Music Video form and conventions

Performance
narrative
conceptional

Exam - 2 music videos
one conventional and one conceptional

Things to analyse:
- Camera, angles, shot size, camera movement, shot type, framing
- Editing, cutting rate/rhythm, jump cuts, cutaways, transitions, including special effects (SFX)
- Mise En Scene
- lip sync, and authorage/star quality, which links to...
- representation of the star, sexuality, gender, ethnicity, culture, subculture amd genre, personality, celebrities and consumerism, 
- Audience and how the video positions them


Jorja Smith - The One
- presented as vulnerable however her sexuality is not subject to a male gaze. She has control of her sexuality,
- high angle shots, allows the audience to tower over her exposing her vulnerability,
- non linear narrative and performance music video, cross cutting between three different narrative strands


Beyoncé -
Performance and conceptual - dancing & lip sync, black empowerment, slavery, feminism, heritage, homage to Martin Luther King, Located in southern american states, post feminism, also in control of her own sexuality

Postmodernism: Mix and matched aesthetics, influence from different genres,
Intertextuality
mixing fantasy and reality


Andrew Goodwin - Music Video Theory
- Music Videos ignore common narrative as they are essentially advertisements. As consumers we make up our own narrative,

Their is a relationship between lyrics and visuals. They either complement or contradict each other. Create moods such as romance, nostalgia, nihilism
literal representations of the lyrics. simple technique

Thought Beats - we see the sounds (the relationship between the music video and the lyrics)
genre related style and iconography
Icons - memorable symbols/representations which transcend ordinary meanings. Instantly recognizable
e.g: Michael Jackson, Nicki Minaj, Freddie Mercury, Kanye West, Ariana Grande
Close ups help to create a star's image to promote a recognizable brand image.

Shelter Analysis

The Shelter campaign advert aims to win over the audience's empathy and sympathy by presenting the brand ambassadors as potential victims to homelessness. All three adverts utilise direct address to paired with a nervous facial expression to show the audience their desperation. The close up shot of their faces is suggests a level of intimacy between every individual audience member viewing the advert, almost as if individual members of the audience are being asked for their help, making it more difficult to refuse donating which is the purpose of the advert. The decision to use a close up could alternatively be a way of reflecting to the audience what they themselves could potentially have been or be become, targeting their empathy to encourage or perhaps guilt the reader into donating. The colour scheme of black and red is a combination that symbolising danger and darkness; a representation of what the lives of people who seek Shelter are like. The contrast to this colour scheme are the faces of the victims themselves which is brightened by the lighting This may suggest that the the victims were once living bright, colourful lives and could once again live the same if not better lives with the help of the audiences donations. The slogans are pasted directly onto the faces in large, bold, red text to connote the urgency of the situation. The text is connotes doubtfulness in the sense that they are unsure whether they will be able to recover from the position they are currently in, pulling on the audience's string of sympathy. The victims are portrayed as normal, roughly middle class and consist of both male and females from different ethnic backgrounds, implying that anyone could potentially have to seek Shelter, supporting the argument for why audiences should donate to their campaign. This campaign avoids the portrayal of stereotypical homeless victims with rugged appearances, living on the streets as in most cases victims are not subdued into such positions. The victims portrayed in the adverts seem much more realistic, appearing to be as 'normal' as the majority of people placed into a desperate, undesirable situation; the campaign presents a motif of constantly targeting the audiences levels of sympathy and empathy to persuade into donating more, a strategy used by many advertising campaigns such as Shelter. The Shelter campaign was launched after the government had significantly reduced the budget on social housing in 2010, leaving numerous people to be evicted and left potentially homeless as they struggled to afford the inflated prices that the landlords burdened them with. The campaign advert's target audience does not consist of any children as their purpose is to raise money to support the Shelter seekers, therefore it would be a violation of the ASA guidelines as charity campaigns are prohibited from requesting any money from children. 

Lucozade Analysis

Lucozade's advert that featured Gareth Bale promotes their isotonic sports drink. The colour scheme is blue and yellow which contrast each other. The colour scheme is shared with the product itself being a yellow coloured drink with blue used to promote the branding of the drink. The brand ambassador Gareth Bale is featured on the advert in conjunction with the advert slogan "In A Different League" suggesting that Lucozade products are superior to its competitors. This can also be applied to Bale as he can be considered on a different league to other footballers, having played for Tottenham Hotspur and currently with Real Madrid. His image as a celebrity is clean, not being involved in any scandals or appearing much in the spotlight with the exception of football-related events. The advert also includes "scientifically proven" beside the product on the bottom right to enforce the legitimacy and making it difficult for audiences or competitors to doubt or question the brand. The decision to include Gareth Bale in the advert could be a link to the masculine appeal it brings to the advert and the product, perhaps linking to Butler's theory of Gender Performativity, being how gender roles are applied as a way of marketing to their mass audience consisting primarily of males who enjoy football. Direct address is made with the audience to draw their attention to the advert and suggests that the ad is intended for each individual viewer.

Old Spice Analysis

The Old Spice advert markets its “Bahama Scent” antiperspirant through the use of bright visuals and partially absurd imagery. The setting is likely to be an island in the Bahamas as the product name would suggest. The colour scheme consists of mainly a sky blue and the contrasting product colour red. The blue colour of the sky in a lighter shade could represent the peacefulness of the product, bringing calmness and peace to the audience’s life. This is starkly contrasted by Old Spice’s iconic product colour of red that suggests heat, danger or power which are typically associated with masculinity. The advert’s model has his face take the place of a volcano, perhaps as a form of satire to imply hot headedness, perhaps attempting to embrace gender stereotypes as men are viewed as short tempered and over energetic as a result of high testosterone levels which is directly linked to society’s views of masculinity. The advert targets men past adolescence who are looking to be viewed as more masculine.

The advert reinforces the standardisation of gender roles through the extreme definition and portrayal of what a man should be. This links to Barthes concept of Mythical Masculinity where what is considered masculine is taken to the extreme by portraying them physically strong, fit and muscular and are considered the alpha males that take control and dominate other men and women in power and authority. It is Barthes belief that this view of what the ideal masculine man should be is natural. However Butler's theory links to society's standardisation of gender roles and how we form our own stereotypes and normalise them. This could likely be the case as many attributes of what is currently considered masculine are implemented into the Old Spice advert.