RESEARCH INTO THE MUSIC VIDEO INDUSTRY

INTERTEXTUALITY IN MUSIC VIDEOS

Further analysis of Intertextuality -

Intertextuality is the relationship between texts and the images portrayed. Intertextuality can be identified through conversations, thought processes of different characters represented and physical activities. Examples of this can be written in a physical format where a specific piece of text has been put in the video/clip to create a message or code to the viewer; in some cases foreshadowing ideas which leads to the over all plot and development of these video clips. In other cases, diegetic sound such as 'inside voices' or thoughts which are portrayed to a specific character and only to the audiences can construct meaning and represent intertextuality importance within music videos. The importance of this links towards the general story and basis of the music video, whether it be a concept based videos or whether it hybridises with performance based and narrative based music videos. Intertextuality will appeal to audiences because music video's thematic styles such as fashion, clothing, time settings can help the audience understand the links between intertextuality and the lyrics of the music video.

I don't really intend to use any form written intertextuality within my music video; the first drafts will simply compile of narrative and performance based representations of the more 'darker tone' style. The music videos image will be based on the narrative a lot more. 

CATEGORIES OF MUSIC VIDEOS

Performance based videos -


Many music videos include performance based music within their videos;this simply means a protagonist/ antagonist is a central figure towards a music videos. This performance based style helps to develop the narrative and takes the audience into the story or message of the music video. Performances can be based through stage performances, it contains a variety of shot types of artist performing through routine of dances, singing or physical/social activities. Naturally, music videos either tend to have a singer performing on a stage set or singularly singing as them as the central focus. Also, music videos tend to have physical performances of activities such as cross country running or basketball to illustrate a narrative and thematic conventions such as inspiration or motivation. This is also means that often link into artist 'real life' situations and represent lifestyles. This strongly hybridises with the narrative based concept which tells a story through the lyrics and has a natural structure; beginning, middle and end. A example of this is Eminem - When I'm gone. It centralises Marshell Mathers , a story which depicts the broken family relationship of the lifestyle that he once used to life, a stage performance together with a developing narrative illustrated the hybridisation of performance based and narrative based music videos.

Narrative based videos -

Narrative music based videos often depicts a story-line towards the actual content. It simply means that the music video has a narrative: a construction of a story. Narrative based music videos usually allow audiences to easily understand what is happening in the video having a beginning,middle and end.

Concept based videos -

Concept based music videos are based on a singular idea. The idea of a concept based music video is to keep the viewer focused on the singular, perhaps icon representation shown on the screen. Whether it be usual or unusual; the videos representation should completely draw the viewer. This makes it a successful music video because a main concept helps producers who are creating a video for a single purpose/message portray it through a concept. A conceptual music video also hybridises with performance based music videos and narrative based music videos which completely compiles to construct a 'whole' representation. 

THE HISTORY OF MUSIC VIDEOS

ANDREW GOODWIN AND LAURA MULVEY MUSIC VIDEO THEORY

ANDREW GOODWIN

Andrew Goodwin suggest that music demonstrates genre characteristics.

depending on the music video's purpose, and the target audience that its aiming at. Genre characteristics can vary through the speech, dialogue and the setting of the actual music video itself. This includes  bands, books/performance inspirations and related genre style music. Genre characteristics can depend on further development of music video's image and print/digital distribution. Merchandising ( the activity is promoting the sale of 'goods' to a large/niche audience) can further enhance the impact of genre characteristics and character image within music video's. Platforms such as Magazines and Film can help reproduce the reputation of music videos. This point strongly links in with genre aspects of music videos.

Andrew Goodwin also suggest that there is a relationship between the lyrics and the audio.

The representations of lyrics have a strong impact on the audio representation itself; this can be conveyed through the genre of music, whether it be rap which has a strong rhythmical construction or juts free-verse rapping. There are also other representations of lyrics, lyrics are the foundation of music songs and the lyrics help to create the genre of music videos. Links between the genre of music videos together with the word choosing strongly links to create a narrative and the image of the song.
Also, narrative construction within a music video is constructed by a link created through the lyrics and audio. For example, Maroon 5 - Maps. This song is based on a couple going to a party and the girlfriend has caught her man indulged in the lips of another woman; through  frustration she leaves the party and is eventually hit by a car. The lyrics is based on the theme of 'so i'm following the map that leads to you'. This choice of lyric continuation reinforces the bond that the main character Adam Leveine has with his girlfriend and a strong emotional link is created through the lyrics and the audio.

Andrew Goodwin's third suggestion is that there are demands of the record label which will include the need for lots close ups of the artist and the artist may develop motifs which recur across their work ( visual style).

The basic structure and usage of close ups, extreme close ups and medium shots help to construct strong representations and conveying messages. These shot types representation can illustrate themes,genres and messages to the target audience. These basic shot types inextricably blends in with other media representations such as the importance of symbolic aspects of a music video ( intertextuality ) and the sound. Sound is very powerful and has a strong impact; this reinforces the power of close ups and why they're used together with sound and intertextuality. These basics shot types together with the motifs can help represent gratification and iconic representations towards the viewer, this has a even stronger impact if the target audience is a niche audience since this allows the viewer to have a stronger understanding on why motifs are being used.  Record labels will always demand for more dominance in their industries so the artist themselves will be a more central image which helps create a vivid vision of the producers work by the visual style.

Andrew Goodwin's fourth suggestion is that there is a frequently reference to notion of looking ( screens with screens, mirror, stages , etc) and particularly voyeuristic treatment of the female body.

Frequent notion is something which isn't always used within a music video. However, when used this can be understood as a camera portraying a representation within a camera. This basically means a 'screen within a screen'.  Voyeurism treatment can be used within a mirror representation, particularity for females through feminism.  However, when comparing this representation to a more masculine point of view voyeurism can be emphasises within action films such as Kick ass ( 2010, directed by Matthew Vaughn) within the scene where the murder of Frank D'amico ). The voyeurism takes place during from 1:32 to 2:30 minutes within this clip.

Finally,Goodwin's last theory says that there often intertextual references ( to films , TV programmes , other music videos ). 

Intertextuality is very powerful towards a music video's narrative, including forms of text within a music video. Creating meaning from one text, depending on what the text actually says depends on the the producer's choices for broad or niche target audiences. These textual meanings can convey specific ideologies or messages to the audiences within TV shows and films. For example, within the film I Am Legend ( 2007, directed by Francise Lawrence ) has a strong opening scene where after a brief interview portraying a woman who presumably has found the cure for cancer; it then cuts to a a establishing shot with intertextuality saying ' THREE YEARS LATER'.  Professionally, capital letter and a bold formatting type tells the strongly tells the audience the negative outcome of this 'cure for cancer'.

LAURA MULVEY 

One part of her male gaze theory suggests that the camera / audience always represents a hetrosexual man's perspective of the scene objectifying woman.

Another part of her male gaze theory suggest that women are only portrayed as one of two possibilities. Either a virginal innocent character or a sexy ''whore'', This is called the virgin / whore dichotomy.

This point can be further understood through female representation of social class within music videos. For example, woman who are constantly objectified as sexual representations for men's arrogance/ego's are more likely to be seen in a rap music video of men who's popularity and image excels. For example, 50 Cent - Candy shop is a prime example of the powerful theory that Mulvey has stated. Also, the cinematography emphasises just that. This has been done through close ups of specific body parts of both men and woman showing a more 'seductive' aspect for men who are hetrosexual.  The cinematography also uses a couple of low angle shots together with the mise en scene ( expensive chains and expensive cars such as Lamborghini ). The camera work also strongly blends in with the song's lyrics, where both 50 Cent ( Curtis James Jackson ) says '' I can take you to the candy shop, i'll let you lick the lolly pop'' from 40-43 seconds.

This also links to Mulvey's other point where the image of a woman is portrayed as two possibilities; a virginal innocence or a 'whore'. The camera shots and the sexual representation of woman can be linked in towards women being objectified.

MULTIPLE CHOICE QUESTIONNAIRE RESULTS

DESCRIPTION OF MY TARGET AUDIENCE