborating with the editor and further refining the cut of the film. This is the time set aside where the film editors first cut is moulded to fit the directors vision. The director and the editor go over the entire movie in great detail; scenes and shots are re-ordered, removed, shortened and otherwise tweaked. Often it is discovered that there are plot holes, missing shots or even missing segments which might require that new scenes be filmed.
- Often after the director has had his chance to oversee a cut, the subsequent cuts are supervised by one or more producers, who represent the production company and/or movie studio.
Moviola
- A Moviola is a device that allows a film editor to view film whilst editing. It was the first machine for motion picture editing, when it was invented by Iwan Serrurier in 1924. Serrurier's proginal 1917 concept for the Moviola was as a home movie projector, to be sole to the general public. However, since the machine cost $600 in 1920 (equilivant to $20,000 in the 2000s), very few sold. An editor at Douglas Fairbanks Studios suggested that Iwan should adapt the device for use by film editors. Serrurier did this and the Moviola as an editing device was born in 1924.
Flatbed edit suites
- Steenbeck is a brand name that has become synonymous with a type of flatbed film editing suite which is usable with both 16mm and 35mm optical sound and magnetic sound film. The Steenbeck company was founded in 1931 by Wilhelm Steenbeck in Hamburg, Germany. Since then, the Steenbeck name has become widely known in the film editing community, and more than 25,000 machines are in operation around the world. The companion still manufactures editing tables. The editing is now based on digital media - devices such as the Lightworks non-linear film editing controller and archives still use the Steenbeck physical layout for controlling the process. The Steenbeck's lower light levels and controllable speed make it a preferred piece of equipment for film archives and restoration facilities, as prints can be quickly and easily inspected with less risk of damage compared to a movie projector. Because there is no intermittent movement, the image is created through a rotating prism which scans the frames. Steenbeck machines were known to be exceptionally easy on film stock, due to their use of soft-edged nylon rollers.
Linear and non-linear editing
- Linear video editing is a video editing post-production process of selecting, arranging and modifying images and sound in a predetermined, ordered sequence. Regardless of whether it was captures by a video camera, tapeless camcorder, or recorded n a television studio on a video tape recorder, the content must be accessed sequentially. For the most part video editing software has replaced linear editing.
- A non-linear editing system is a video or audio editing digital audio workstation system that performs non-destructive editing on source material. The name is in contrast to 20th century methods of linear video editing and film editing.
Online and offline editing
- Online editing is a post-production linear video editing process that is performed in the final stage of a video production. It occurs after offline editing. For the most part, online editing has been replaced by video editing software that operate on non-linear editing systems. High-end postproduction companies still use with NLE the Offline-Online Editing workflow. The term online originated in the telecommunication industry, meaning "under the direct control of another device" (automation). The term online changed from its original meaning to where the pictures are re-assembled at full or online resolution. An edit decision list (EDL) or equilivant is used to carry over the cuts and dissolves created during the offline edit. This conform is checked against a video copt of the offline edit to verify that the edits are correct and frame-accurate. After conforming the project, the online editor will add visual effects, lower third titles, and apple colour correction. This proecess is typically supervised by the client(s). The editor will also ensure that the program meets the technical delivery broadcast safe specs of the broadcaster, ensuring proper video levels, aspect ratio and blanking width. Projectd may be re-captured at the lowest level of video compression posible, ideally with no compression at all.
- Offline editing is part of the post-production process of filmmaking and television production in which raw footage is copied and edited, without affecting the camera original film stock or video tape. Once the project has been completely offline edited, the original media will be assembled in the online editing stage. The term offline originated in the computing and telecommunications industries, meaning "not unter the direct control of another device" (automation). Modern offline video editing is conducted in a non-linear editing (NLE) suite. This digital revolution has made the offline editing workflow process immeasurably quicker, as practitioners moved from time-consuming (video tape to tape) linear video editing online editing suites, to computer hardware and video editing software such as Adobe Premiere, Final Cut Pro, Avid, Sony Vegas, Lightworks and VideoPad. Typically, all the original footage (often tens or hundreds of hours) is digitized into the suite at a low resolution. The editor and director are than free to work with all the options to create the final cut.
The digital era (CMX-600, edit droid and avid 1)
- The CMX-600 was the very first non-linear video editing system. This Emmy Award winning system was introduced in 1971 by CMX Systemt, a joing venture between CBS and Memorex. CBX referred to it as a "RAVE", or Random Access Video Editor. The 600 had a console with 2 black and white monitors built in, as well as a light pen used to control the system. The right monitor, which played the preview video, was used by the editor to make cuts and edit decisions, by using the light pen to select from options which were superimposed as text over the preview video. The left monitor was used to display the edited video.
- The EditDroid is a computerized analog NLE (non-linear editing system), which was developed by Lucasfilm spin-off company, the Droid Works and Convergence Corporation who formed a joint venture company. The company existed up through the mid-80's to the early 90's in an attempt to move from analog editing methods to digital. The EditDroid was never a commercial success and after the close of The Droid Works in 1987 and subsequent redevelopment of the product for seven years, the software was eventually sold to Avid Technology in 1993. Only 24 EditDroid systems were ever produced.
- Avid Technolody Inc. is an American company specialising in video and audio production technology, specificallu digital non-linear editing (NLE) systems, management and distribution services, It was created in 1987 and became a publicly traded company in 1993. Avid is headquartered in Burlington, Massachusetts. Avid products are now used in the television and video industry to create television shots, feature films and commercials. Media Composer, a professional software-based non-linear editing system, is Avid's flagship product.
Modern editing platforms (Final Cut, Premiere Pro)
- Final Cut Pro is the name given to a series of non-linear video editing software programs, first developed by Macromedia Inc. and later Apple Inc. Since the early 2000's, Final Cut Pro has developed a large and expanding user base, mainly video hobbyists and independent filmmakers. It had also made inroads with film and television editors who have traditionally used Avid Technology's Media Composer. According to a 2007 SCRI study, Final Cut Pro made up 49% of the United States professional editing market, with Avid at 22%. A published survet in 2008 by the American Cinema Editors Guild placed their users at 21% Final Cut Pro (and growing from previous surveys of this group), while others were still on Avid system of some kind.
- Adobe Premiere Pro is a timeline-based video editing software application. It is part of the Adobe Creative Cloud, which includes video editing, graphic design, and web development programs. Premiere Pro is used by broadcasters such as the BBC and CNN. It has also been used to edit feature films, such as Gone Girl, Captain Abu Raed, and Monsters. Premiere Pro is the redesigned successor to Adobe Premiere, and was launched in 2003. Premiere was one of the first computer-based NLE's (non-linear editing system), with its first release on Mac in 1991.
Film and file types
- A video file format is a file format for storing digital video data on a computer system. Video is almost always stored in compressed form to reduce the file size. A video file normally consists of a container format containing video date in a video coding format alongside audio data in an audio coding format. The container format can also contain synchromisation information, subtitles, and metadata such as title etc.
Here I have created an edit decision log, which has helped me to distinguish which clips I have used at which parts of the video, and the mixture of shot types I have included. I found making an EDL very useful and well worthwhile.
After extensive research, looking into music video techniques, theories and moving image/visual influences, I have decided to create an abstract music video based around nature and the moving ocean tide.
I have decided to shoot in a scenic location as I am basing my music video around abstract and nature. I looked at location scouting and found that the most effective place to carry out my shoot was in the surrounding area of Weymouth. I decided to shoot here and researched nearby places of beauty. I also researched the weather forecast to ensure that I was going to be there on days with weather that I desired.
Shooting in such a location requires a thorough health and safety/risk assessment. I now feel comfortable doing this as I have now conducted many throughout the course. Ensuring that myself and others around me are safe is paramount to prevent any accidents.
During my shoots I have decided to take a bulk of equipment, including: Canon 5D camera, camera battery, camera SD card, camera battery charger, fluid head tripod, laptop and a card reader. I have decided to take this list of equipment as once away and shooting I do not want the SD card to get full of footage with nowhere to offload it, limiting the amount I can film, therefore I will be taking my laptop to transfer footage.
I have worked from the visual influences of Kazuyuki Okajima, Syoin Kajii and Keith Johnson (shown below). Their bodies of work combined have given me inspiration and many ideas of techniques to modify and make personal to me.
When conducting my research I found it difficult finding a song to match my desired visuals. I knew what I wanted my music video to look visually, but needed the right song to work well in visuals and concept. I found the concept of changing/moving on and the harshness of nature interesting and knew that the visuals would work well with that concept. I got this inspiration from a video I researched from Boards of Canada. After alot of research into songs, I eventually settled on using Ben Howard's Oats in the Water as the main song for my music video. I feel that this song works well, especially after analysing an existing music video for the song. I related Andrew Goodwin's theory, and plan to cut the visuals to the beats of the music.
Here are some of my visual influences that I hope to gain inspiration from and recreate in my own music video production:
Before filming commences I must ensure that all health and safety regulations are met. Having already conducted numerous health and safety shoots, I have researched this topic in depth and as director of the project I will be in charge of making sure that everybody involved is safe, and I must therefore prevent any potential accidents. In order to do this I must identify all of the hazards and evaluate the risks, identifying measures to control these risks.
Firstly, I must ensure that everybody is aware of fire exits and escape routes, which may be fairly easy to conduct when shooting outdoors. Although shooting in this way has separate dangers which could include road hazards (e.g. cars and trains), nature hazards (e.g. uneven ground and steep drops) and factors out of my control (e.g. other human error). Equipment should be carefully transported, set-up and used effectively to prevent any accidents. Heavy equipment (e.g. fluid head tripod) can become obstructive, however if I carry out my health and safety precautions well enough then this will not be a problem. I will attempt not to obsrtuct anybody around me and will do this by ensuring that I am constantly aware of my surroundings and people around me.
For this unit I plan to create a music video production with abstract visuals and a nature based theme. I decided that the best place to film would be the south coast. Here, I have researched some locations along the coastline and nearby places of interest that I would like to shoot at. I have also included the distance of each place away from the main nearby town, to attain a better understanding of methods to get there and if they are realistic with my transport and time frame. I feel that researching numerous locations is beneficial in finding the perfect shooting location, as it gives me more opportunity and scope, and I will be sure that I am finding the right location to match my visual ideas.
Bournemouth
- Poole (5.5 miles)
- Brownsea Island (7.7 miles)
- Old Harry Rocks (9 miles)
Brighton
- Brighton Pier (0.3 miles)
- Friars' Bay (7.7 miles)
- Belle Tout Lighthouse (20.2 miles)
- Beachy Head (20.8 miles)
Weymouth
- Wyke Regis (2 miles)
- Weymouth Bay (3 miles)
- Portland Bill (8.9 miles)
- Durdle Door (14.1 miles)
- Lulworth Cove (14.9 miles)
- Mupe Bay (14.9 miles)
- West Bay (17.4 miles)
- Worbarrow Bay (17.4 miles)
- Golden Cap (22.4 miles)
Durdle Door (top) and Mupe Bay (bottom).
I have decided to shoot in Weymouth/Portland, as there are many local places of interest and I feel that I would attain better footage there. Out of the towns on the south coast that I have researched, I found Weymouth to have the most striking locations nearby. I have also looked into transport, researching how to get to each place and ensuring that they are not difficult to travel to/from from the town.
Here is a weather forecast showing precipitation, humidity and wind in my planned location, for my planned filming days. This will be very helpful when shooting, as it gives me an idea of where to shoot at which day/time, plus the wind speed and therefore the wave height in mph (miles per hour).
Kazuyuki Okajima - Kuro-shio (black current)
Kazuyuki Okajima was born in Fukuoka City in 1967 and graduated from the Tokyo School of Photography. After working as a studio assistant and photographers assistant he became a freelance photographer. In addition to working as an advertising and magazine photographer he travels the world shooting images imbued with a strong poetic sentiment.
In the body of work Kuro-shio (black current) by Okajima, he stated "I never get tired of watching the undulation of waves. The waves roll in as she rise and fall, and make a wavering motion. The shape and line are beautiful and distinct. Through the finder, I chase after the waves breaking against the shore and washing the sand; and I release the shutter. The picture may seem be still but what I had captured were continuation of wavering. I aimed to condense the situation into photographs. After I started to live near the sea, I became conscious about the tide. As with the relation to moon, I find it mysterious. I wonder where all the seawater at flood tide goes when it becomes ebb tide. The title is punned on the strong western boundary current that transports warm, tropical water northward in the northern Pacific Ocean called Kuroshio."
The main feature that attracted me to this body of work is the motion of the waves and black and white edit, simplifying the images and concept. Shots of a similar calibre would be possible with my production plan and budget.
This information/statement was taken from Lens Culture (https://www.lensculture.com/kazuyuki-okajima).
Syoin Kajii - NAMI
NAMI is a series of photographs of waves around the shores of Sado Island in Japan. The photographer, a young Buddhist monk named Syoin Kajii, watches the water patiently waiting for a moment of surprise. He states that he chooses places to photograph based on the information from weather forecasts or news from fishermen, which is an effective way of ensuring great footage and could be useful to me. Using a digital camera, Kajii photographs the waves by staying in the water for approximately 5-6 hours, attempting to capture the very moment he was somehow startled, so it's not only targeted to just high waves. When suggested that the waves look "threatening, dangerous, dark, ominous and frightening" however seem like "graceful dancers - powerful, but beautiful and full of poetic gesture", he simply commented that waves should have various aspects.
Similar to Kazuyuki Okajima's work, I have pulled inspiration from these photographs as the striking composition captures the viewers eye and imagination. Although getting this up close and personal with waves of that magnitude isn't very realistic with a professional camera, I aim to capture something similar.
This information/statement was taken from Lens Culture (https://www.lensculture.com/skajii).
Keith Johnson - The Chosen Place
Johnson photographs a beautiful place called Kanandarqua by the Senecas meaning "The Chosen Place." He photographed the sky, the water, the light and the feeling of the place. Lightroom from Adobe allowed him to see his photographs in vast contact sheets. He then grouped his images defined by mood, subject or colour. As a result of grouping images in a folder he got to see a whole bunch of relationships and juxtapositions that previously might/would not have. This body of work is the result.
I personally find this collection of images very striking as the comparison between sky and sea works perfectly in conjunction with colour and atmosphere. Upon looking, the 2 photographs look like 1 image but only on closer investigation we can see that they have been joined together. I like the idea of this technique and hope to experiment with this to see what qualities I can achieve in video. I also believe that this technique would work well in regards to video rather than static images, showing the relation between 2 forces of nature. This is also a unique opportunity to show a large amount of footage in a 2-3 minute music video.
This information/statement was taken from Lens Culture (https://www.lensculture.com/kjohnson).
7. What type of music video do you prefer to watch?
- Abstract 23.08%
- Concert/Live performance 23.08%
- Dance 23.08%
- Narrative 30.77%
- Other (please specify) 0%
8. Do you prefer music videos that are...?
- Fast and energetic with a lot happening visually 61.54%
- Slow paced and easy to watch passively 38.46%
9. In your opinion, what is an ideal length for a music video?
- 30 seconds - 1 minute 0%
- 2 minutes - 3 minutes 61.54%
- 4 minutes - 5 minutes 30.77%
- 6 minutes + 7.69%
10. How often do you watch music videos in their entirety?
- Very often 23.08%
- Often 30.77%
- Sometimes 30.77%
- Not very often 15.38%
- Never 0%
From my questionnaire, I have concluded that my main target audience is:
- Female
- Aged 18-24
- Watches music videos (often)
- Watched music videos via YouTube
- Prefers rock music
- Prefers music videos following a narrative
- Prefers music videos that are fast and energetic
- Likes music videos that are 2-3 minutes in length
- Watches music videos in their entirety often/sometimes
I ensured the validity and accuracy of my results by distributing my questionnaire to multiple sources. I did this by handing it to my family and friends, so I knew I would attain quick and definite results. This ensured that all of my sources were reliable. When designing my questionnaire I took into account ethical considerations, moral issues and privacy e.g. when asking the audience which gender they were I added the option "Prefer not to say", as some audiences may not be comfortable in disclosing that type of information. I attempted to verify the validity of interpretations by handing it out to a variety of ages, and although despite the majority participants being 18-24, I did include a wider range of audience. Although the results were not specific to how I had planned my music video production, the results show a close correlation. I collated my results by working out percentages and then creating a graphic visual pie chart, for easy and clear reference.
I held a focus group on Wednesday 22nd April as primary research for my music video production. This was conducted in front of a group of 8 A2 film studies students from the college. I found this very helpful as I now have a better understanding of what an audience wants and what they would find more visually pleasing.
I felt that I had conducted enough research to present my ideas to a focus group, which was an excellent opportunity to see what ideas people had and how they would impact my ideas for a music video. The focus group as a whole was successful with regard to attaining opinions and progressing ideas. However, I feel that a little more organisation would have helped me to gather more accurate questions (for example, asking more in-depth questions). The focus group provided my research with a good primary source which my work may otherwise have lacked. However, something I would ensure if I were to conduct a focus group again is recording the groups conversation and note taking, as I forgot to record and decided to only make brief notes which I didn't find too helpful upon review, and had to do most of my write-up from memory.
Focus group questions and answers: (The focus group is shown a segment from Ben Howard's 'Oats in the Water') 1. Do you prefer fast paced and energetic, or slow paced and easy to watch music videos?
- 4 preferred fast paced and energetic
- 4 preferred slow paced and easy to watch 2. Do you link the visuals with song lyrics when watching a music video?
- Yes, seeing visuals that correlate with the lyrics at that particular moment is pleasing to an audience and helps them to understand what is happening/the songs concept
3. From the previous clip, what do you find pleasing about the concept and visuals?
- The black and white edit of the footage
- The speed and motion of the footage 4. From the previous clip, what do you think would improve it in regards to concept and visuals?
- More experimentation required
- More people involved, with an arranged narrative
- More action and movement (people) 5. From the previous clip, do you think that the pace of the song relates well with the visuals?
- The visuals were too 'boring' and didn't completely relate to the songs lyrics 6. Can you suggest any music videos that stand out to you?
- Ed Sheeran (Thinking Out Loud)
- Sia (Elastic Heart)
Overall, the focus group opposed my original ideas to create an abstract music video based around moving nature. There was an average response on people who preferred past paced compare to slow paced. Music videos were best responded to when the visuals matched the song lyrics, as it helped them to understand what was happening and the songs concept. From a video I showed to them based around something that I aimed to re-create, they liked the black and white edit of it, but felt that more experimentation, human presence and action/movement would improve it. They did not find the concept and visuals to their taste, and found it boring.
However when I asked them to reference any music videos that they favoured, the response was mainly modern pop songs and not of the same genre that I have researched. The audience of the focus group were aged 17-18, and until I gather the results of my questionnaire, I do not know my exact target audience and feel that the focus group were more interested in contemporary pop songs rather than abstract visual music videos.
I created a questionnaire via www.surveymonkey.com to hand out to people and gather results, giving me a clearer understanding of what an audience wants. A copy of my questionnaire can be found below, and I will create a new blog post once finished and the results have been collated.
1. What is your gender?
- Male
- Female
2. How old are you?
- Under 18
- 18-24
- 25-34
- 35-44
- 45-64
- 65-74
- 75 or older
3. Do you watch music videos?
- Yes
- No
4. How often do you watch music videos?
- Very often
- Often
- Sometimes
- Not very often
- Never
5. Where do you watch music videos?
- Television
- Vimeo
- YouTube
- Other (please specify)
6. What is your favourite music genre?
- Alternative
- Blues
- Country
- Electronic
- Folk
- Hip Hop
- Jazz
- Latin
- Pop
- R&B/Soul
- Rock
- Other (please specify)
7. What type of music video do you prefer to watch?
- Abstract
- Concert/Live performance
- Dance
- Narrative
- Other (please specify)
8. Do you prefer music videos that are...?
- Fast and energetic with a lot happening visually
- Slow paced and easy to watch passively
9. In your opinion, what is an ideal length for a music video?
- 30 seconds - 1 minute
- 2 minutes - 3 minutes
- 4 minutes - 5 minutes
- 6 minutes +
10. How often do you watch music videos in their entirety?
I firstly need to choose a selection of music videos of the same genre that I feel are are current and appropriate, or oppose themes and ideas. I decided to focus my research on the abstract music videos. For the primary research of the project I analysed the following music videos and applied theory to them, also looking at technical aspects to back up any points I made. The videos listed are Ben Howard - Esmerelda (2012), Ben Howard - Oats in the Water (2012), Boards of Canada - Reach for the Dead (2013) and My Morning Jacket - Spring (2015). Ben Howard - Esmerelda (https://www.youtube.com/watch?v=UYUKsRL-YBM)
From the Burgh Island EP, released in November 2012, this music video conveys the theme of loneliness by mainly showing ocean waves at different angles, speeds and direction. Techniques are used to show this effectively, such as handheld camera and shallow depth of field. Despite a lack of human presence/actors, the visuals are linked with the song, as when increased in intensity, the waves become stronger and the video overall is given a faster pace.
Common aspects from different Ben Howard music videos are used frequently. These include title/headers, similar shot types, angles, depth of field, changing direction and black and white editing of the footage.
Ben Howard - Oats in the Water (https://www.youtube.com/watch?v=DaH4W1rY9us)
Identical to the previous track (Esmerelda), this song is taken from the 2012 Burgh Island EP. Although this is not the official music video for the track, and is a fan made video, it is done professionally and features many great visual qualities. The 2 music videos are very similar in many aspects, featuring scenic locations, predominantly of the ocean/waves. This again, shows a very strong relationship between the song title and lyrics as the nature of the song is paired with a slow paced music video, until the song increases in pace and intensity, which is visually shown by jump cuts, and the ocean waves changing in direction via reverse, which signifies the harshness of the ocean and the build up of the song.
Techniques such as handheld camera and shallow depth of field are also used to give the video meaning and look visually pleasing to the audience. The black and white editing of the footage also gives us a steady and leisurely tone, similar to the song's relaxing tone. This video comes after Esmerelda, in which the two videos share very similar visual and technical qualities, however this video features a wider range of shots, and faster, snappier jump cuts when the song increases in intensity.
Boards of Canada - Reach for the Dead (https://www.youtube.com/watch?v=2jTg-q6Drt0)
Directed by Neil King, this music video from Boards of Canada shows shots of scenic locations and abandoned buildings/houses. Set in the hazy imagery of the mid-west desert and its anonymous, bleak ghost-town, the locations give the impression that each of the places are buried in time, isolated with no human life existing there anymore. These places were at some point somebodies home, and the rest of us can only wonder who once lived there, and what kind of life that they lived before these places became derelict. Meanwhile, the ending appears seemingly bright and surreal, like an ascension into Heaven, and that nothing we build lasts forever, but the human spirit carries on.
Billboard referred to the video as "a precise fit" for "the tune's warm, sweeping sounds".
My Morning Jacket - Spring (https://www.youtube.com/watch?v=YDjGnCvDOk4)
This video from My Morning Jacket is from their 2015 album The Waterfall. The music video is simple and abstract. It is based in one location, a waterfall, which works well in conjunction with the album title. The camera pans up and down repeatedly, whilst the colour balance has been altered. The video finishes with a red tint to the sky and clouds, seeming like a religious reference.The simple, colour-treated clips of waterfalls pouring out in slow motion give a relaxed tone.
Theorists - Andrew Goodwin 'Dancing in the Distraction Factory' (1992).
- Carol Vernallis 'The kindest cut: Functions and meanings of music video editing' (2001).
Goodwin
Goodwin put together a set of key features which apply to all music videos. Not all of the features are included in each video, however at least one feature is complimentary, contradicting or amplified.
Goodwin identified 5 key aspects of music videos that we as an audience see. These are:
- Thought beats - seeing the sound
- Narrative and performance
- The star image
- Relation of visuals to song
- Technical aspects of music video
Thought beats
Looking at the music itself. Here we must take into account the structure of the song e.g. chorus/versus. The lyrics and beat of the song is in keeping with the music video, and often cuts nicely with smooth transitions. Most pop stars and rap artists keep in keeping with this tradition, especially songs featuring predominant and harsh beats, then followed by cuts. An example of this is Lady Gaga's hit song, Applause [1].
Secondly, the voice of the song is important. The artists voice can be extremely unique and can form identification or trademarks that work well with the star image. "pop lyrics are
always about both the content of the words (which may often be less of a
story and more a series of slogans or linguistic gestures/poses) and
the voice/face/character who is singing" [3, page 76]. Roland Barthes theory of 'grain of voice' can be related to this. The singing voice is seen as an expressive instrument, and therefore able to make associations of its own. With modern technology such as radio, we subconsciously identify artists/people with songs played and through constant exposure of repeated songs, this is easy to do.
Goodwin also points out the artists mode of address. Songs can be portrayed as stories, and the artist as the storyteller. Therefore enabling the song to become a communication device with them telling us a story and us as the audience listening. "When a pop singer tells a first-person narrative in a song, he or she is simultaneously both the character in the song and the storyteller. Often the two positions become confused for audiences" [3, page 75].
Narrative and performance
Songs often fail when giving us the complete narrative. We only tend to get the gist of the meaning of the song and then tend to make up our own idea of what is being told. Goodwin explains that music videos should ignore common narrative. It is important in their role of advertising. "How do you explain the power this expressive culture has over young people, especially through its music?" [4, page 152].
Music videos should coherent repeatability. Narrative and performance work hand in hand, and makes it easier for the audience to watch repeatadly, without loosing interest. Most modern music videos are made to either wow and audience by showing them a lifestyle they could only dream of, relate to, or follow due to a plot narrative. Music videos such as Justin Bieber's, As Long As You Love Me combines two of these and shows the female teenage audience a life they aspire to have aswell as a narrative [2]. The artist acting as both narrator and participant helps to increase the authenticity, however the lip sync and other mimed actions remains the heart of music videos. The audience need to believe that it is real. Modern music videos are becoming more obscene and quirky as time passes, with artists such as Lady Gaga leading the way. "Consequently, clothing described in fashion magazines (which might seem to you less real, less interesting than clothes worn in real life) acquires new dimensions as a projection of a collective image-repertoire. It is a medium for images, stereotypes, a great wealth of elements that are not real, it's true, but utopian in nature. In this way, written clothing is akin to movies, comic strips, or popular novels. Finally, there is a stereotyped image of femininity that hides behind the phraseology of fashion magazines" [4, page 58].
The star image
The star image is another vital aspect of music videos, possibly the most important. Meta narrative (which is a big story describing the development of the star over time) has an important part to play in the music video production process. Iconic musicians over time have gained their status and popularity. "An important characteristic of every teenager’s maturation is her self-definition. Self-definition can be defined as the way you see yourself. For teens, that image is influenced to a large extent by personal choices, which are, in turn, influenced by the images and associations teens glean from pop culture on a daily basis" [7]. Pop stars such as Elvis, David Bowie, Elton John, Michael Jackson and Madonna use star image to attract an audience and ensure that their appearance is long remembered. Stars recognise that this technique works, and is used by all genres of music, from pop stars like Beyoncé, Katy Pery and Miley Cyrus, to rockstars like The Rolling Stones, Queen and Kiss.
Relation of visuals to song (illustrate, amplify and disjuncture)
Music videos use a set of images to illustrate the meaning of lyrics and genre, this is common. This is where the meaning of the song is completely ignored. Quite often the lyrics don't match the visuals, and can be a way of expression for the artist. This is similar to repeatability. Meanings and effects are manipulated and constantly shown through the video, and drummed into our vision.
Technical aspects of music video
Technical aspects hold the video together, through the use of camera work, movement, angle, mise-en-scene, editing, sound and special effects. "Camera technology (as exempified by deep focus in particular) and
camera movements (determined by the action of the protagonist), combined
with invisible editing (demanded by realism) all tend to blue the
limits of screen space" [6]. Speed, camera movement, editing, cutting and post-production are all forms of use of camera. Lighting and colour help to set moods and emphasise key moments of the song for dramatic effect. Mise-en-scene (e.g. the location/setting of the music video) is vital, and must look authentic in order to attain professionalism. Music videos also use cuts to go with the beat or rhythm, making the video more entertaining.
Vernallis
Carol Vernallis is best known for her theory based on the editing of music videos. The theory is based around 4 key concepts that relate to how a music video is manufactured. These are narrative, editing, camera movement/framing and diegesis.
Narrative
When describing her theory, particularly the narrative aspect, Vernallis suggests that the video is a visual response to the narrative. Therefore whatever is happening onscreen reflects the choose of lyrics that the artist is singing. However, Vernallis then goes on to say how the narrative may not always be completed and can be partial with the video appearing disjointed, disconnected and appear in fragments. The video has something driving it forward but this may not necessarily be the narrative, it could be the music itself or other elements in the video. If the video is left uncompleted it can lead to many questions about the narrative that won't always be answered throughout the video. Although the video may have a theme or narrative, it is probably displayed in a montage style, rather than in one clear focus.
Editing
She states that a clear convention of music editing is that the video may disrupt or break the convention of continuity editing. The editing may also be bought to the foreground, become visible and not hidden, apposed to the invisible style of continuity editing. Meaning the video will have a style of editing running throughout that is distinctive to that video. For example, breaking the 30 degree rule, cutting in time with the lyrics, jump cuts, extreme changes in pace and juxtaposed frames. Most R&B videos are in keeping with this tradition, an example being Pitbull ft. Ke$ha [5].
Camera movements and framing
Vernallis states that establishing shots are one of the key camera features of a music video and are used frequently throughout a music video as well as close-up shots. "The camera becomes the mechanism for producing an illusion of Renaissance space, flowing movements compatible with the human eye, an ideology of representation that revolves around the perception of the subject; the camera's look is disavowed in order to create a convincing world in which the spectator's surrogate can perform with verisimilitude" [6]. The style of framing of the video against is quite distinctive to the video and also the camera may move in time with the lyrics. Extreme shots also known as master shots are also very common.
Diegesis
In terms of media, the diegesis is the world of the music video. Carol Vernallis explains how the diegesis will be revealed quite slowly. The actions in the video won't always be completed and may be disrupted in some way. There will be many repetitions throughout the video and some frames will appear more important than others due to the way that they have been framed/shot.
Bibliography
[1]Applause, Interscope, 2013, Lady Gaga (https://www.youtube.com/watch?v=pco91kroVgQ)
[2]As Long As You Love Me, The Island Def Jam Music Group, 2012, Justin Bieber (https://www.youtube.com/watch?v=R4em3LKQCAQ)
[3]Dancing in the Distraction Factory, University of Minnesota Press, 1992, Auth. Andrew Goodwin
[4]The Grain of the Voice, Northwestern University Press, 1981, Auth. Roland Barthes
[5]Timber, RCA Records, 2013, Pitbull ft. Ke$ha (https://www.youtube.com/watch?v=hHUbLv4ThOo)
[6]Visual Pleasure and Narrative Cinema, GRIN Verlag, 1975, Auth. Laura Mulvey
Goodwin, claimed was that there is a strong relationship between the lyrics and the visuals on screen, which includes illustrating, amplifying, contradicting and cutting visuals in time to the music.
Wrecking Ball is a song recorded by American singer Miley Cyrus for her 4th studio album Bangerz (2013). Released by RCA Records, the song was written by MoZella, Stephan Moccio, Sacha Skarbek, Lukasz Gottwald and Henry Russell Walter, the pop ballad lyrically discusses the deterioration of a relationship. The song generally recieved favorable reviews from music critics who appreciated the lyrical content and overall production, but Cyrus' emotional delivery was questioned due to her increasingly sexual image. It debuted on the U.S. Billboard Hot 100 at number 50 and later became Cyrus' 1st number 1 single in the United States, after the controversial music video release. Wrecking Ball has sold 3 million copies in the United States, and many more worldwide.
The lyrics are matched literally with the music video, with Cyrus riding a wrecking ball. Close-up shots convey emotion and meaning e.g. for the lyric "all I wanted was to break your walls" she literally knocks down a concrete wall.
Pop genre - codes and conventions:
- The artists are clothed in fashionable, stylish and mainstream outfits.
- Pop music videos often contain bright colours, which connote happiness and a positive vibe.
- The artists are portrayed as happy, enjoying and content with life.
- They express the unity associated with teenagers, the main target audience.
- The lyrics are normally based around love or relationships.
- Often very dance orientated with catchy beats and lyrics.
Genre
The next key feature of a music video which Goodwin discovered was that music videos demonstrate genre characteristics, not just the genre of the music but the genre of video itself. Genres include stadium performance, studio performance, location, narrative and conceptual/experimental.
All My Life is the 2002 song by American alternative rock band Foo Fighters, released as the 1st single from their 4th album, One by One. The song won a Grammy Award for Best Hard Rock Performance, and spent 10 weeks at #1 on the Hot Modern Rock Tracks chart, and peaking at #3 on the Hot Mainstream Rock Tracks chart. It was also a top 5 hit on the UK Singles Chart. The band typically conforms to the genre as the band are performing on stage, in their natural music environment.
The location is one best associated with bands and uses experimental camera and editing techniques, which fit in well with the lyrics. At the end we are shown that the band have been performing to no audience which tells us that for them its about the music, popularity, or the legions of fans. They will still play regardless of fan base numbers, and the emotion seen in Dave Grohl when singing allows the audience to identify with certain lyrics.
Alternative rock genre - codes and conventions:
- Clothes associated with rock e.g. skinny casual t-shirts, skinny jeans, tattoos, converse and boots.
- Often live performance type shots, with a heavy showing of the artists playing their insruments.
- High key lighting gives the band a flawless and glamorous appearance.
Prominent silhouettes of the band members are important for star image.
- Close-ups of the instruments.
- Slow motion can be used in performance based music videos for lip
syncing. This is also common on fast played instruments e.g. drums.
- The use of props such as dust and smoke make the shots more interesting and prominent.
Artist close-up
Goodwin expressed that a key feature of music videos is several close-ups of the artist. This is due to the record companies requirement that the artist is strongly featured within the music video. Some artists will often develop motifs that reoccur across multiple videos. These include artist branding, celebrity culture, artistic portrayal and implications on looking good.
Reptilia is a song by indie rock band The Strokes. The 2003 song is the 2nd single from their 2nd album Room on Fire. In Octover 2011, NME placed it at number 129 on its list, 150 Best Tracks of the Past 15 Years. Although it is not one of the bands highest charting singles since the song peaked at #19 on the Modern Rock Tracks chart, it is still one of the bands most popular singles.
The vast majority of the shots are close-ups of the different members
within the band playing along to the song. This focuses attention on
each individual member and the instruments, implicating that for them it
is more about the music than the theatrics that most pop stars favour,
however there are shots of their popular fashion styles e.g. converse
and trendy haircuts to attract an audience.
Indie rock genre - codes and conventions:
- A retro look is created through the outfits and stylish clothes.
- Fairly low budget music videos are created from the indie rock genre. Easily accessable locations such as studios, cities and parks are quite often used. These settings are kept simple. Live performance shots are also featured often.
- The shots focus on the actual talents of the band members, and features many close-ups of the instruments. Although in recent years it has become popular to include narrative as it helps the audience to follow the lyrics of the song.
- The editing cuts either fast or slow to reflect the pace and beat, and to make the viewer feel that they are in the video, which matches Andrew Goodwin's theory. Black and white filters are also common of the genre.
Star iconography
Mainstream bands achieve popularity from selling their appearance and therefore a brand. This is usually through branding, style and unique selling points.
Featuring Paul Stanley, Gene Simmons, Tommy Thayer and Eric Singer, this live performance of Kiss on Live On Letteman performing the 1976 hit track Detroit Rock City, immediately identifies the bands brand identity and image. Donning the face paints and stage outfits since 1973, the band now has legions of loyal fans, taking advantage of their appearance by selling a large range or merchandise. Classic rock bands have been using this technique for many years such as AC/DC's Angus Young and David Bowie.
Hard rock genre - codes and conventions:
- The bands appearance is heavily centered about the performance, instruments and wild outfits/hair.
- Often performance locations and live concert shots, making the audience feel like they are there.
- Wide angles to show the full band in action, and mid shots/close-ups of specific instrument playing.
- Props such as smoke machines and lasers give the performance dramatic effect, and give the audience a taste of the rock 'n' roll lifestyle.
Looking and voyeurism
Goodwin also identified that within music videos there is voyeurism. Voyeurism is theoried by Laura Mulvey, stating that the audience seeing something that they would or should not usually see. This could be in the form of nudity/near nudity/revealing clothes, exhibitionism, an intimate location e.g. bedroom and a frame within a frame
The male gaze (by Laura Mulvey) is often used to attract a male audience. The male gaze focuses on presenting things that appeal to men, which often means a voyeuristic view and objectification of women. The emphasis on looking also includes the artist looking directly into the camera, helping the audience to connect with the artist. I have previously conducted some research about Mulvey's gaze theory which can be found on my blog (http://sarahdavismediahnc.blogspot.co.uk/2014/12/laura-mulveys-visual-pleasure-theory.html).
The music video for Rihanna's 2012 track Stay ft. Mikky Ekko, depicts Rihanna naked in a bathtub filled with cloufy water. Critics likened the vulnerability and raw emotion in the video to the song itself. Directed by Sophie Muller, the song charted multiple charts worldwide. It peaked number 3 on the US Billboard Hot 100, becoming Rihanna's 24th top ten on the chart, surpassing Whitney Houston. The worldwide single has sold over 10 million copies, making it one of the best selling singles of all time. The intimate nature of the video attract an audience, as the fans feel like they can attain a personal connection with her.
R&B - codes and conventions:
- The men are often pictured with minimal clothing on, showing their toned physiques to attract their target audience of teenage females. Jeans hung low showing underwear, designer trainers, tattoos and gold jewellery are also common fashions for R&B music videos.
- Women also dress scantily clad for this genre of music videos, because to their male fans, they want to be seen as an object of desire. Hair and make-up are often bold, defined and flawless. High heels elongate the womens legs, which also plays into the male gaze theory by Laura Mulvey.
- Low angles are used to show dominance, authority and power, appearing attractive to the audience.
- The beat usually cuts to the lyrics and has a catchy tune, to remain in the audiences memory.
Intertextuality
Goodwin noticed when studying music videos there are often intertextual references to other music videos, films and TV programmes. This can be homage, pastiche or even some kind of brand synergy.
Fancy is a three minute electro-hop number, which was written by Australian rapper Iggy Azalea and Charli XCX. The 2014 track from Island Records plays homage to the 1995 hit comedy film Clueless, directed by Amy Heckerling. The music video for Fancy was directed by Director X, with Azalea playing Beverly Hills sociality Cher Horowitz and XCX as Tai Frasier. The Clueless inspired number was nominated for four awards at the 2014 MTV Video Music Awards, and has since been covered by artists such as Anna Kendrick, Da Brat and Lil' Kim.
Azalea has used inspiration from other films for her music videos to
give them narrative. Her 2014 music video for Black Widow ft Rita Ora is
heavily influenced by Quentin Tarantino's 2003 film Kill Bill. As an
audience, we can identify this through almost every aspect, including
the identical scene recreations, narrative, costumes and props.
Hip hop genre - codes and conventions:
- Mens clothing often features sporting attire such as basketball shirts, to signify strenght and sporting prowess.
-
Women are usually scantily clad to show their bodies to the usual male
audience. This links with Laura Mulvey's theories of the male gaze and
voyeurism.
- Men are shown in
large numbers to signify power and strength in numbers e.g. he is part
of a group, popular and not a social outcast.
- Female hip hop artists such as Nicki Minaj show their fierceness and power by using their sexuality to their advantage.
- Money, cars and jewellery are also used heavily in the mise-en-scene, to show wealth, power and ultimately status.
- Usual reference to parties, drinking, drugs and sex to appear 'cool' to the young urban audience.
- Many close-up shots and low angles, to show the artists authority and power as they 'look over' their audience.
