Handwritten Analysis (Presentation)

The History of Music Videos

In the modern day world technology and the Internet have become part of our everyday lives. This could be checking the weather when you begin your day, on your smartphone, or ‘FaceBooking’ likewise on the move. The music industry has grabbed hold of this concept and progressively adapted their products to suit consumer’s wants. Nowadays a music promo is an essential part of an artist’s song release and is the driving force to provide both entertainment and that need to purchase their product. The first music videos to suit this purpose were developed in the 1950s, however as far back as 1894 short films with accompanying music had been produced for experimental and entertainment intentions. 

Perhaps considered one of the most revolutionary and important music videos since the idea came about is The Beatles’ “A Hard Day’s Night” in 1964. The video is so vital to the very creation of promotional videos because it attracted a great deal of attention from combining short film with original music. The video contains many clips of humorous nature as well as including narrative as to whom the band were and the mania that surrounded them. The inclusion of this was key in how successful the video would be because not only did it encourage more Beatle-mania but it demonstrated that the four were normal people like everybody else. This therefore allowed fans to relate to the band more. The majority of the film is shot in steadycam format which again gives the audience a sense of involvement and first hand action. 

Following the video an increase in the number of music promos gradually being produced rose including Bob Dylan’s “Subterranean Homesick Blues’. If it can be called a music video, this promo showed Dylan himself shifting through a series of flashcards to represent the last word of each line in the song or to put emphasis on particular words with meaning (or not). The rapid progression of promotional videos in the music industry saw them being played in cinemas nationally and thus ‘Top of the Pops’, a live performance show of the hit-acts of the week, was created. The show reeled on showcasing the performers, such as Mick Jagger, housing in close-up shots of him and the audience’s reactions. This created a necessity for more music promos to be directed and produced.   

With the huge expansion of the industry production costs were able to rise and more experimental and ‘arty’ videos were arriving. “Strawberry Fields Forever”, again by The Beatles, was one of these videos and introduced new artistic methods of creating entertainment. These included distorted images, special effects, fast cuts to represent meaning in the song, as well as new transitions and camera filters. The use of these techniques allowed the audio and video to bind together building upon narrative and purpose.  

As this concept of promotional music videos built the audience did too and America shortly followed. The hit TV comedy The Monkees is one example of this where a group of four young men partake in humorous and wild activities. Short musical clips were introduced into the show and in 1967 they released ‘A little bit me, a little bit you’ again demonstrating these new editing and cinematography techniques such as surrealism and jump cuts. The Monkees could be and have been considered the ‘American Beatles’. 

  In 1981 a revolutionary new television channel launched by the name of MTV and was the first of it’s kind to bring solely music and music videos to television. The channel was run 24 hours a day 7 days a week that again was a new but controversial idea that surprisingly paid off.  

Duran Duran brought big budgets to the game in 1983 when their music video for ‘Rio’ was released. The promo cost a whopping £1m to develop which may not sound like much today but had never been seen or done before by any artist in the industry. This was the beginning of almost movie-like productions for bands and groups and this is shown in the opening scenes of the video which are presented in this movie format. Humour is also included and perhaps referenced from the originality of The Beatle’s ‘A Hard Day’s Night’ and in particular The Monkees. 

That year Michael Jackson saw out his single ‘Thriller’ that packed-a-punch with its launch bringing new development in the techniques and methods brought to life in videos. The promo included a considerable amount of narrative, more than anything had ever had before, special effects and also a voiceover. This built upon the ideas of matching the meaning behind the lyrics through video and this film-like aspect as it told a short story.   

The development of promotional videos across this era gradually constructed and moulded the building ground for the music industry’s output in today’s society. They also stemmed key aspects behind the purpose of modern music videos including to create controversy and to shock, informing and to entertain. Although music videos have lost their place where they began on MTV, sites on the internet such as YouTube and Vimeo have regurgitated nostalgia for the older generation and brought excitement and possibility for the new. 

Conventions of a Music Video

 

 

Cinematography

Although a wide variety of shot types can be used in a music promo there are typical shots that appear more frequently than others. Close-up shots are one example of this and are often used to show the musicians playing their instruments. This may be done to demonstrate the performers ability as well as the persona and character of the person playing it. Furthermore close-up shot types can be included to display a character’s emotion, such as their enthusiasm, and their characteristics (good looking, sleek hair, etc).  Mid-shots are also used, in some cases to broadcast the full band to the viewer and in others to allow the audience to view a combination of the performers hands and facial expressions. A director will often choose a planned location, or several, to shoot the music promo and therefore long shots will invariably be incorporated to set the scene of the video. In addition long shots may be used similarly to mid shots so that the complete group/band can be viewed by the audience; thus creating/following and showing the band’s ‘image’. Panning and tracking shots are two more widely used uses of camerawork. These may be embraced to transition surroundings and demonstrate movement.    

Editing

The most indefinitely used editing technique in a music promo are the straight cuts to rival the beat of the music. The two are synchronised together to help bind the audio and visuals of the promo creating a relative paced and sensical product. Jump-cuts follow shortly behind and are used to connect the performance aspect of a music video with the narrative. Technology plays a key role in determining the basis for a music video also and in such older videos will have a reduced volume of special effects. The green screen is one of these effects that is heavily used in more recent videos and can be done to change the setting of a video instantaneously. This would considerably reduce the cost of a video as only one location is needed (the green screen). CGI or computer generated imagery is connected with this technology and uses computers to incorporate virtually anything into a video. Animation, simulation and pictures are just a few to name to make a video appear more realistic or conversely add imaginary beings. However, the use of this method would greatly impact the budget set for the promotional video. Finally in post-production, the speed of the original video may be altered to ensure the actor/performer’s lips are in sync the vocal line of the song. This may be slowing down or speeding up the video. 

Mise-en-Scene

There are many roles to fill in this category of defining the key conventions and characteristics of a music promo. Location is perhaps one of the most important as it defines not only the surroundings that the narrative is set but also the nature of the video. The location can also be linked to genre, for example a dance video would most likely be shot in a nightclub/dance studio and a folk band in the countryside. 

Props are another vital element of a music video as the narrative must be told without regular dialogue. This means that other ways of portraying meaning and telling the ‘story’ must be used; including props. As well as ordinary and fitting objects musical instruments are the most continuously used props in videos for obvious reasons; to show who plays what and fill in the performance gap of a music promo.  

To define the ‘mood’ of a music video lighting can be used. Be it dark for a sad or terrifying video or bright and warm for a happy video lighting can also be used to create tension, sense emotion and as mentioned define the entire feel of the a music promo. 

Finally, costume is the last piece of the puzzle in building up the persona of a music promo. Costume can be used to depict a band/group’s image using leather jackets and sunglasses for a cool look, for example, and stereotypically bikini tops or revealing outfits for a mainstream popular artist. 

Narrative

Often the narrative of a promotional music video will be related to an artists brand image, as mentioned. This could be linking the narrative to a famous live gig or it could be to coincide with the story told in the lyrics. However narrative is not limited in music videos and the storyline could go any way. 

Intertextuality Introduction

Intertextuality is the concept of borrowing from, modifying and recycling other media texts to create a new text influencing people’s perceptions of performers or the subjects in the video.

One American show-host presenter John Stewart created the theory that modern media “incorporates, raids and reconstructs”. This theory suggests that all concepts in videos are taken from elsewhere and no new media is original. Another media theorist, Julia Kristeva, reinforces this point with her statement “any text is the absorption and transformation of another”.

Robbie Williams - Let Me Entertain You

I will be analysing a music promo by Robbie Williams for one of his most famous songs “Let Me Entertain You”. The video uses several intertextual references with the most obvious being reference to the band Kiss; as seen in the images below Robbie is dressed in black and white make-up wearing a spandex costume. This could have been done because the video was released shortly after he left “Take That”, a stereotypical boy band, and was trying to create a new “bad boy” image for himself. Interestingly also, the director has chosen to use the face-painting similar to ‘The Demon’ in Kiss who is the bassist for the band, this again is to reinforce his new image. In addition to this intertextual reference, Robbie is holding a dove up to his mouth implying he will decapitate it with his mouth. This is a reference to the Ozzy Osbourne incident in which he ate a live birds head on stage thinking it was fake. The director has chosen to include this to further emphasise the ‘rock and roll’ image that Robbie is trying to adapt. 

In this shot seen later on in the video Robbie is pictured thrashing his guitar down onto the stage. This is a practice introduced by the well known band ‘The Who’ who would sometimes do this at the end of their set. This has again been included to show Robbie’s new “I don’t care” attitude to music and life.

Although not a direct reference there are many interesting editing techniques used in the music promo also. In the image below a post-production film effect has been added so that the video frames lag behind each other. This could be reference to videos such as The Beatle’s’ “Strawberry Fields Forever” where the group at the time were experimenting with new-found drugs including LSD which inspired their video. The same technique could have been used here to show that Robbie is unstable and living the ‘rock and roll’ life taking drugs.

Don't Look Back into the Sun Evaluation

The Libertines are an alternative/indie rock band with substantial following but also controversy due to the rock and roll lifestyle the band lead. The group themselves consist of four members and went their separate ways in 2004. However the band have since began to write new material and plan to release an album next year (2015).

The music video for this song strikes the viewer with interesting conventions that both adhere and subvert the indie-rock genre for a music promo. Mise-en-scene is one factor that has clearly been taken into consideration with the two frontmen of the group, Peter and Carl, dressed in red naval jackets as the entirety of the band patrol/cause havoc across London. These jackets play a vital role in the band image adding to theme of patriotism with the constant use of the union jack flag appearing in artwork and such forth. The colour red is, in addition, an interesting choice but chosen I believe to make the members stand out amongst the crowd in London and also, again, to build upon this British image. This is obviously represented in one opening shot showing the 4 stood beneath several union jack flags. The other members can be seen wearing classic ‘rockstar’ clothing including a black leather jacket and skinny jeans that adheres to the indie promo conventions. 

As with almost all indie-rock music videos there are two aspects to the film that are performance and narrative based. Performance wise we see consistent crosscuts of the band on stage performing that engage the viewer. This is down to the use of real shots from live performances that match up to the song. Almost all of these shots are in handycam style, including narrative, shown from the point of view of the crowd enabling the audience to feel more involved with the action. Strobe and typical live performance lighting is seen combined with the focus of Peter and Carl on stage helps to build atmosphere furthermore. 

Narrative-wise the director is keen to show the personality of the band filmed in a documentary style video showing the members doing everyday jobs, such as shopping, and having fun. This adds humour to the video as the 4 be themselves playing jokes and generally acting out. I feel that this aspect of the video is key and has been included to help people associate themselves with the group familiarising with how down-to-earth they appear and not phased by the rockstar lifestyle, with the exception of costumes. This is definitely an area that relates to a vast majority of indie promos, including one I previously evaluated; Re-Wired by Kasabian. 

The editing for this promo varies depending on the section of the song it is at something that also adheres to the typical indie conventions. Virtually every transition in the video is a straight cut and at the beginning of the song longer shots are held in place whereas later on, when the music picks up, faster cuts are used to match the beat and emphasise energy. No post-production effects are used throughout the video which I believe is done to reinforce the band’s image of being ‘normal’ people and add to the documentary type feel that is being grasped. 

To sum up in terms of cinematography that has not been previously mentioned, a wide range of shots are used within the handycam style video. Close-ups are rarely used but do appear to show members of the group’s faces or pratting about as they take control of the camera. This is unusual for an indie-rock promo and subverts the typical conventions as we would expect more close-up shots to show instruments and character. Mid-shots seem to be the favourite shot type encompassed whether showcasing live performance or following the band around the London streets and inside various shops. This is something that the viewer should expect and helps to show actions combined with facial expressions and in some cases performance. Finally the use of sound in conjunction with video is entirely non-diegetic using only the track in which the video was created for as the backing. 

Re-Wired Evaluation

The song Re-Wired is by a mainly British indie rock band called Kasabian. The band consists of four members originating from Leicester and have independently produced 5 albums in total, including one this year.

The purpose of this music promo is to entertain and the storyline reflects this. The video houses a 4 minute car chase in which the members star as the leading roles and is a mix of both performance and action. The video begins by introducing the ‘getaway’ vehicle that is a Mercedes CLK and similarly to a movie-like car chase another car is waiting for the band to pass them on the road before the action commences. Interestingly the video is inspired by the car chase in ‘The Hitcher’ where a man and a woman are scene fleeing from a scene of a crime tailed by police cars and a helicopter. Although the video is no extreme close to this, the storyline can be seen to represent aspects of the film.

Mise-en-scene plays a vital role in the video to successfully portray the band members as criminals and also to the set the scene. In the opening shot the band can be seen standing on top of the getaway car with each member dressed in black jeans and jackets which clearly connotes criminality. Interestingly furthermore, the band’s main songwriter and guitarist Sergio Pizzorno is dressed equally to the others but in addition is wearing a black hat. This could be done to emphasise his leading role in the group and also perhaps imply he is the most dangerous or ‘rock and roll’ of the band members. This is further emphasised by him holding a cigarette, and holder, in his mouth continuously throughout the video. As mentioned previously the getaway vehicle in question is a Mercedes CLK, also in black; again related to a movie like scene, but this is not the only clue to the video’s storyline; in the background of the opening shot several stacks of tyres have been positioned which foreshadows the video will be a car chase.

Humour is also present in the video and is demonstrated by (as well as the Benny Hill like chase scenes) the band gradually switching from the Mercedes to a purple ‘boy-racer’ car, with the words “Mothman” and “Julie” plastered to the top of the windscreen, relative to the front seats. This then progresses to a 5-way bicycle (the band plus a vampire) before finally to what appears to be a very old red Renault or Citroen hatchback. This use of mise-en-scene here is to obviously keep the audience interested both in terms of action but also narrative and humour.

The director has used cinematography to push the video into looking much like a movie by using several long shots and close-ups to allow the audience to adapt to the continuously changing setting. The opening long shot initially does this, as talked about, because of the key components to a car chase being included; the getaway vehicle, the criminals (band) and the rubber car tyres as the background. A low angle shot and progressively a vertical tilt is also used in the same shot to denote the bands power throughout the video. Several mid and long shots of the road are used in this promo to again relate back to the storyline. Close up shots are used, in addition, to emphasise key sections in the chase, such as when Serge is hot-wiring the purple car. Finally, there is a frequent use of tracking shots to add to the fast paced motion of the video and keep the audience entertained.

There is a recurring use of interesting editing techniques for the duration of the promo also. One of these is the pace of the cuts in conjunction with the beat of the music, for example at the beginning of the song where a short musical introduction is heard there is only one shot/tilt shot. As the music picks up and the lyrics are increased so are the number of shots and cuts in the editing. Furthermore the pace of editing matches the action in the movie-like video and is sped up when tense operations are being carried out. Another use of editing is the slow-motion effect and this can be seen not only in the opening shot but when the band cascade through a series of road barriers and scarper from the Mercedes. The use of this technique here is to add to the ‘coolness’ or ‘rock and roll’-esque feel of the band. This is accentuated by close-up shots of the band members faces, which could also be to inform the audience of who they are.

Conclusively sound is the final area of production methods being inputted into Kasabian’s music promo. Both diegetic and non-diegetic sounds are used in the video to help with narrative and entertainment purposes. The non-diegetic sound obviously included in the video is the single being promoted itself, which begins at the very start of the video. Non-diegetic sound is used however to add to the tension in the scene; when the band see the car following them Sergio accelerates hard and the sound of the engine can be heard to represent this. Also just prior to this in the car the audience can hear Serge say the words “Have a look back there Tommy”. The director has chosen to do this to add to the narrative of the video and relate to the storyline, but it could also be to help the viewer relate to the band better; recognising their accent. Finally, the band is shown to sing along in the second chorus of the song. This is inspiration taken from the film Wayne’s World where the characters mouth the lyrics to Bohemian Rhapsody in the car, but furthermore, aids the audience in remembering the lyrics to the chorus as it makes them stand out further.

Music Promo Introduction

                                       

What is a Music Promo?

      A music promo can be a promotional video to advertise a band, group or solo artist. This could be done by using different methods of advertisement. Product placement is a likely one and is often subtly done in rock/band instrumentation videos to advertise musical equipment, such as a Marshall amplifier or Epiphone guitar. These are usually included as musicians have endorsement deals with the manufacturers of the product meaning that equipment is free of cost for them if the amplifier or guitar, etc., is shown in their music promo.
     However this is not the only form of advertisement for a promotional music video and could also be to promote the artist performing in it. This is one possibility to publicise a new single, upcoming album or even just to give an artist more exposure. In this way the music video can be seen as a catalogue of reference; viewers can use the video to see what members are part of the group/band.

     Another way of looking at a music promo video is as a short film. This can be seen as an artist expressing themselves in the form of a short story. One example of this is “Handwritten” by the Gaslight Anthem. This video shows the lifetime of a record being created, produced and then being passed on from person to person.
Finally, the new era of technology allowing promotional music videos to be posted on online for fans and audiences to see is essentially a modern theatre. When music was originally done to be performed to an audience it was carried out in a theatre for people to watch and artists to gain exposure. YouTube may be viewed as the modern day replacement for this in that when an artist has music to be listened to by others they can simply post a video online.

What is the Purpose of a Music Video?

Where can music videos be viewed and how has digital technology impacted on the consumption of them?

             Music videos can be viewed across several platforms and devices, as well as the worldwide web. YouTube is a likely candidate for the most popular place to watch a video as the site is widely accessible and it is free to upload a video. In this way the site is advantageous, however it does have downsides. Advertisement is one of these as videos often have short adverts played prior to the actual music promo or in pop-up form. However, the same can be said for television; another form of watching a music video. Channels like MTV and others too often play music promos for everyday viewers. In spite of this, watching a specific video on this device is near impossible as only chart videos and promos in a playlist are played meaning that the audience has to wait for their desired video to be broadcast. In addition, advertisement is another disadvantage of watching a music channel. Television adverts are played in between sections of the playlist and can last up to around 5 minutes; considerably longer than on a website such as YouTube. Television does have upsides though of which are; the service is free and the viewer does not have to keep selecting a new video to be played. Unlike the Internet though, channels often have a closing time where no music is played or teleshopping is broadcast, etc.

Due to the proliferation of technological devices such as smartphones and tablets it is now possible to watch a music video almost anywhere. Users can watch YouTube on their phones or other sites like Vimeo when they are travelling on the bus in the morning or simply sat at home. 3G, and now 4G, allows a smart device user to do this, however furthermore,  there is an increasing number of public areas and services, i.e., McDonalds, that offer free Wifi to customers (and non-customers). This enables people to load the video quickly and in good quality which is definitely a factor in reeling people to watch more videos whilst on the go.

Finally, a candidate, in conjunction with smartphones, is music stores such as iTunes. These services allow smartphone, tablet and Mac/PC users to purchase the music promo from their device and save it locally. This means that the viewer does not need to stream or download the video when they would like to watch it. It also allows the user to purchase it on one device and then view/download it on others free of charge thus obviously being a benefit to buying the video rather than watching it online.

As mentioned above, the Internet plays a large role in allowing someone to view a music promo. However it does not only do this but search engines such as Google can tailor the advertisements viewed next to search results to ones that relate to your music taste. This ensures that a larger audience is reached by the production company/artist who are releasing the video. Furthermore social media is another method used by artists to communicate and connect with their fans. Facebook or Twitter, for example, allow users to post links to videos and even play the video straight from a specific post. Both sites have an additional feature called ‘hash-tagging’. This lets the artist and fans use a word to talk about the video by creating a sub-link. Users of the site can then see all posts about the music promo (or anything) and share or like each one thus creating more talk and promotion for the video.