Friday, 4 July 2014
Andrew Goodwin
Andrew Goodwin
Andrew Goodwin identifies 5 key aspects of music videos that
the audience should look out for:
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Sound
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Narrative and performance
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Star of image
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Relation of the visuals to the song
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Technical aspects of music video
The structure of the song needs to be taken into account,
for example the choruses/verses.
Secondly, the voice of the song. The artists voice is
extremely unique and can form identification or trademarks that would work well
with the star image.
Lastly, Goodwin also points out the artist’s mode of address. Songs may be seen as stories and the artist becomes the storyteller, making the music video a two-communication device between the audience and the artist.
Simon Firth
Simon Firth
Simon Firth stated that “Music Videos may be characterised
by three broad typologies: Performance, Narrative and Conceptual” 1988. He is music video theorist.
Performance (Concert)
Performance videos, the most common type, feature the star
or group singing in concert to wildly enthusiastic fans. An example video of
this performance would be Red Hot Chilli Peppers-snow.
Performance (Studio)
Performance videos that shows the star of video
will automatically remind the person that is watching the video that the
song is important. An example video of studio performance would be One Direct-Little thing.
A video may tell any kind of story in linear cause-effect
sequencing. Love stories are most common narrative mode in music videos. An
example of Narrative is rudimental-Waiting all night.
Conceptual videos rely on poetic form, primarily metaphor.
The conceptual video can be metaphysically poetry articulated through visual
and verbal elements. An example of conceptual performance would be Naught
boy-La La La.
Richard Dyer
Richard Dyer is an English academic currently holding a professorship in the Department of Film Studies at King's College London, specialising in cinema.
Richard Dyer stated, “A star is an image not a real person
that is constructed out of a range of materials, for example advertising, magazines
and films music videos”. He believes that one
of the reasons so many pop performers are described as pop stars is
that they are quickly promoted to this status by their management. This
is easily done courtesy of a few placed stories, a famous
boyfriend/girlfriend, attendance at premieres/parties and a feature
in certain magazines.
Stars are constructed, artificial images, even if they are represented as being "real people", experiencing real emotions. It helps if their image can be copied, for example, Rihana's red hair, Shakira's belly dancing, and Nicki Minaj's dramatic looks. Pop stars have the advantage over film stars in that their constructed image may be much more consistent over a period of time, and is not dependent on the creative input of others, for example, screenwriters writing lines for the star. Stars are brought to the audience to serve one purpose, to make money out of audiences.
Stars are constructed, artificial images, even if they are represented as being "real people", experiencing real emotions. It helps if their image can be copied, for example, Rihana's red hair, Shakira's belly dancing, and Nicki Minaj's dramatic looks. Pop stars have the advantage over film stars in that their constructed image may be much more consistent over a period of time, and is not dependent on the creative input of others, for example, screenwriters writing lines for the star. Stars are brought to the audience to serve one purpose, to make money out of audiences.
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