Applying music video theorists to our media campaign 1

Applying Music Video Theorists to our Media Campaign Production

Applying Music Video Theorists to our Media Campaign Production

BY STEPHANIE WILLMOTTMedia Studies

Application of Andrew Goodwins Theory

We anticipate to utilise Andrew Goodwin's theory using fundamental factors associated with music videos and modifying his concept for our practical use in creating and editing an RnB music video. Therefore we intend to concentrate on the relationship and correlation between the actual song (music) and visual appearance, narrative (storyline/plot) and performance sequence of our chosen song Little Things and the intricate technical factors and financial constraints of the production of our music video. This will enable me and my team to gain a greater understanding and appreciation of the production techniques from start to finish of a music video and the lengths music video producers have to go to produce a creative, quality and professional piece of work to enhance the music content and delivery.

I chose the three distinguishing elements of our storyboard because the plotline within the video corresponds to the lyrics within the song. The narrative drama aspect contained within the music video is purposeful because it describes accurately the sentiments of the lyrics, action which creates a mood of remorse and sadness due to the breakup of a relationship which is identified in the lyrics of the song. Our leading artist/model is also our central actor because she is singing about her relationship and the betrayal and deception carried out by her lover and therefore the song reflects her personal situation and circumstance which she has found herself in. Therefore the main heroine as one of three characters in the plot as well as being the musician the lyrics foreshadow her ordeals in the storyline. We are considering to use Mise-en-scene to great effect will be playing a big part in our music video because it will help to set the scene and give the audience an idea of what the genre and feel of our music video is.

Applying Deborah Holdsteins Theory

In our music video our artist could be interpreted by our target audience as a Narrator or alternatively a Mediator. Following Holdsteins views about how artists are portrayed in music videos, we will construct our video to utilise performance and give the artist a strong identity to encourage a greater reach with audiences.In our music video, the visuals (storyline and performance) correspond with the lyrics, the events happen in a chronological structure and we are using a non- linear structure. The music video guides audiences through the narrative of the romance and then breakup however some of the action is driven with our artist just singing to the camera directly (showing direct mode of address; narrating the story to you, extracting meaning from the storyline). Some audiences would infer that our artist could be portrayed as a mediator because our music video is fundamentally addressing and highlighting the real life everydaysocial issue, commonly seen as an issue/ problem that many of our target audience (teenagers and young adults between 15-35) would be experiencing and therefore our artist/ model is a mediator expressing how someone reacts when they are in a situation involving a break up and the struggles associated with it. Therefore the narrative plot illustrates the issue and raises awareness and so displays potential strategies and solutions for dealing with the issue of the breakup of the romance or relationship.

Applying Sven Carlsons Theory

According to the theorist Sven Carlson's: music videos can either fall under the category of being Conceptual or Performance. We consider our music video for our artists music campaign to incorporate a narrative plotline as well as a performance dance sequence. Our music video is conceptual due to the fact that the song is related toand based on amental concept (relationships). Our music video is also performance based because the music video has a narrative, which has the star playing one of the main protagonists, this makes it more interesting and appealing to watch. The narrative also follows the lyrics of the song making it more a joint performance rather than just focusing on the song (a marriage between the song and music video).
Carlson says; Binary opposition drives narrative forward which could be evident in our music video because both of our characters in the performance have different mind-sets ,which causes problems between them in their relationship. Even though this is not a clear binary opposition, you could argue, because they share different opinions which ultimately drives a wedge between them destroying their relationship.

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Education

Applying music video theorists to our media campaign 1