MUSIC VIDEOSTechnical Codes and Intertextuality

Technical Codes

• Camerawork

As with any moving image text, how the camera is used and how images are sequenced will have a significant impact upon meaning.

Technical Codes

• Camerawork

• Camera movement, angle and shot distance all need to be analysed.

• Camera movement may accompany movement of performers (walking, dancing, etc) but it may also be used to create a more dynamic feel to stage performance, by for instance constantly circling the band as they perform on stage.

Technical Codes

• Camerawork

• The close up does predominate, as in most TV, partly because of the size of the screen and partly because of the desire to create a sense of intimacy for the viewer. It also emphasises half of the commodity on sale (not just the song, but the artist, and particularly the voice)

Camerawork and Editing

• What do you notice about this video in terms of editing?

Camerawork and Editing

• If you watch it closely you will see that the video has no cuts whatsoever.

• The entire video was done with a hand held camera (steadicam) and some very clever choreography in terms of camera position and singers movement around the flat.

• It took over 8 hours to get it right.

Development of Technical CodesIn the 1990s, a number of technical codes became

common:• Most common form of editing associated with the

music promo is fast cut montage

• Many images impossible to grasp on first viewing thus ensuring multiple viewing

• Split screens, colourisation are also commonly used effects

• Non-representational techniques, in which the musical artist is never shown, become more common

• Lack of edits, Long take/steadicam also a common experimentation

Development of Technical Codes

Goodwin’s Music Video Analysis

• Andrew Goodwin writing in ‘Dancing in the Distraction Factory’ (Routledge 1992)

1. Music videos demonstrate genre characteristics(e.g. stage performance in rock video, dance routine.

2. There is a relationship between lyrics and visuals

3. There is a relationship between music and visuals

Goodwin’s Music Video Analysis

• 4. The demands of the record label will include the need for lots of close ups of the artist and the artist may develop motifs which recur across their work (a visual style).

5. There is frequently reference to notion of looking (screens within screens, telescopes, etc) and particularly voyeuristic treatment of the female body.

6. There is often intertextual reference (to films, tv programmes, other music videos etc).

Applying Goodwin’s Analysis

Applying Goodwin’s Analysis

Applying Goodwin’s Analysis

Intertextuality

• It is perhaps not surprising that so many music videos draw upon cinema as a starting point, since their directors are often film school graduates looking to move on eventually to the film industry itself.

Intertextuality

• From Madonna’s ‘Material Girl’ (Mary Lambert 1985, drawing on ‘Diamonds are a Girl’s Best Friend’) to 2Pac and Dr Dre’s ‘California Love’ (Hype Williams 1996, drawing on ‘Mad Max’) there are many examples of cinematic references which dominate music video.

Intertextuality

Intertextuality

Intertextuality

• The influence of video games will predominate for the younger audience with the more plasticised look of characters emerging (as seen for example in Robbie Williams’ ‘Let Love be your Energy’ dir. Olly Reed 2001 and The Red Hot Chilli Peppers ‘Californication’ dir.JonathanDayton and Valerie Faris 2000)

Intertextuality

Robbie Williams Let Love

Be Your Energy ( 2001)

Linkin Park Breaking

The Habit (2003)

Red Hot Chili

Peppers

Californication 1999

Intertextuality

• John Stuarts description of the music video “incorporating, raiding and reconstructing” is essentially the essence of intertextuality.

• Using something with which the audience may be familiar to generate both potentially nostalgic associations and new meanings. It is perhaps more explicitly evident in the music video than in any other media form, with the possible exception of advertising.

Crossing Disciplines