Music Video Analysis 2

Lady GaGa- Bad Romance (Video Analysis)

As part of my research I have looked at and analysed music videos to further understand how they are created and see the styles and conventions in use. I will look at female pop artist music videos as my group intend to use a female pop song in our project. The first video I looked at was Lady GaGa's Bad Romance, I chose this because Lady Gaga is a new exciting artist that is taking pop music to a new dimension and I found the video exciting, dynamic and abstract when I first watched it. In addition it became the number one most watched video on YouTube with over 315 million views and won seven awards at the MTV Video Music Awards 2010 including Best Pop Video, Best Female Video and Video of the Year.

Concept The concept behind the video is that of GaGa getting kidnapped by a group of supermodels who drug her, and then sell her off to the Russian Mafia for 1 000 000 Russian rubles before she exacts revenge and kills him. This is an illustration of a Bad Romance whilst including darker elements and GaGa's interest in fashion, modelling and strength of women. The video takes place in a fluorescent white bathhouse- a setting where high class prostitutes and dancers perform for male pleasure.

Pre-Song Material The video begins with a short sequence of pre-song material where a wide angle shot reveals Gaga sitting on a white throne in a brightly lit white room. She is wearing a golden dress and razor blade glasses and is surrounded by people who make up the characters in the video, therefore this sequence acts as an introduction to the setting, characters and story.and immediately creates GaGa's star image (Pete Fraser) as an abstract artist with lavish costumes. The pair of razor-blade sunglasses she wears is believed by GaGa to portray tough female spirit. She explains 'I wanted to design a pair for some of the toughest chicks... that tough female spirit is something that I want to project. It's meant to be, this is my shield, this is my weapon, this is my inner sense of fame, this is my monster'.

Whilst zooming closer onto GaGa the camera cuts suddenly to a mid-shot of the same image and then to a close up of GaGa on the throne. This occurs whilst a synth robotic beat similar to the song plays. The camera cuts to a close up of her finger on the mute button of an I-Pod speaker, and as she releases it, the beat stops and the song begins to play. A pan of a dim bath house is then shown, and a bright light pans (that looks like a scanner) across the walls revealing several pods, activating fluorescent lighting that shines through a sign that reads 'Bath Haus of GaGa' The blank white setting and pods combined with the scanning light creates a science-fiction and mysterious feel to me watching and reminds me of the spaceship setting in the film 'Alien' where crew members are in pods in a similar fashion. This perhaps could be an example of intertexuality within the video.


First Hook and Verse As the first hook of the song begins, a group of female dancers wearing white long-sleeved leotards with knee high boots and matching crowns crawl out of white, coffin-like pods to the beat. The center pod has 'Mons†er' written on it, and Gaga emerges wearing a similar outfit to the others, who begin to dance behind her. The movements of getting out of the pod and the dancing very much reflect the monster theme with their hands contorted like claws and their leg movements stiff and jagged as if they are experiments just brought to life. Throughout the first verse a pastiche of scenes alternate between the long shot dancing sequence in front of the pods, close-ups of the dancers pulling monster like poses, a mid-shot of Gaga singing to herself in front of a mirror (wearing a black outfit, heals, sunglasses and crown like hat) and a mid-shot of her lying in a bathtub. This shot has been edited in post-production to enlarge GaGa's eyes to make her look like an alien- further enhancing the sci-fi theme mixed in with the monster theme. Throughout this sequence her abstract star image is displayed through the costumes and edited eyes that are actually quite 'freaky' on first viewing.

First Chorus When the chorus of the song begins, a series of mid-shots and close ups depict two women pulling her out of the bathtub, ripping her clothes off and forcing her to drink a glass of vodka. This sequence is interjected with the long shot dancing sequence in front of the pods and a close-up of GaGa with no make up, singing whilst crying. Each of these shots serve an important purpose in the video. The women pulling her out of the bath, removing her clothes and forcing her to drink links to the narrative of the video as they are going to sell her. It also conveys GaGa's willingness to experiment with adult themes and taboo issues and exposes her commitment to being shocking and controversial. The dance sequence allows the music video to have elements of performing to the song which conforms to a typical convention of music videos (Pete Fraser),expresses the song visually to the audience and creates a link to live performances of the song where the same routine will delivered. The close up of GaGa with no make up and singing while crying creates a connection with the audience who could feel sorry for the more vulnerable and emotional GaGa who is being mistreated in the video. The shot also allows the audience to see GaGa without the mask of being hidden behind make-up and extravagant hair and costumes.

Second Hook and Verse As the second hook and verse play a combination of mid-shots and long shots show a crowd of dancers pulling at GaGa and removing her coat to reveal a diamond-covered outfit topped with a crown. With frustration she is forced to seductively dance for a group of men bidding for her. She crawls towards them with the dancers behind her (again reinforcing the monster image) and straddles one of the men, played by Slovenian model Jurij Bradač, and performs a lap dance for him. Afterwards, he raises his bid and becomes the highest bidder for her. This sequence further develops the narrative of the video and combines it with a dance routine that went on to become the recognisable moves that should be performed to the song and to what many people try to copy. The second verse alternates between this sequence and a long shot of GaGa standing wearing only high heels and a hat that contains some sort of creature. The little clothing enhances the seedy and seductive setting of the video and would enhance voyeurism however GaGa's body has been edited in post production to look anorexic as her ribs are showing. This again reveals how she likes to be shocking and portray the message of this serious current issue in girls and models.

Second Chorus As the second chorus plays out more of the recognised Bad Romance dance routine is performed with the camera using a long shot so the audience can clearly see GaGa and the dances performing the sequence and a mid-shot so you get closer to GaGa and see her singing and dancing. Music videos alternate between different angles of the same shot to create a more visually interesting and dynamic sequence that allows the audience to see the action from different viewpoints. It also allows cuts to different shots to the beat of the song which effectively creates the style of a music video rather than a film. The camera also cuts to a long shot of GaGa in the shower stroking up her body- which enhances voyeurism. The main dance sequence intercuts to a shot of the same room however here the camera performs a circular pan around her as she stands still in a pose wearing a black bikini and headdress whilst diamonds float around her and the men watch her. This links to the narrative of the men owning her and ordering her to do what they want, symbolising how she is a possession put on show.

Third Hook and Bridge As the third hook plays a long shot depicts GaGa posing and rotating on the spot wearing sunglasses and a metal gyroscope like outfit that she calls 'The Orbit'. This shot again displays GaGa's visually creativity when creating outrageous outfits and links to what many people now expect of her. Therefore the music video helps to maintain GaGa's star image within pop music as she become more outrageous and original. I also feel the Orbit further creates a space/ sci-fi style that occurs several times in the music video. The rotating seems to link again to how she is being objectified and put on display to be sold. As the bridge plays the camera flashes between GaGa pulling different poses in the Orbit to her walking as if on a catwalk wearing a silver and green scales like suit and dress and Alexander McQueen's 12-inch high Armadillo shoes. The sequence links to the lyrics of the bridge 'Walk walk, Fashion Baby' as it is depicting her posing and walking as if on a catwalk like a model. The costume is shocking and outrageous (that the audience will most likely gasp at on first viewing) which again maintains her abstract and theatrical star image.

Final Chorus As the final chorus begins a combination of low angle shots (which reflect her new found power and threatening position) and long shots intercut with fades to black reveal Gaga (wearing a faux polar bear hide jacket) walking toward the man, who is sitting on a bed, unbuttoning his shirt and drinking a glass of vodka. This starts the climax to the narrative of the song as a close up depicts Gaga with look of indifference on her face removing her jacket and sunglasses before moving to a long shot where the bed suddenly combusts with the man still sitting on it. Gaga then sinisterly sings in front of the flames. This brings a sense of strength and theme of revenge to the video, and brings an actions/ stunt sequence that is visually shocking and stunning to the video. The video ends with her lying beside a smoldering skeleton, on top of the destroyed bed covered in ashes. With soot smeared across her body, she calmly smokes a cigarette, while her pyrotechnic bra activates. This is also shocking and theatrical and lays down the foundations of what to expect from GaGa in the future. The flame bra symbolises a strong woman using her assets as weapon and this can be interpreted as voyeurism as men will be excited by this strong woman image. Overall, I really like the video because it combines performance elements, visual interest through the wide range of different abstract costumes, morals and messages and a dark narrative that reaches an explosive and shocking climax that depicts a strong woman getting revenge. All of these aspects are particularly interesting to me as I also enjoy theatricality and performance. I also believe because of the videos shock factor, outrageous costumes and dance routine it will make people want to watch it again or show other people, so therefore it has the the repeatability factor- a key theory and convention applied to music videos.

Music Video Directors

Jonas Akerlund
Jonas Akerlund (born November 10, 1965) is a Swedish film and music video director. He is best known for his stylish music videos, which are often mock forms of movie trailers and short films. Akerlund was first a member of the Swedish black metal band Bathory from 1983 through 1984. From the late 1980s through much of the '90s, the 44-year-old Swedish filmmaker and video director spent his career working with Swedish acts such as Candlemass, Roxette, Sinclair and Whale. In 1997, Akerlund made his first foray into the mainstream music video scene outside of his country in the form of "James Bond Theme" for Moby and "Smack My Bitch Up" for the Prodigy. In 1998 he worked with Madonna for the song "Ray of Light", the celebrated music video won a Grammy for Best Short Form Music Video as well as seven awards at the 1998 MTV Video Music Awards, including the top prize, Video of the Year. Although "Ray of Light" was their first and most celebrated collaboration, Akerlund and Madonna continued their working relationship with videos for "Music" in 2000, "American Life" in 2003, "Jump" in 2006 and "Celebration" in 2009. He has since worked with acts such as Metallica, Christina Aguilera, U2, Blink-182, P!nk, Rammstein, and most recently Lady Gaga. Akerlund is well known for a cinematic and epic style being brought to his music videos that should be viewed as 'mini' movies', they certainly have a clear narrative and lots of pre-song material. He uses cineamtography effectively to create a variety of situations that can shock or present a message.

The Ray of Light video cleverly matches the fast and upbeat tone of the song and creates an effective effect as it speeds up the actions of everyday life as people and cars pass by to create a frantic montage like image with Madonna bouncing around energetic in front of the world. The frantic cutting and flashing through streets, journey's and the sky translates well for the fast beat and 'head banging and body bouncing' quality of the song and makes the video particularly memorable.

The Paparazzi video is one of Akerlund's mini movies which sees Gaga in the pre-song material fall off a balcony after a struggle with her boyfriend who tries to force her to have her picture taken by the paparazzi. Throughout the video she is on crutches from the accident, dances and gets revenge on her boyfriend by poisoning and gets arrested whilst images of how fame can kill or ruin lives are depicted. The music video has a clear narrative, shock value, sex appeal and a dark message about fame. The video is interesting as it delves deaper into meanings not particularly linked to the song making it a work of 'fantasy' and having GaGa go through actions like killing and prison are shocking and entertaining.

Music Video Theories

As part of my research I looked for a variety of opinions and theories on music videos to deepen my understanding of their style and themese to ensure when it comes to creating one it has an authentic feel.

Andrew Goodwin

Goodwin identified a number of key features, which distinguish the music as a form:

1. Certain music genres have their own music video style and iconography. For example dance routines for pop artists or bands and stage performances in concerts are common in rock/ metal groups. As we are planning to use a pop song we may incorporate certain dance routines to mimic the appropriate style.

2. There is a relationship between lyrics and visuals. Where the visuals either illustrate, amplify or contradict the lyrics. We intend to convey a story in our music video and really relate the images to the lyrics.

3. There is a relationship between music and visuals. Where the visuals either illustrate amplif or contradict the music. We intend the style of the shots anbd mise- en- scene to suit the style of song we choose.

4. The demands of the record label will include the need for lots of close ups of the artist and the artist may develop motifs or star iconography which recur across their work and over time becomes part of their star image. (We will include close-ups of the artist singing as this is a typical shot of a music video and will create a unique style and image through costumes and the other areas of mise-en-scene)

5. There is frequently reference to notion of looking (screens within screens, telescopes, etc) and particularly voyeuristic treatment of the female body. (Although it is tricky we shall try and include some sex appeal within our music video as we are looking to find a track by a female artist in the pop genre)

6. There is often intertextual reference (to films, tv programmes, other music videos etc). (We will not be including any particualar intertextuality as all of our ideas will be our own and original however we are taking inspiration from some music videos and there particular styles and conventions).

Inoculation or Culmination Model

This theory (although not strictly applied specifically to music videos) suggests that long-term exposure to repeated media messages makes audiences "immune" to them. For example, prolonged exposure to media violence would desensitise the audience so that they would no longer be shocked by it and therefore might be more likely to commit a violent act. (We believe this theory may be true however certain depictions of topical issues such as violence can educate an audience and may fit in with particular lyrics in a song and create a powerful message or morral. In the song we are looking at using certain lyrics or ideas could be interpreted and used in a way that goes against this model however we will keep the idea of unhappiness in a relationship and arguements 'light' and not show any violence)

Making a Music Video

Stars and Stardom

In order to understand the relationship between the music industry and its audiences, it is important to consider the roles of music stars . The term ‘star’ refers to the semi-mythological set of meanings constructed around music performers in order to sell the performer to a large and loyal audience. Some common values of stars in the music industry:

• Youthfulness
• Rebellion
• Sexual Magnetism
• An anti-authoritarian attitude
• Originality
• Creativity/talent
• Aggression/anger
• A disregard for social values relating to drugs, sex and polite behaviour
• Conspicuous consumption, of sex, drugs and material goods
• Success against the odds

Richard Dyer has written extensively about the role of stars in film, TV and music. No matter the medium, stars have some key features in common:

• A star is an image and a created persona, not a real person, that is constructed (as any other aspect of fiction is out of a range of materials (advertising, magazines as well as films and music)
• Stars are commodities produced and consumed on the strength of their meanings
• Stars depend upon a range of subsidiary media – magazines, TV, radio, the internet – in order to construct an image for themselves which can be marketed to their target audiences.
• The star image is made up of a range of meanings which are attractive to the target audiences

Relating Visuals to the Song

We can identify three ways in which music videos work to support or promote the song. These are illustration, amplification and disjuncture and I find them extremely useful in attempting to generalise the effects of individual music videos.

• Music videos can illustrate the meaning of lyrics and genre, providing a sometimes over literal set of images. Here, then, is the most straightforward technique and the classic example of visualisation, with everything in the music video based on the source of the pop song.

• However, as with all advertising, the most persistent type of video adds to the value of the song. Amplification is seen as the mark of the true music video Auteur, the director as artist, and an increasingly common way to view music video creatives (VH-1’s Best 100 Videos clearly placed Spike Jonze in the Auteur category with his work always amplifying the original song’s meaning and effect, usually through surreal humour). Crucially, though, and what separates it from disjuncture, is the fact that amplification music videos retain a link with the song and work to enhance or develop ideas, rather than fundamentally changing them.

• Disjuncture is a term used to describe those music videos that (normally intentionally) seem to work by ignoring the original song and creating a whole new set of meanings. This is quite a radical technique and used by arty bands in order to assert their difference and originality. Usually, disjuncture videos of this type don’t make a lot of sense and may be based on abstract imagery. For example in Spike Jonze’s video for Daft Punk’s ‘Da Funk’ we see a man with a dog’s head and his arm in a cast walking round New York, ignored by all, with dialogue completely unrelated to the song itself. Sometimes though, disjuncture videos are just bad, ill-conceived and self-indulgent mistakes.

Research on the Music Industry

Artists within the Music Industry are signed to a record label. A record label is a brand and a trademark associated with the marketing of music recordings and music videos. In addition a record label is the company that manages such brands and trademarks and coordinates the production, manufacture, distribution, marketing and promotion of an artist's work. They also take charge of the enforcement of copyright protection of their sound recordings and music videos, conduct talent scouting and development of new artists and maintains contracts with recording artists and their managers. Interestingly the term 'record label' derives from the circular label in the center of a vinyl record which prominently displays the manufacturer's name, along with other additional information.

Most recording artists rely upon record labels to broaden their audience, market their albums, and be both promoted on radio and television. Artists also have publicists that assist them in positive media reports to market their merchandise, and make it available through stores and other media outlets. The Internet in particular has been an essential tool for artists to promote themselves whilst avoiding costs and gaining new audiences.

Major Record Labels
In the Music Industry today the four following record labels are recognised as the major labels and collectively known as 'The Big Four'.

Sony Music Entertainment http://www.sonymusic.co.uk/

Sony Music Entertainment UK is part of one of the largest music and entertainment companies in the world. It has a broad array of local artists and international superstars, as well as a vast catalogue comprising of some of the most important recordings in history.

Whitney Houston, Michael Jackson, Beyonce, Christina Aguilera, Justin Timberlake, Pink, Foo Fighters, Usher, Leona Lewis, Will Young, Kings Of Leon, Bruce Springsteen, Kasabian, The Ting Tings and The Script are among the artists signed to this label.

EMI Music http://www.emimusic.com/

EMI Music is one of the world’s leading music companies, home to some of the most successful and best known recording artists. EMI traces its history back to the very beginnings of recorded sound and music as one of our original companies was founded by the inventor of the gramophone, Emile Berliner. Since then EMI has always been at the forefront of technology and change. EMI scientists invented stereo recording and were closely involved in the development of magnetic tape. They were also behind the birth of electrical television and radar.

EMI was the first company to release a digital album download, David Bowie’s ‘…Hours’. EMI also launched the first internet video single in 2001. In 2007 EMI was the first major music company to make its music available without digital rights management (DRM) software.

The Beatles, David Bowie Coldplay, Depeche Mode, Gorillaz, David Guetta, Iron Maiden, Kylie Minogue, Katy Perry, Lily Allen, Pink Floyd, Corinne Bailey Rae, Snoop Dogg, Tinie Tempah, Thirty Seconds To Mars, KT Tunstall, Keith Urban and Robbie Williams are artists signed to this record label.

Warner Music Group http://www.wmg.com/

Warner Music Group is the world's only publicly-traded major music company and comprises an array of businesses aimed at helping artists achieve long-term creative and financial success while providing consumers with the highest-quality music content available. WMG is engaged in the recorded music business, artist services and the music publishing business.

Their primary music publishing business, Warner/Chappell Music, is one of the world's leading music publishers, with a back catalogue of more than one million songs from more than 65,000 different songwriters and artists. This also includes Non-Stop Music, a full service music production library company. In the past few years, WMG has grown to become the world's third-largest recorded music business and third-largest music publishing business.

Michael Buble, Phil Collins, Jason Derulo, Flo Rida, Green Day, Linkin Park, Paramore, Pendulum, My Chemical Romance, Frank Sinatra, are artists signed to this label.

Universal Music Group http://www.universalmusic.com/

Universal Music Group (UMG) is the largest business group and family of record labels in the recording industry. It is the largest of the "big four" record companies by its commanding market share and its multitude of global operations. Universal Music Group is a wholly owned subsidiary of international French media conglomerate Vivendi.

Universal Music Group (UMG) is the world’s leading music company and is comprised of two core businesses: recorded music and music publishing.

The company discovers, develops, markets and distributes recorded music through a network of subsidiaries, joint ventures and licensees in 77 countries, representing 98% of the music market. UMG also sells and distributes music video and DVD products, and licenses recordings, encouraging the legal distribution of music online and over cellular, cable and satellite networks.

Lady GaGa, Justin Bieber, Black Eyed Peas, Bon Jovi, Mariah Carey, Eminem, Ne-Yo, Owl City, Pussycat Dolls, Gwen Stefani, Timbaland, Kanye West, Bryan Adams, Dame Shirley Bassey, Elton, Girls Aloud, Kaiser Chiefs, Keane, La Roux, Annie Lennox, Metallica, Rolling Stones, Scissor Sisters, Snow Patrol, Sugababes, Take That and U2 are all artists signed to this label.

History of Music Videos

(Adapted from the essays covering the history of music videos)

1920 - Hatch and Millward suggest that many events of the recording in the 1920s can be seen as the birth of the modern pop music industry, including in country, blues and hillbilly music.

1926 - The term "pop song," is first recorded as being used in 1926 in the sense of a piece of music "having popular appeal"

1930 - The first major pop stars began to become prominent during the 1930s and '40s.

1940 - In the 1940s improved microphone design allowed a more intimate singing style.

1950 - According to Grove Music Online, the term "pop music" "originated in Britain during the mid-1950s and was described as Rock and roll for the youth music with a 'lighter' style that influenced it.

1950 - Rock'n'roll was at large, and Elvis Presley became a global star, the biggest of the late 1950s and early 1960s.

1952 - Pop music charts as such didn't exist until 1952, when the first Top Twenty was recorded.

1950’s - Another technological change was the widespread availability of television in the 1950s; with televised performances, so popstars had to have a visual presence and performance skills.

1960 - Grove Music Online also states that "... in the early 1960s ‘pop music’ competed terminologically with Beat music in England, while in the USA its coverage overlapped (and still does) with that of ‘rock and roll’."

1960’s - In the 1960s, the introduction of inexpensive, portable transistor radios meant that teenagers could listen to music outside of the home.

1962 - From 1962 until their break up in 1970 The Beatles dominated the charts in Britain and America

1967 - From about 1967 the term was increasingly used in opposition to the term rock music, a division that gave generic significance to both terms.

1975 - The real first pop promo video was actually Bohemian Rhapsody by Queen. The footage of the band playing was from a concert they did, but the effects was done in the back of a lorry trailer whilst on tour.

1975 - Queen's groundbreaking video for their 1975 hit Bohemian Rhapsody has been named the UK's best music video in a survey of music fans. Michael Jackson's Thriller came second in the poll, just ahead of Justin Timberlake's Cry Me A River. Britney Spears' Baby One More Time made only 15th on the list. According to the band's drummer Roger Taylor, the "Bo Rhap" video was "the first video to be used as a really successful promotional tool".

1980’s - By the early 1980s, the promotion of pop music had been greatly affected by the rise of Music Television channels like MTV, which "favoured those artists such as Michael Jackson, Madonna, and Prince who had a strong visual appeal. ( Michael Jackson, Madonna, The Beatles, T-Rex. Elton John)

1980’s - The 1980s proved a moribund decade for pop. Styles came and went, but it was an era short on memorable music. Only Wham! (and later George Michael) emerged as true pop stars

1990’s - The 1990s was the time of boy bands, perhaps the ultimate in manufactured acts. ( East 17, Backstreet Boys, Boyzone, Westlife, A1)

2000’s - Since the year 2000 there's been a death of major new stars, relying mostly on established talent. Several younger artists have come and gone, and new styles have briefly emerged, but nothing appears to have gained a major foothold besides modern R&B, which owes little to its soulful predecessor, but a lot to hip-hop - which itself has become a pop style.

'The growing popularity of the music video and a change in the broadcasting landscape helped break music TV out of its ghetto via a range of dedicated music channels, led by MTV'.

Codes and Conventions of Music Videos

Camerawork

The camera work is essential in a music video for the representation of the artist and the story the music video wants to tell. The camera work has a direct impact on the audience engagement with the narrative. A variety of camera angles and movements of different locations featuring the artist are used in quick succession to create the unique music video style that differs from how a film operates. This style of camerawork gives the video a more dynamic feel and vibe that promotes the song and generates interest by leaving an 'imprint' or memory on the audience so whenever they hear the song they will have an image of the music video in their head. Therefore the camerawork telling a story is essential as it needs to be memorable. Camera angles often accompany performers as they walk, sing or interact/ engage in different scenarios or events. Fixed long, wide angle shots are used to show dance rountines with a varitey of shots close to the artist to recreate the moving feel of dancing. Close ups are often used in music videos, to show the artist singing and to increase the connection with the audience to help the engage with the video.

John Stewart of Oil Factory said that he sees 'the music video as essentially having the aesthetics of the TV commercial, with lots of close ups and lighting being used most prominently for the star’s face'.

Editing
The most common form of editing associated with the music promo is fast cut montage, rendering many of the images impossible to grasp on first viewing thus ensuring multiple viewing. There are also videos that use a slower pace and gentler transitions to establish mood. This is particularly apparent in ballads or songs of a darker tone and may be acommpaoned by a black and white colour scheme. Digital effects often ehance the editing by playing with the original images to offer different kinds of interest and visuals for the audience. Effects may take the form of split screens, colourisation and blockbuster style CGI.

Star Image
Richard Dyer has noted: “a star is an image constructed from a range of materials”. For pop music these materials include:

1. The songs and their lyrical themes and musical structures/ genres
2. The record covers- singles and albums display a large part of the image the artist wants to create and present to an audience
3. Media coverage including tabloid gossip and interviews about their career and private life
4. Live performances- the images presented through the costumes, themes and props used in a stage show.
5. Music videos, which may draw upon the image presented in each of the other aspects.

Music videos are one of the most important aspects of a singer's career as they create the image and story of the songs they release as singles. They create what the audience will go on to relate and recognise the song to. Madonna is an important figure within music videos as her career has spanned 30 years due to her willingness to adapt and this has been helped by her image of which music videos owe a large chunk to creating. Throughout her career she has continually changed her image from album to album and these images and eras have been presented in her music videos. From reliogious and model (in Like a Prayer and Vogue) to Geisha and Western (Nothing Really Matters and Music/Don't Tell Me) and most recently Leotard Disco Diva to Hip Hop (Hung Up and Give it 2 Me). In addition Lady GaGa (dubbed the new Madonna) explains that she likes to create exciting film like videos like 'Telephone' as they present a memorable pop event for people to remember. In additon her extravagant costumes make her stand out and convey the message to be different and be yourself. Much like Michael Jackson's Thriller film like music videos aid the song and make them much more memorable than perhaps they would be with a less exciting or ambitious music video.

(Michael Jackson's iconic Thriller dance rountine and one of Madonna's many looks all help to create star image from music videos)

Voyeurism
This convention means, looking promiscuous in order to gain sex appeal/ pleasure. Camera angles and editing techniques sometimes emphasise certain parts of the female artist to enhance their sex appeal and to attract viewers, mostly men, in being attracted to not only their video but their albums and other merchandise as well. In recent years, it has been easier for female stars to act provocative in their videos due to the role models like Madonna, Kylie and Beyonce who have set the promiscuous standard and now it has become normal to expect this type of dancing, aesthetics or camera work in music videos. This is also used in male artists videos but this time used by their dancers, mainly female, so the sex appeal is still evident. However in this case, the idea becomes a lot more complex, because when a male star is performing it could be unclear how females are invited to respond.

"The idea of voyeurism is also frequently evident in music video through a system of screens within screens- characters shown watching performers or others on television, via web cams, as images on a video camera screen or CCTV within the world of the narrative. Indeed the proliferation of such motifs has reached a point where it has become almost an obsession in music promos".

Intertextuality

Intertextuality is when music videos frequently draw upon and use existing texts within them to recreate particular sequences or styles and to spark recognition in the audience. Not everyone instantly remembers or in some cases makes the intertexual link in certain videos, however it is said that "greater pleasure will be derived by those who know the reference and are somehow flattered by it". People may feel impressed by the use of an exsting film/ artist etc. Certain artists use cinema as a starting point due to their directors being film or cinema graduates who are new to the industry, for example Madonna's "Material Girl" (Mary Lambert, 1985). This video had links to "Diamonds are a Girls Best Friend" and Madonna is dressed like Marylin Manroe. Intertexuality draws from popular films etc and perhaps can make a music video more interesting by using elements of other media.

Narrative and Performance
"Narrative in songs is rarely complete, more often fragmentary, as in poetry".

This concept retains the viewers attention and hopefully makes them want to know what happened and perhaps watch it over for more information, almost as if the viewer is left in some sort of suspense.

“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 and the ‘repeatability’ factor. Sometimes, the artist (especially the singer) will be a part of the story, acting as narrator and participant at the same time. But it is the lip-synch close-up and the miming of playing instruments that remains at the heart of music videos, as if to assure us that the band really can kick it.” (Steve Archer 2004)

Music videos allow an element of acting, which could include facial expressions, eye contact and mise en scene which allows the performer to be accessed by the audience in various ways, like the use of close ups and panning so everything is seen. This adds a story to the song which can nmatch the syrics or explore other meanings. As with star image this makes the song memorable and allows connections and implications the song would not have without a music video for people to see the song visually depicted.

"Other commentators have divided music videos in terms of style, though often there will be crossover between these; apart from Performance and Narrative, it is possible to identify at least six: Gothic, Animated, Dreamscapes, Portraiture, Futuristic and Home Movie

Genres of Music

Music Genres refer to the different styles and sounds that identify what type of music category songs belong in. Within the music industry there are many genres of music:

Pop music, born from the phrase 'popular' is music belonging to a number of musical styles that are deemed to be commercially recorded and accessible to the general public, often oriented towards a youth market. Music within this genre typically consists of relatively short, simple lyrics describing love, parties and having fun. Combining catchy hooks and choruses (for example 'rah rah ahh ahh ahh...' in 'Lady GaGa's Bad Romance') that become infectious in the listeners ear, pop music usually follows the structure of Verse, Chorus, Verse, Chorus, Bridge, Chorus x2. Pop utilizes technological innovations to produce new variations on existing syles and themes, such as an electro/ techno pop sound which dominates the charts nowadays. Often referred to as 'mainstream' music.

Rock music is a genre of popular music that entered the mainstream in the 1960s. It has its roots in 1940s and 1950s rock and roll, rhythm and blues, country music and also drew on folk music, jazz and classical music. The sound of rock often revolves around the electric guitar, a back beat laid down by a rhythm section of electric bass guitar and drums, keyboard instruments and since the late 60s, synthesizers. In its "purest form", it "has three chords, a strong, insistent back beat, and a catchy melody."

Classical music is a genre produced in the western world between 1750 and 1820. This music included opera, chamber music, choral pieces, and music requiring a full orchestra. To most, however, classical music refers to all of the above types of music within most time periods before the 20th century.

Rap/ Hip Hop music is a musical genre that developed as part of hip hop culture, and is defined by four key stylistic elements: rapping, DJing/scratching, sampling (or synthesis), and beatboxing. Hip hop began in the South Bronx of New York City in the 1970s.Rapping, is a vocal style in which the artist speaks lyrically, in rhyme and verse, generally to an instrumental or synthesized beat. Beats, almost always in 4/4 time signature, can be created by sampling and/or sequencing portions of other songs by a producer. They also incorporate synthesizers, drum machines, and live bands. Rappers may write, memorize, or improvise their lyrics and perform their works a cappella or to a beat.

Jazz is a music genre that originated at the beginning of the 20th century in African American communities in the Southern United States from a confluence of African and European music traditions. From its early development until the present, jazz has incorporated music from 19th and 20th century American popular music. Typically uses blue notes, improvisation, polyrhythms, syncopation, and the swung note.

Music Video Practice Task- Busted: What I go to School For (5/7/10 to 16/7/10)

From the 5th July the group was set a task to practice the methods and production skills needed to make a music video by recreating an existing music video shot by shot before making our own original video. The music video chosen was the first minute of Busted's 'What I go to School For' as it takes place in a school with students, teachers and a classroom/ lesson setting and so the location could easily be recreated.

To begin with the group watched the actual music video several times and created a storyboard recording all the shots we needed to film, this was an effective task as we no from the start exactly what we needed to do. We then planned what props, costumes and locations we would need. Props would include pencil cases, writing pads, phones and school bags- which may feature in the video to create realistic students and a believable school environment. Costumes would include shirts, ties, blazers and black trousers to create a uniform and the locations were a classroom and outside in the sixth form courtyard (the latter was the closet to a good outdoor location we could use in a short space of time). We then chose who would play each of the band members and other characters in the music video. We chose myself to play Matt due to me also taking Drama so people believed I would be more confidient to play the part where he pushes forward arrogantly to the front of class. Although in the end I was self- consicous because of the audience we recieved whilst filming. We then chose Adam to play Charlie and Oliver to be James as their appearance slightly matches the actual band members. We chose Sophie to be the teacher as she is confidient and pretty enough to be believeable as a teacher pupils would fancy and the rest of the group would play the class. Once began filming we used our storyboard and the actual video constantly to film all the shots we needed. We filmed all the indoor shots within one and a half lessons and the outdoor shots in another lesson. The production took a little longer than we had hoped due to when we were supposed to film the outdoor shots rain hindered and held back the process.

The group worked well together throughout the task which really helped us to get a feel of how to make a music video and how much time an effort it takes for shots that last only a few seconds. Everyone in the group brought something to the task whether it was acting, filming, support or bringing in costumes therefore the dynamics and teamwork were very good. The challenge of the task but also the most enjoyable aspect was trying to make the shots as similar to the actual video as possible and I think we have pulled this off to a high degree particularly regarding the angles, movements and positions of the camera coupled with the lighting effects. The criticism of the piece would be certain continuity issues for example there is a shot of the classroom from the back (at 0.14) where the teacher stands beside a computer which is on but the next shot where two girls walk to their sits in the class (0.16) the computer is off and the teacher is not there. We can learn from this when making the actual music video and try to prevent this from happening by checking footage and leaving enough time to re- film and edit, however this was only a practice and there was only a short amount of time. Although even in the actual video there are certain continuity errors, such as when the pencil is thrown down the teacher picks it up from much further away from where it was likely to drop (we 'faithfully' recreated this in our piece though!) Another criticism would be that during the outdoor shots we did not have many people behind us and the few that were there were not dancing as energetically as in the actual video and so did not look as good. Overall the task really helped prepare us for when we make our own music video as we have practiced creating music video specific shots and editing them together in time with music. An enjoyable start to A2 Media!

Introduction to Practical Task

Within the first lessons we were introduced to the practical task of creating a music video with an existing song we could get the rights to and create an original video around it. To begin with we watched previous years music videos and examined the strengths and weaknesses of the videos. The main weakness the group identified was that the majority of music videos did not feel authentic enough or believeable enough to be an actual music video due to the takes being too long meaning there were not lots of different shots in quick sucession like in a real music video. Often in fifteen seconds of existing music video there can be up to twenty different shots whereas in some of the projects there would only be ten or less. Therefore making it feel like a film with music where the shots are not solely driven by the influence of the music. We then looked at some of the group's favourite music videos as well as Geri Halliwell's 'It's Raining Men' video taking note of certain conventions used. Such as in the Geri video the use of a pre- song material is common in many pop videos to set up a narrative before the song plays which will be maintained throughout the music video. The video also uses intertextuality where the opening audition sequence is drawn heavily from 'Flash Dance'. The recreation of this sequence includes the costumes, characters and mise- en- scene from the actual sequence and cleverly generates interest as people will immediately recognise and relate to the sequence and its reference to pop and film culture. Another noticable convention from the video is the use of Geri in different sets and situations as if playing different characters (with their own outfits), this is used in almost every female artist's music video to create not only sex appeal but to make the artist appear as different people and create interesting narratives and other meanings for the song.