WHAT IS A MUSIC VIDEO?
MUSIC VIDEO ANALYSIS
MK FEAT. ALANA - ALWAYS (ROUTE 94 REMIX) (OFFICIAL VIDEO)
Genre
The artist MK is featured in the video as just a passerby in the subway station. His attitude is very laidback, calm and friendly he is not performing and therefore the audience can gain an insight into his everyday life and reality. House DJ’s are generally very energetic, are reinstate their reputation via their body language and stage presence when performing they generally converse with their audience and events whereas MK does not talk to his fans and instead uses a hand gesture (peace sign) to show his appreciation and acknowledgement. The music video is similar to other house music videos such as Hideaway by Kieska, Everything We Never Had by Breach, which both feature choreographed dance routines. However other house genre music videos use live footage or bricolage. Bricolage means the audience can make their own interpretations of the music video and live footage from house events give the audience an insight into the atmosphere, energy and adrenaline of house music.
Narrative
Genre
The artist MK is featured in the video as just a passerby in the subway station. His attitude is very laidback, calm and friendly he is not performing and therefore the audience can gain an insight into his everyday life and reality. House DJ’s are generally very energetic, are reinstate their reputation via their body language and stage presence when performing they generally converse with their audience and events whereas MK does not talk to his fans and instead uses a hand gesture (peace sign) to show his appreciation and acknowledgement. The music video is similar to other house music videos such as Hideaway by Kieska, Everything We Never Had by Breach, which both feature choreographed dance routines. However other house genre music videos use live footage or bricolage. Bricolage means the audience can make their own interpretations of the music video and live footage from house events give the audience an insight into the atmosphere, energy and adrenaline of house music.
Narrative
The music video has a narrative however there is not a clear resolution at the end and the video poses a question which is not answered therefore the three part story is recognized as Vernallis on Narrative. The video is also a performance music video because there is footage of dance routines throughout and the characters in the video dance for a living in the narrative, therefore both types of music video intertwine. The atmosphere of the visuals reflects the tone of the music therefore there is a relationship between the music and visuals this is a feature of Andrew Goodwin’s Music Video Theory.
Theoretical concepts included in the video is intertextuality of Step Up 2 The Streets, the group of five young, black, American men perform their dance routines on the subway like the opening scene of Step Up 2. In addition hints of nostalgia have been used; the characters costumes include oversized t-shirts such as Ice Hockey Jerseys, baseball caps, bucket hats and boiler shorts.
Artists of the song MK is featured in the music video for eight seconds walking through the subway station like an ordinary person and Alana is not featured in the music video therefore there is no Dyer’s Star Theory, I think this represents the artists as laidback musicians who would rather observe their audience enjoying their music rather than portray their performances using live footage in order to generate popularity. Instead the music video portrays reality and a scenario of their music influencing a group of people to dance.
Colour Palette
Theoretical concepts included in the video is intertextuality of Step Up 2 The Streets, the group of five young, black, American men perform their dance routines on the subway like the opening scene of Step Up 2. In addition hints of nostalgia have been used; the characters costumes include oversized t-shirts such as Ice Hockey Jerseys, baseball caps, bucket hats and boiler shorts.
Artists of the song MK is featured in the music video for eight seconds walking through the subway station like an ordinary person and Alana is not featured in the music video therefore there is no Dyer’s Star Theory, I think this represents the artists as laidback musicians who would rather observe their audience enjoying their music rather than portray their performances using live footage in order to generate popularity. Instead the music video portrays reality and a scenario of their music influencing a group of people to dance.
Colour Palette
Turquoise is a very dominant colour used in the video its connotations are friendly, approachable, open communication and clarity of thought. The black American dancers who perform on public transport for publicity and money wear turquoise clothing. Stereotypes of black ethnicity are not very positive they are represented as trouble makers and involved in crime therefore this colour chosen portrays these young entertainers in a good light.
Hot pink has connotations of passion this represents the characters (dancers) as passionate they want to dance as a career; they wake up every day and perform. Playful is also a connotation of hot pink, the characters dance routines and personalities are very playful their non-verbal communication e.g. body language and facial expressions are very lively this shows that they are subvert to the stereotype of black people causing trouble, they are portrayed as nice, social-able citizens.
Orange is a very influential colour and represents these characters perfectly. Orange is the physical energy and stimulation of the colour red combined with the cheerfulness of the colour yellow. This colour also illustrates the house genre well it is a lively, up-beat scene it revolves around dancing, socialising, creativity, diverse events such as festivals.
The connotations of white are equality implying fairness and impartiality, neutrality and independence. The house genre has only just become mainstream music it has been an independent unrecognised style of music for many years. House music and house events (festivals) are very multi-cultural and diverse they are open to all ethnicities and cultures, people are more accepting and open to learning about different cultures for example bindi’s are a forehead decoration traditionally worn by Indian women however they are commonly worn at festivals by women of other ethnicities. The house genre is very open and accepting therefore white represents the house genre very well.
Grey connotes stability, a sense of calm and composure and relief from the chaotic world. Music is known as escapism, house music provides people with something new. The music is not repetitive it is own to the audiences interpretation.
The colour palette is very vibrant and quite feminine this connotes a sense of high energy and creativity it is visually appealing in the way in which the turquoise, hot pink and orange have been featured. The energetic narrative reflects the fast paced song and the house genre perfectly.
Camera Shots and Angle Movement
Hot pink has connotations of passion this represents the characters (dancers) as passionate they want to dance as a career; they wake up every day and perform. Playful is also a connotation of hot pink, the characters dance routines and personalities are very playful their non-verbal communication e.g. body language and facial expressions are very lively this shows that they are subvert to the stereotype of black people causing trouble, they are portrayed as nice, social-able citizens.
Orange is a very influential colour and represents these characters perfectly. Orange is the physical energy and stimulation of the colour red combined with the cheerfulness of the colour yellow. This colour also illustrates the house genre well it is a lively, up-beat scene it revolves around dancing, socialising, creativity, diverse events such as festivals.
The connotations of white are equality implying fairness and impartiality, neutrality and independence. The house genre has only just become mainstream music it has been an independent unrecognised style of music for many years. House music and house events (festivals) are very multi-cultural and diverse they are open to all ethnicities and cultures, people are more accepting and open to learning about different cultures for example bindi’s are a forehead decoration traditionally worn by Indian women however they are commonly worn at festivals by women of other ethnicities. The house genre is very open and accepting therefore white represents the house genre very well.
Grey connotes stability, a sense of calm and composure and relief from the chaotic world. Music is known as escapism, house music provides people with something new. The music is not repetitive it is own to the audiences interpretation.
The colour palette is very vibrant and quite feminine this connotes a sense of high energy and creativity it is visually appealing in the way in which the turquoise, hot pink and orange have been featured. The energetic narrative reflects the fast paced song and the house genre perfectly.
Camera Shots and Angle Movement
This low angle shot (above) has been used to make it seem as if the audience is there watching the dancers perform on the subway. This particular use of camera shot has been used to give the audience a different perspective and show the full movement of the rival dancer’s tricks in sync. The shot looks as if the cameraman was sitting on the subway witnessing this performance first hand making it more realistic and personal.
The over the shoulder camera shot (above) makes the video more personal, the audience get a sense of what the characters in the story feel and see from their perspective. It gives the audience an opportunity to see this gang close up on an intimate level therefore making them less intimidating.
The establishing shot (below) illustrates the characters escapism from the city and represents freedom. It is an expression of their love and joy for dancing; the silhouettes are an idealised depiction of their lifestyles. It is very fantasised and almost romanticised because it shows that these young men love to dance and it’s not just for money.
The establishing shot (below) illustrates the characters escapism from the city and represents freedom. It is an expression of their love and joy for dancing; the silhouettes are an idealised depiction of their lifestyles. It is very fantasised and almost romanticised because it shows that these young men love to dance and it’s not just for money.
This wide camera shot (right) gives the audience a chance to see the characters in the video. The colour palette is also very visible in this shot. Their body language is very laidback and we are also able to see the environment in which the music video is set. The shot also portrays them a close group, who not only dance together but socialise together.
The low angle shot (below) seems as if the footage has been recorded from the subway floor, it gives the audience an insight to the performance taking part on a busy subway. The shot features numerous passengers who are all watching the dancer perform a trick on the public transport, again you can see the groups close bond as they are positioned close together, and they are also smiling whilst watching their friend perform. This exaggerated low angle is peculiar however very revealing.
Editing
Continuity editing has been used throughout the narrative music video to make it seem more realistic and genuine. Continuity editing helps the audience to really connect and understand with the story as well as get to know the characters featured. Eye line match is used 48 seconds into the music video when the group of dancers see the artist of the song MK walking through the subway station; in addition eye line match has been used to show the subway passengers reactions to the groups dancing and tricks. Unlike TV drama this video features off balance editing it seems as if the camera man is running with the performers again this makes the video more realistic and makes the audience feel like they are there with the characters running through the subway station. Long takes have are not frequent quick cuts have been used to feature the fast paced, high adrenaline dancing efforts of the group, in addition the transitions include the setting e.g. the subway station, New York City (Brooklyn Bridge), the public’s reactions to the dance etc.
The video follows Todorov’s 3 Act Structure, the narrative is a day in the life of these performers, however the day to day dancing on public transport is a disruption for others and very unusual. The video does not follow the structure strictly because the disruption of reality occurs at the end of the video when one of the performers is arrested and the rest get away. This is a disruption for the young men, the problem is not resolved and the audience do not find out what happened next.
Continuity editing has been used throughout the narrative music video to make it seem more realistic and genuine. Continuity editing helps the audience to really connect and understand with the story as well as get to know the characters featured. Eye line match is used 48 seconds into the music video when the group of dancers see the artist of the song MK walking through the subway station; in addition eye line match has been used to show the subway passengers reactions to the groups dancing and tricks. Unlike TV drama this video features off balance editing it seems as if the camera man is running with the performers again this makes the video more realistic and makes the audience feel like they are there with the characters running through the subway station. Long takes have are not frequent quick cuts have been used to feature the fast paced, high adrenaline dancing efforts of the group, in addition the transitions include the setting e.g. the subway station, New York City (Brooklyn Bridge), the public’s reactions to the dance etc.
The video follows Todorov’s 3 Act Structure, the narrative is a day in the life of these performers, however the day to day dancing on public transport is a disruption for others and very unusual. The video does not follow the structure strictly because the disruption of reality occurs at the end of the video when one of the performers is arrested and the rest get away. This is a disruption for the young men, the problem is not resolved and the audience do not find out what happened next.
Digipack Analysis
Lana Del Rey – Born To Die
This digipack has four panes; the information featured on the front cover includes the artist’s name “Lana Del Rey”, the album’s title “Born To Die”, “Deluxe Edition” and the name of three songs featured on the album. The only information featured on the spine of the CD is the artists name and the album’s title.
The image on the front cover is of Lana Del Rey, her non-verbal communication is very serious her lips are slightly open and she is looking directly at the camera. The artist looks very powerful and dominant the use of high-key lighting highlights the artists red hair and defines her dark eyes.
There is no image featured on the back cover; however a wide shot has been printed onto corresponding panes in the digipack. The artists costume is the same as on the front cover, the medium close up of Lana Del Rey is more playful her body language is more relaxed. In addition Del Rey’s lips are still poised and slightly open this creates light sex appeal and her head is tilted slightly back. Again the artist is looking at the camera which is personal and would possibly help Lana Del Rey to make an impression, impact or connection with the consumers of the album. The different non-verbal communication in both images may be deliberate for example on the outside (front cover) Lana Del Rey is very serious about her music and her career but on the inside (inside left and right panes) she is consistent as interpreted due to same use of mise en scene and playful.
The back cover of the digipack includes a list of songs featured on the CD as well as three bonus tracks. The barcode is positioned at the centre bottom of the back cover above small print information regarding the manufactures of the alum, the albums producer and the artist’s official website “www.lanadelrey.com”.
This digipack has four panes; the information featured on the front cover includes the artist’s name “Lana Del Rey”, the album’s title “Born To Die”, “Deluxe Edition” and the name of three songs featured on the album. The only information featured on the spine of the CD is the artists name and the album’s title.
The image on the front cover is of Lana Del Rey, her non-verbal communication is very serious her lips are slightly open and she is looking directly at the camera. The artist looks very powerful and dominant the use of high-key lighting highlights the artists red hair and defines her dark eyes.
There is no image featured on the back cover; however a wide shot has been printed onto corresponding panes in the digipack. The artists costume is the same as on the front cover, the medium close up of Lana Del Rey is more playful her body language is more relaxed. In addition Del Rey’s lips are still poised and slightly open this creates light sex appeal and her head is tilted slightly back. Again the artist is looking at the camera which is personal and would possibly help Lana Del Rey to make an impression, impact or connection with the consumers of the album. The different non-verbal communication in both images may be deliberate for example on the outside (front cover) Lana Del Rey is very serious about her music and her career but on the inside (inside left and right panes) she is consistent as interpreted due to same use of mise en scene and playful.
The back cover of the digipack includes a list of songs featured on the CD as well as three bonus tracks. The barcode is positioned at the centre bottom of the back cover above small print information regarding the manufactures of the alum, the albums producer and the artist’s official website “www.lanadelrey.com”.