Conventions of Music Videos
Genre Categories
Illustration – a straight forward performance video or a simple narrative video, (or a mixture of the two) that illustrates the meaning of the lyrics and visualises the music in a straightforward way, an example of a classic mixed narrative /performance video is Pulps ‘Babies’
Amplification – the conventions demonstrated by the music video ‘auteur’ or creative director. They may use both performance and narrative, however rather than simply illustrate the lyrics or sounds the director will ‘amplify’ both with creative interpretation, unusual ideas and surrealistic approaches. There is still a direct link to the song, whether it be sound, beat or ‘connotative’ link to part of the lyrics or song title. A good example of this would be Kylie Minouge’s ‘Come into my life’ video.
Also linked to auteur style is…
Disjuncture – These videos are completely abstract and have no real link to the music, lyrics, song title or artist. A good example of this would be Daft Punks ‘Da Funk’ video.
Narrative Video – Narrative videos are not often complex because, they need to market or advertise the band and song, therefore it must feature repeatability; the narrative code must be loose or suggestive, rather than realistic or detailed. This is because audiences need to be able to watch these videos repeatedly, and a tight realist narrative would prove too boring after few watches.
Musical Synaesthesia only requires the musical or lyrical mood to latch onto to develop a narrative concept.
Performance Video – Conventions of the band performance – a degree of authenticity of the performance is sought by the band and director so we find lipsync, close up, and mimed playing of instruments, also the use of repetition of chorus shots to enhance repeatability, unusual camera shots and angles, e.g. micro camera shots attached to the neck of a guitar, sweeping crane shots to show audience reaction to the band.
Conventions of the performance of the solo artist – many of the above but rehearsed choreography of the dance routines which again would be repeated. Directly involving the audience by having the artist look into the camera.
Audio and Editing
Camera Shots – Jumping directly between long shots, to close ups and extreme close ups. Primarily close ups of the singer.
Camera Movement – Whip pans, fast dolly track shots and fast over head crane shots to follow the running, walking or dancing of performers. Fast vertical tilts and horizontal pans
Editing - jump cutting, montage editing; creating the visually decentred experience of jumping from person to instrument from location without any normal narrative continuity. Instead it is often the beat or rhythm of the track which provides the organising principle for editing movement. The editing moves so fast it creates the need for viewing ‘repeatedly’ There are however some exceptions some continuity editing used such as atmospheric ‘dissolve shots’ such as Sinead O Connor’s ‘Nothing compares to You’ video.
Production digital effects – split screen, colourisation and slow motion, these are few of things that are now conventional for music videos.
Lighting – Expressive lighting is a key feature in music videos, extreme artificial lighting to create the ‘bleaching’ effect on stars’ faces (making them seem ageless) Lighting effects such as strobes or flashing lights, this may link into the use of CGI dance videos to enhance the atmosphere.
Mise-en-scene – Look for the overall concept for the video, themes such as the historical period, or decades. The videos mise-en-scene may follow the need for authenticity by using settings such as concert halls and such. There may even be a purposely exaggerated feel to the video, to emphasis artists, this is especially common in rap videos.
Genre Categories
Illustration – a straight forward performance video or a simple narrative video, (or a mixture of the two) that illustrates the meaning of the lyrics and visualises the music in a straightforward way, an example of a classic mixed narrative /performance video is Pulps ‘Babies’
Amplification – the conventions demonstrated by the music video ‘auteur’ or creative director. They may use both performance and narrative, however rather than simply illustrate the lyrics or sounds the director will ‘amplify’ both with creative interpretation, unusual ideas and surrealistic approaches. There is still a direct link to the song, whether it be sound, beat or ‘connotative’ link to part of the lyrics or song title. A good example of this would be Kylie Minouge’s ‘Come into my life’ video.
Also linked to auteur style is…
Disjuncture – These videos are completely abstract and have no real link to the music, lyrics, song title or artist. A good example of this would be Daft Punks ‘Da Funk’ video.
Narrative Video – Narrative videos are not often complex because, they need to market or advertise the band and song, therefore it must feature repeatability; the narrative code must be loose or suggestive, rather than realistic or detailed. This is because audiences need to be able to watch these videos repeatedly, and a tight realist narrative would prove too boring after few watches.
Musical Synaesthesia only requires the musical or lyrical mood to latch onto to develop a narrative concept.
Performance Video – Conventions of the band performance – a degree of authenticity of the performance is sought by the band and director so we find lipsync, close up, and mimed playing of instruments, also the use of repetition of chorus shots to enhance repeatability, unusual camera shots and angles, e.g. micro camera shots attached to the neck of a guitar, sweeping crane shots to show audience reaction to the band.
Conventions of the performance of the solo artist – many of the above but rehearsed choreography of the dance routines which again would be repeated. Directly involving the audience by having the artist look into the camera.
Audio and Editing
Camera Shots – Jumping directly between long shots, to close ups and extreme close ups. Primarily close ups of the singer.
Camera Movement – Whip pans, fast dolly track shots and fast over head crane shots to follow the running, walking or dancing of performers. Fast vertical tilts and horizontal pans
Editing - jump cutting, montage editing; creating the visually decentred experience of jumping from person to instrument from location without any normal narrative continuity. Instead it is often the beat or rhythm of the track which provides the organising principle for editing movement. The editing moves so fast it creates the need for viewing ‘repeatedly’ There are however some exceptions some continuity editing used such as atmospheric ‘dissolve shots’ such as Sinead O Connor’s ‘Nothing compares to You’ video.
Production digital effects – split screen, colourisation and slow motion, these are few of things that are now conventional for music videos.
Lighting – Expressive lighting is a key feature in music videos, extreme artificial lighting to create the ‘bleaching’ effect on stars’ faces (making them seem ageless) Lighting effects such as strobes or flashing lights, this may link into the use of CGI dance videos to enhance the atmosphere.
Mise-en-scene – Look for the overall concept for the video, themes such as the historical period, or decades. The videos mise-en-scene may follow the need for authenticity by using settings such as concert halls and such. There may even be a purposely exaggerated feel to the video, to emphasis artists, this is especially common in rap videos.
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