Monday 21 October 2013

History of Music Videos


In 1894, Edward B. Marks and Joe Stern hired electrician George Thomas and various performers to promote sales of their song The Little Lost Child. Using a magic lantern, Thomas projected a series of still images on a screen simultaneous to live performances. This became a popular form of entertainment known as the illustrated song, which was the first step toward music videos.
In 1926, with the arrival of “talkies" many musical short films were produced. Early 1930s cartoons featured popular musicians performing their hit songs on-camera in live-action segments during the cartoons. Early animated films like Fantasia by Walt Disney which featured several interpretations of classical pieces, were built around music. The Warner Brothers cartoons, even today billed as Looney Tunes and Merrie Melodies, were initially fashioned around specific songs from upcoming Warner Brothers musical films.
 
 
 
 
Between 1940 and 1946 Soundies were produced. They were 3 minute musical films that often included short dance sequences, similar to later music videos. The films were displayed on the Panoram, a coin-operated film jukebox or machine music, in nightclubs, bars, restaurants, factory lounges, and amusement centers. 

In 1964, The Beatles starred in their first feature film A Hard Day's Night, directed by Richard Lester. The film was shot in black and white it combined comedic and dialogue sequences with musical ones. During the 1960's it was very hard for bands to tour therefore this was an easy way for the fans to stay connected to the artist; by going to see them in the cinema.

The Beatles' second feature Help! (1965) was a much more lavish affair, filmed in colour in London and on international locations. The title track sequence, filmed in black-and-white, used diverse camera angles and brand new ways to stimulate the audience with rhythmic editing is arguably is what modern-day performance videos are based around. In 1965, The Beatles began making promotional clips (then known as "filmed inserts") for distribution and broadcast in other countries—primarily the USA—so they could promote their record releases without having to make in-person appearances. By the time The Beatles stopped touring in late 1966, their promotional films, like their recordings, had become highly sophisticated.



Top of the Pops began on New Year's Day in 1964 and was a new way for the audience to consume music and really helped promote artists globally. the show ran every Thursday evening and showed popular artists from that week that would perform their track live and would be broadcasted nationwide, the shots were very basic with not many cuts and normally a fade in and out. This was revolutionary for the music industry as it was the first television programme like it. In the clip below you can see David Bowie challenging tradiotanal masculintiy in the way that his costume is unlike normal clothes in this time period, this is reinforced by the audience dancing behind are in very different clothing. By having his arm around another male he is challenging hetrosexuality, this would be  

Michael Jackson released Thriller in 1983 and was the most expensive video at the time to have ever been produced (budget of $500,000). It was a very iconic video and introduced new and exciting techniques in makeup and costume. The video is 13 minutes long and was MTV's first world premiere video. Voted as the most influential pop music video of all time, Thriller proved to have a profound effect on popular culture and was named "a watershed moment for the [music] industry" for its unprecedented merging of filmmaking and music. Guinness World Records listed it in 2006 as the "most successful music video", selling over nine million copies. It is one of the most watched videos of all time and has been viewed over 4 billion times across the world.

Vogue was seen as one of Madonna's mast piece’s as across the world 'Vogueing' became a new phenomenon and was a great influence within the homosexual community’s. The black-and-white video, set in Art Deco-themed 1920s and 30s surroundings, starts off showing different sculptures, works of art, as well as Madonna's dancers posing. When the dance section of the song starts, Madonna turns around, and, similarly to the lyrics, strikes a pose. The video was received with much enthusiasm and was voted 2nd after Thriller in 1999 for Best Video of All Time. "Vogue" music video received a total of nine MTV Video Music Awards nominations, becoming her most-nominated video at the award show. It won Best Direction, Best Editing and Best Cinematography.

The website iFilm, which hosted short videos, including music videos, launched in 1997. Napster, a peer-to-peer file sharing service which ran between 1999 and 2001, enabled users to share video files, including those for music videos. By the mid-2000s, MTV and many of its sister channels had largely abandoned showing music videos in favor of reality television shows, which were more popular with its audiences. 2005 saw the launch of the website YouTube, which made the viewing of online video much faster and easier; Google Videos, Yahoo! Video, Facebook and MySpace's video functionality, use similar technology. Such websites had a profound effect on the viewing of music videos; some artists began to see success as a result of videos seen mostly or entirely online. Miley Cyrus was the most-watched YouTube channel in the world in September 2013 with 270.1m views for Wrecking Ball according to industry site Tubefilter's monthly Top 100 chart, with her monthly view-count leaping 222% compared to August. The video was largely accepted as having portrayed Miley in a sexual way which was too much for the Disney Star and was met with negative reviews. Over time you can see the music videos have changed and what has been accepted in society has become more extreme.

Lyrics Analysis- Husbands


Friday 18 October 2013

The Pigeon Detectives- I Found Out (Textual Analysis 3)
 

Written by: Oliver Main / Matt Bowman
Director: Marcus Macaulay
Genre: Indie rock, post-punk revival
Structure: Narrative/ Performance 

In the video for I Found Out the structure is narrative mixed with performance which later combines together and brings the video to one location, a Pigeon Detectives gig. The costume used on the female featured in the video is very stereotypical to post-punk revival as she is wearing black throughout and also wears very heavy dark eye makeup which connotes the idea of rebellion which is a convention of the genre. The grungy look puts a dark feeling over the girl and makes her seem moody which also relates to the genreThe location is very stereotypical of the genre as it is quiet run down and grungy looking bar and also shows the type of environment that the target audience hang about in. with the location being at a bar it can also relate to the idea of the audience drinking alcohol and also shows the dominant ideology of punk rockers as being into drugs and alcohol.
The dominant shot of this video is of a close up of the band singing and also a high angle shot to show the crowd having a good time. By having a close up of not only the singer but the band as well shows the connection that the band has, the use of the entire band being together is also key to the genre of post punk revival, as the artists under this genre want to have a following of the band not just main singer. This idea is also reinforced by shots of the band being together. By using close ups of the singer however, will make the audience be able to relate to the lyrics. The high angle of the crowd shows that the audience are followers and that the band is more dominant, also shows how music brings people together which is also an idea within the genre.
The editing is very fast paced and fits well within the genre and the beat of the song as its quite lively and fun. The editing is keeps to the convention of all music videos of editing to the beat.  By having the two worlds created in the video merge together brings about the idea that we are unified under the genre of post punk revival.Overall the video shows the genre of post-punk revival in a very stereotypical manner.
Yeah Yeah Yeahs- Sacrilege (Textual Analysis 2)
Written by: Brian Chase, Karen Orzolek, Nick Zinner
Director: French director group, Megaforce
Genre: Indie rock, art rock, post-punk revival

Structure: Narrative

The music video is a narrative the video consists of chronologically reversed sequence of events outlining the rationale and events leading to a group of people shooting a man and burning a woman alive.The shots keep getting repeated however each time something new gets revealed in the story as the shot goes through the reversed sequence.

A dominant shot used is a close up to show the characters feelings and so the audience can connect with the plot. Also they use a lot of long shots to show the location. The idea behind the music video is a girl is been prosecuted by people who she has committed adultery with against her husband therefore, at the beginning of the video a lot of close-ups are used of the people who hold no significance later become significant as the video carries on.

The video is confusing at first as you do not realise that the video is in reverse therefore the audience will feel disorientated. The editing pace speeds up as the video goes along and the narrative becomes clearer this will influence the audience’s excitement as the video reveals more. The editing also quickens as the pace of the song speeds up which is a convention of music videos

The mise-en-scene used within the video reflects the narrative not the genre and by not being conventional the audience will sympathise to the girl who’s costume is very innocent however her attitude isn’t, which does reflect the genre of punk. The iconography of fire and rebellion within the music video does relate to the songs genre. The genre of post-punk revival is shown through the video having a hard hitting story line. The location of the video is obvious as the iconography relates to America i.e. wooden houses and props and costume relate such as a sheriff is used and cars such as a pick up truck. 



The videos lighting lightens as the narrative develop, this is used as a contradiction because at the start we believe that the girl is innocent, which connotes the idea of white and brightness, however the lighting is very dark and harsh but as the story goes on you realise the girl isn’t that innocent the lighting becomes bright and sunny.


The White Strips- The Hardest Button To Button (Textual Analysis 1) 


Written by: Jack White
Director: Michel Gondry
Genre: Alternative Rock/ Post-punk Revival
Structure: Performance



In the video for The White Stripes The Hardest Button to Button they have used a mixture of abstract and performance narrative to reflect the heavy and repetitive drumming, the video does this by using pixilation animation to create the effect of dozens of drum kits and guitar amplifiers multiplying to the rhythm of the song as Jack and Meg perform.

The video’s location is in New York and takes place around streets however, the videos break the stereotypical setting of New York as there isn’t a busy atmosphere and the video only features Meg, Jack and features a cameo from the artist Beck. They have done this to connote the idea of the band being groundbreaking and making the audience stop and being awestruck. We know the video is set in New York as iconography that would indicate the location of New York i.e. the Subway and in and around Columbia University are used. The artists are dressed in red and white which is stereotypical to the genre of post punk revival and also to the bands image. The artists both have dark long hair that also connotes the idea of rock and roll and rebellion.

The dominant shot is a long shot with both Jack and Meg full body featuring in most shots and the camera tracks them as they move through New York using jump motion. The camera is also kept in the same place in many shots and you just see the artists moving away and towards the camera as they go about New York. The use of showing Jack and Meg in a video shows the artist as a band and not the singer being the dominant figure, this breaks conventions and relates to the idea of rebellion. The stereotypical conventions of a music video shot of a close up is also used as a way to show the lyrics and so the audience can relate to the performance.

The pace of editing is very quick as it wants to seem almost invisible as the drums and amplifiers multiply. They’re all fast cuts that change into the almost same shot however with Meg or Jack moving and there being another pair of drums or amplifier there. The genre of post-punk revival is shown as there is a more artistic and visual aspect to the video than just the performance. The idea of the amplifiers and drums multiplying could relate to there fan base growing and the immediate fame the White Stripes gained from the start of the band.  




Wednesday 16 October 2013

Lyrics Timing


Savages Husbands

0.00-0.21 (instrumental)

Whoa, I woke up and I saw the face of a guy 0.21 -0.24.
I don’t know who he was, he had no eyes 0.24-0.27

His presence made me feel so ill at ease 0.32 -0.35
His presence made me feel, ill at ease oh, oh 0.35-0.41

It’s on the final hour, it’s on the final hour 0.43-0.48
Of myself, of myself 0.48 -0.52

God I wanna get rid of it 0.54- 0.56
God I wanna get, get rid of it, yeah, yeah 0.57-1.01
Get rid of it 1.02-1.04

My house, my bed, my husbands, 1.07-1.11
Husbands, husbands, husbands, husbands 1.11-1.14
Husbands, husbands, husbands, husbands 1.14-1.16
Husbands, husbands, husbands, husbands 1.16-1.19
Husbands, husbands, husbands, husbands 1.19-1.21

We’re standing here all alone 1.32-1.34
When my eyes were closed and my mouth went numb 1.35-1.38
Does he know me very well? 1.42-1.45
When you talk in the dark will I see him again? 1.46-1.48
Will I see him again? 1.51-1.52

He sung the final hour, He sung the final hour 1.54-1.58
Of myself, of myself 1.59-2.03

God I wanna get rid of it 2.05-2.07
God I wanna get, get rid of it, yeah, yeah 2.08-2.13
Get rid of it 2.13-2.15

My house, my bed, my husbands, 2.17-2.22
Husbands, husbands, husbands, husbands 2.22-2.24
Husbands, husbands, husbands 2.24-2.27
My room, my life 2.28-2.31
My husbands, husbands, husbands, husbands 2.32-2.34
Husbands, husbands, husbands, husbands, 2.34-2.37
Husbands, husbands, husbands, husbands, 2.37-2.41
Husbands, husbands. 2.41-2.43

 

Monday 7 October 2013

Brief


1. A promotion package for the release of an album, to include a music promo video, together with the following:

a cover for its release as part of a digipak (CD/DVD package);
a website homepage for the band