A Music video is a piece of marketing merchandise to promote the artist and sell the product.
Codes: equipment used cameras, also symbolic codes for example what the person is feeling and how we see that
Convention: the way things are done within the video this also describes the genre of the music video
The conventions of a music video vary depending on genre of music. However, some general conventions are: the artist is shown performing, the lyrics of the song influence what is shown in the video, the pace of editing fits the pace of the music, and the codes of dress reflect the mood of the song.
Conventions of Music Videos:
1. Conventions of narrative music videos: the music video contains a series of events that both make sense to the audience and appear to be unified in time and space. So as to ensure repeated viewings and the effective marketing of the band/artist and song, the narrative code must be „loose‟ or simply „suggestive‟ rather than „realistic‟ or „detailed‟.
2. Conventions of the band performance: a degree of authenticity of the performance is sought by the band and the director so we often find lip-syncing close-up, mimed playing of instruments, repetition of chorus shots to enhance „repeatability‟, unusual camera shots and angles (e.g. the micro camera shots attached to the neck of a guitar, sweeping crane shots to film audience reaction to the band playing etc.).
3. Conventions of solo artist performance: many of the band performance conventions plus choreographed dance routines to enhance „repeatability‟. Also, afirst-person mode of address directly engaging the viewer through the camera which involves many close-up shots of eyes rolling and gesturing and if the video is a hybrid form cutting between performance and narrative then the solo artist or band lead singer often becomes part of the narrative story, acting as narrator and participant at the same time.
4. Star Image: only 1 in 10 artists promoted by a major record company will actually make that company any substantial profit. This is why certain select profit making stars are manufactured, manipulated and marketed by the record label‟s „artist and repertoire‟ (A&R) division so aggressively. The star image of individuals such as Michael Jackson and Madonna through their videos is a vital component of this process. This is why we can identify the „metanarrative*‟ of stars through their videos whereby the record label manipulates and changes the artist‟s image with each new video release to increase sales, consolidate target audiences and broaden appeal to new fan bases. The best case studies are „Madonna‟ and „Michael Jackson‟.
* In critical theory, and particularly postmodernism, a metanarrative (from metagrand narrative) is an abstract idea that is thought to be a comprehensive explanation of historical experience or knowledge
Audiovisual Technical Codes Needed for Analyzing a Music Video
Camera Shots (see below for definitions): jumping directly between long shots, close ups and extreme close ups. Primarily the close up on the singer‟s face is the main generic convention for music videos. Also the extreme close up on the lips for lip synching.
Camera Movement: whip pans, fast dolly track shots and fast overhead crane shots to follow the running, walking or dancing of performers. Also, fast vertical tilts and horizontal pans.
Editing: There are various terms, such as jump cutting, MTV style editing or montage editing. Creating the visually decentred experience of „jumping‟ from location to person to instrument without any normal narrative continuity. Instead it is often the beat or the rhythm of the track which provides the organising principle for editing movement. The editing moves so fast it creates the need for viewing „repeatedly‟. There are exceptions though. Some „continuity editing‟ is used such as atmospheric „dissolve shots‟.
Postproduction digital effects: These effects are added to the video after the live sequences have been strung together. Examples are "split-screens," "colourisation," "slow motion" "CGI (Computer Generated Illustration), etc.
Lighting: Lighting sets the atmosphere and mood and is a key feature of music videos. Examples of how expressive lighting can affect the video are: extreme artificial light creates the „bleaching‟ effect on pop stars faces (making them seem ageless). Also, the use of switching from colour to black & white or sepia to indicate a shift from chorus to verse. Also, other lighting effects such as strobes or flashing needs to be identified.
Mise en scène: Made up of a combination of props, costume, location, body language and facial expression. Look for the overall artistic concept in a video. Is there a theme? Does the video‟s mise en scène follow the need for authenticity in performance videos by using the concert hall or rehearsal studio setting? Or is there an intentional „parodic‟ setting to exaggerate star image as in many rap and r&b videos with a focus on glamorous icons such as exotic locations, beautiful cocktail bars and stunning beachside houses with infinity pools.
| Camera Angle Guide Close-up: | All you see on the screen is a well-manicured hand, nervously tapping a countertop. |
| Medium Shot: | An interior of a car where a couple are having an argument. |
| Long Shot: | A car is driving on a deserted road. The outline of a city can be seen in the distance. |
| High Angle Shot: | You have a bird-eye view of a group of children playing in a schoolyard. |
| Low Angle Shot: | A villain laughs cruelly - it's as if he is standing on top of you as he does this. |
| Eye-level Shot: | The condemned man looks squarely at the camera and declares his innocence. |
| Reverse Angle Shot: | As the heroes escape, it's as if we are in their shoes, looking ahead at the dark alley as we try to get away. |
| Tracking: | The camera moves from left to right, following the hero as she runs on top of a moving train. |
| Panning: | A teacher and principal are having a discussion. The camera doesn't move, but the shot moves from the principal, on the left to the teacher, on the right, each time they speak. |
| Dollying: | The camera moves backwards from an interior shot of a couple arguing in their car, to an exterior shot of their car stuck in a traffic jam. |
| Tilting: | With the camera remaining in one place, the shot follows Spiderman as he climbs up the side of a building, and then down again. |
