Forms and Conventions

Short films made to actually showcase an artist emerged in the relatively early days of sound film making, some in cinema screening as part of a full programme of newsreel, cartoon and main feature but man as reels for early versions of the video jukebox.

Features

• Music videos demonstrate particular genre characteristics for example heavy metal bands, dance routines for boy/girl bands…

• There is a relationship between lyrics and visuals (illustrative, amplifying or contradicting)

• Record label demands will include the need for lots of close-ups of the artist(s)
• Artist may develop their own iconography

• There is frequently use of voyeurism, particularly in the treatment of women, but also in terms of systems of looking (screens within screens, looking through cameras, binoculars)

• There are often intertexual references (to films, TV programmes, other music videos etc)

Key elements

Genre styles

Some music videos can be easily categorised not all, music channels concentrate on particular music genres. You will be able to identify a range of distinct features which characterise the videos of different genres. They may be differentiated and reflects on the mise en scene, themes, performance, camera and editing styles…

Camerawork

Camera movement are used to make and create a more dynamic feel to stage performance, for example walking and dancing etc… but it can be used to create a dynamic feel to stage performance, for example circling the band as they perform or close us of band members when the dance or play and perform on stage… it also includes lots of close ups and lighting being used to focus on the star’s face.

Soundtrack

Music videos do not use a soundtrack other than the music and lyrics. Many include brief opening/ closing sequences with some dialogue and sound fx.

Editing

Although the most common form of editing associated with the music promo is fast- cut montage, rendering many of the images. Some videos use slow place and gentler shot transition to establish mood. This is apparent for many female solo artists with a broad audience appeal. Editing with digital effects offer different kinds of pleasure for the audience. This might be from split screens, colourisation and, of course, the use of the Blockbuster film-style CGI special effects.

Mise-en-scene

Mise-en-scene varies greatly in music videos, according to genre for example urban setting for rap, Rnb and hip-hop tracks compared to live mega stadium performances for rock bands. The more popular and bigger the artist/ stars the more expensive, exotic and impressive locations, settings, props, costumes and dance routines they will have featured in their routines.

Intertexuality

If we see music proms as frequently drawing upon existing texts in order to spark recognition in the audience, we have a working definition of intertexuality. Commentators see visual references in music video as coming from a range of sources, although the most frequent are perhaps cinema and fashion. Fashion intertexuality sometimes takes the form of specific catwalk references and even the use of supermodels.

Narrative and Performance

Narrative in songs, for example in poetry, is rarely complete and often fragmented.
Music videos can be performance, narrative or concept driven. Often music videos will cut between a narrative and a performance of the song by the band. The same is true of music promos, which more often suggest story lines or offer complex fragmented of them in non – linear order. In doing this the music video leaves the viewer with the desire to see again if only to catch the bits missed on first viewing. A Steve archer puts it: “Often music videos will cut between a narrative and a performance of the song by the band. Additionally a carefully choreographed dance might be a part of the artist’s performance or an extra aspect of the video designed to aid visualisation… Sometimes the artists (especially the singer) will be apart of the story, acting as a narrator and participant at the same time. The lip sync close up of the miming of playing instruments that remains at the heart of the music videos, as if assure the band really can kick it”.

Music videos allow the audience more varied access to the performer than a stage performance can. Eye contact and facial gestures via close up, role playing through the narrative and mise-en-scene will present the artist in a number of ways which would not be possible in a live concert.

The mise-en-scene may be used as a guarantee of what Simon Frith terms ‘authenticity’ as in the stage performance/use of rehearsal room by a band whose musical virtuosity is their main selling point. It can be important to a narrative-based video to establish setting and relationship to existing film or television genres. Equally it may be used as a part of the voyeuristic context by suggesting a setting associated with sexual allure, such as a sleazy nightclub or boudoir. Or finally, as John Stewart suggests, it may be used to emphasise an aspirational lifestyle for the audience, as in the current dominance of a future look with emphasis on the latest gadgets.

Other commentators have divided music videos in terms of style though often there will be crossover between these, part from performance and narrative, it is possible to identify six different terms, Gothic, Animated, Dreamscapes, Portraiture, Futuristic and Home Movie. Some camera shots are easily used in music videos for example close ups, allowing eye contact and close observation of facial gestures and role play, with narration.

• Interview sources- How to study music videos from Andrew Goodwin's book: Dancing in the distraction Factory (Google, Wikipedia...)
  

Chaiya Varsani