KEY FEATURES OF MUSIC VIDEOS & MUSIC VIDEO THEORY
A music video is defined as “a short film integrating a song and imagery, produced for
promotional or artistic purposes.” Music videos came into prominence in the 1980s with
the advent of MTV; however, artists such as The Beatles in the 1960s and David Bowie in
the 1970s used “musical short films” and “promotional clips” as predecessors to the
modern music video. Music videos use a wide range of styles of filmmaking techniques,
including animation, live action filming, documentaries, and non-narrative approaches
such as abstract film. They draw on traditional and non-traditional genres of film.
Music videos work around three codes – music, lyrics and iconography (common or
recurring images or icons). The relationship between these codes is key to understanding
how music videos work. They are designed to provide pleasure in order to keep the
viewer watching and to encourage repeat viewings
The starting point for analysis is to explore whether the video is primarily performance-
based, narrative-based or concept-based and how elements of each are used in it:
Performance Based Video
This is a music video that features the artist/band/group performing the song through
most if not all of the video.
Narrative Based Video
A narrative based music video contains mostly footage that attempts to tell a story
through the moving image. Usually involving actors, the story is sometimes linked to the
lyrical content of the song.
Concept Based Video
This is a style of music video that is based around a single concept or idea. These types of
videos tend to be fairly unusual or utilize a particular editing or filming technique.
Most videos, however, aren‟t so clear-cut as to have one set type. Usually videos will
incorporate a mixture of these elements such as a performance by the artist alongside
some narrative footage.
The following questions are worth asking of any music video:
Do the visuals illustrate, amplify or offer disjuncture with the lyrics?
Do the visuals illustrate, amplify or offer disjuncture with the music?
Key terms:
Illustration: not always literal
Amplification: new layers of meaning are added to the song
Disjuncture: contradiction between lyrics/music and image
Key Features:
1. Music videos demonstrate genre characteristics (i.e. stage performance in rock videos,
dance routines for boy/girl groups).
2. There is a relationship between lyrics and visuals (illustration, amplification, disjuncture).
3. There is a relationship between music and visuals (illustration, amplification,
disjuncture).
4. The demands of the record label will include the need for lots of close-ups of the artist
(visual hooks) and the artist may develop motifs that recur across their work (a visual
style). These include CU of the star‟s face (the „money shots‟), iconography of the artist‟s
image, and visual trademarks/motifs.
5. There frequently is a voyeuristic treatment of the human body.
6. There are often references to films, TV programs, and other music videos.
Sources: Moller, D: Redefining Music Video; Fraser, P: Teaching Music Video; Goodwin, A: Dancing in the
Distraction Factory; Keil, M: Three Types of Music Video; Vernallis, C: The Kindest Cut – Functions and Meanings
of Music Video Editing
How is the music video constructed?
1. Narrative (story or sequence of events)
The video is a visual response to the music.
A balance between narrative and performance may not exist.
The narrative is not always complete – it may be a partial, fragmented narrative.
The structure of the video may appear disjointed.
Something drives the video forward, but often it is not the narrative. It could be
the music, the performance, a mixture or some other element.
There may not always be a clear resolution (closure) at the end.
The video may pose questions that it doesn‟t actually answer.
There may be a narrative or theme running through the video, but in a montage
style.
2. Editing
Editing may match the musical phrases or the beat.
The video may break or disrupt many of the „rules‟ of continuity editing.
The edits may be really obvious, to draw attention to themselves as opposed to
invisible, as in continuity editing.
For example, you may see:
Jump cuts
Breaks of the 30 degree rule (camera should move at least 30 degrees between shots;
for example, from FS to MS, but change must be motivated)
Breaks of the 180 degree rule
Cutting against the movement
Cutting within the lyrics
Fancy edits or cuts
Extreme jumps in time and space
Extreme changes in pace
Juxtaposed images
Graphic matches
You may not see:
Smooth transitions
Matches on action
An even pace throughout
3. Camera Movements and Framing
When it comes to shot types, extremes are very common.
The style of framing and movement may run through the video and is distinctive
to that video.
The camera may move in time with the music.
The camera may move on the lyrics.
The master shot (or other establishing shots) is used frequently, as are close-ups.
4. Diegesis (the “world” of the music video)
The diegesis may be revealed quite slowly.
Actions are not necessarily completed – they may be disrupted or interrupted in
some way.
Character or object movements may move to the music.
There may be gaps in the audience‟s understanding of the diegesis – in time
and space, music, performance and narrative.
Some frames may be more important than others.
Sources: Moller, D: Redefining Music Video; Fraser, P: Teaching Music Video; Goodwin, A: Dancing in the
Distraction Factory; Keil, M: Three Types of Music Video; Vernallis, C: The Kindest Cut – Functions and Meanings
of Music Video Editing
MUSIC VIDEO ANALYSIS
Directions: In your production groups, watch three music videos. You will present the
videos to the class along with the following information in a PowerPoint presentation for
each video:
1. Basic Information
Which video are you analyzing, who is it by and, if you know, who directed it?
What genre does the music belong to and what broad characteristics of that genre
does the video have?
2. Is the music video performance-based, narrative-based or concept-based?
How much of each?
3. What is the relationship between lyrics and visuals?
Work through the song and identify ways in which the lyrics are illustrated, amplified
and/or even contradicted by the visuals. Select three specific examples to back up your
argument.
4. What is the relationship between music and visuals?
Does the video cut to the beat?
Are solo instrumental bits illustrated by the video?
Does the video change pace with the music?
Give specific examples to support your points.
5. Are there close-ups of the artist and star image motifs?
What image of the artist/band is being offered?
How does this video relate to previous videos by the artist?
Are there motifs that have been used previously or does this video represent a change of
image for the artist?
6. Are there voyeuristic attributes?
Do you get the sense that the artist is on sexual display or that other people in the video
are used in this way?
Does camerawork, costume, dance or something else imply sexualized display?
Give examples and consider why these features have been chosen.
7. Are there references to films, TV programs, and other music videos?
If so, how are they used?
8. Comment on the narrative, editing, camera movement and framing, and diegesis.
Discuss at least three of the bulleted items in the How is the music video constructed?
section for EACH category (narrative, editing, camera movement and framing, and
diegesis).
Grading:
_____ Three music videos (3 grades)
_____ PowerPoint is NCO (1 grade)
_____ Quality of information/research (6 grades)
Due Dates:
Proposal: ____________________
Presentation: ____________________
Sources: Moller, D: Redefining Music Video; Fraser, P: Teaching Music Video; Goodwin, A: Dancing in the
Distraction Factory; Keil, M: Three Types of Music Video; Vernallis, C: The Kindest Cut – Functions and Meanings
of Music Video Editing