Here are three consecutive examples of a narrative music video, an abstract music video and a performance music video.
I have chosen to research these three extracts as I feel like it will enable me to understand the different concepts of creating a music video in depth.
Example #1: Narrative. Taylor Swift - You Belong With Me
Mise-en-Scene
The mise-en-scene within this narrative music video is
instantly established via the bright primary colour schemes. This reflects the
upbeat music that begins to play. The costumes establish narrative throughout
the video due to Taylor ‘transforming’ from a ‘Geek’ with glasses on, into
someone prestigious (wearing the glittering, jewelled dress at the end.)
This furthermore reflects the narrative due to the intertextual
reference of ‘Cinderella’. The idea of transforming and becoming someone else
to suite another proves to be a traditional storyline. Therefore, the audience
can associate these factors, such as costume change and bright (traditional)
primary colours with the conventions of a traditional piece. The signification
of Taylor changing clothing in front of a mirror, supports the idea that she is
trying to change to fit in – therefore going through a process of self-finding
(to impress the boy she likes- which in the end, she finds herself and goes to
the prom to be with him.)
The interesting thing about the mise-en-scene, is that the
boy she likes has a girlfriend, who is also placed by her (but with a wig on).
This is done intentionally and maybe could show that the only thing holding her
back from being with him, is herself. Therefore, the process of self-finding is
pushing her negativity and insecurities away so that she can be happy with him.
There is a continuous use of two-shot framework which also
reflects the narrative-base of this music video. It symbolises the fact that
the protagonist (Taylor Swift – the artist) and the antagonist (the
‘boy-next-door’) have some sort of connection. Throughout the video, Taylor is
fantasising about being a couple with the boy, however is in dispute with her
own self-image due to his girlfriend having the connotations of being popular
(a long shot shown with her in the centre and a group of friends in the
background).
Therefore, the use of single close-up shots show her
isolation she feels within herself when faced with her love for this boy –
believing that she should be the one that’s with him, not her, but doesn’t
think she is good enough.
The use of cut-shots move the narrative forward. It goes
quite sporadically from being in her room, to at a baseball game, to the prom –
the three main scenes. As it is a narrative, there is not any ‘real’ abstract
qualities that can be found similar to Taylor Swift’s new music video ‘Style’
and therefore follows the conventions of a narrative-based music video.
The lyrics for this soundtrack are also narrative-based, for
example, ‘You’re on the phone with your girlfriend, she’s upset’ which has
direct where we see the ‘boy-next-door’ on the phone, looking as if he is
having an argument. Also, again when she sings ‘She wears short skirts, I wear
t-shirts’ which also has direct correlation with the narrative as you see her
dressing up in the mirror (in short skirts and t-shirts). There is no narrative
dialogue and is primarily non-diegetic sound throughout, which most music
videos have.
The sound cohesively links with the music video as it is a
very literal narrative and therefore is easily understood in one way by a large
percentage of the audience. Again, it is not very abstract and tells quite a
clear and cohesive story.
Example #2: Abstract. Katy Perry - Unconditionally
Mise-en-Scene
The mise-en-scene is instantly established in the first
scene and we can see that it is regal. The colours on screen are very bright
which shows reflection off the snow that is falling. The snow demonstrating
purity. The contrast between the white of the snow and the back of the
background and her hair creates a mysterious atmosphere. Her skin is very pale
and the time period (costumes) is in the past – therefore can suggest that the
song is about a past relationship – a prestigious, regal, successful
relationship. This also reinforces the amount of gold that is used throughout
the video: to show the wealth (the richness of the relationship). This can also
be seen in Taylor Swift’s ‘Love Story’ music video. The cross-cutting between
different scenes shows that this is an abstract music video and the consistent
use of costume change shows there is no narrative: it is mainly about the
visuals (so colour, costume and lighting.)
The artist is centralised in the screen throughout the video
to show that maybe she’s looking in the past and it’s with direct correlation to
her. Here are a lot of long-shots to show her outfit and thus reinforces that
the video is abstract as she switched between different coloured costumes.
There are also a couple of pans around the artist as she is singing to the sky,
these different use of cinematography show the different scenes (from in the
water, an aerial view of her lying on the car full of flowers… etc.)
There is a lot of use of CGI (Computer Generated Image) to create the effects like the
smashing car behind Katy Perry, her setting fire and the animated flowers that
fall down around her. There is also a lot of use of slow-motion within this video;
this has links with the vocals in the song as some are drawn out and longer
than others. The use of cut-shots from one scene to another go to the rhythm of
the song and therefore keeps conventions of music videos in that way.
The sound is primarily non-digetic, which follows the
conventions of a music video.
Example #3: Performance. The Strokes - Repitilia
Mise-en-Scene
You instantly see instruments as the first scene of the
music video opens. This is conventional of performance-type music videos as you
see the band playing the song featured in the video. The bright primary colour
blue is used as a background to the instruments to show the up-beat liveliness
of the song. You see the singer of the band with a microphone, singing the song
which demonstrates further that this is a performance-orientated music video.
There are continuous shots from the drummer, to the guitarist and back to the
singer.
This video is made-up of a collocation of close-up shots and
there are in fact no long-shots or establishing shots. It can therefore be said
that as it doesn't follow the three-shot convention, it could be seen as a
cross between a performance music video and an abstract music video. The shots
also go in and out of focus to give a distorted effect and make it look more
exciting as it is a very up-beat song.
The pace of editing become quicker paced as the song
progresses and the rhythm becomes faster. This then flicks between each band
member. There is also examples of a four-screen split where you get to see all
of the band members at once which is good for performance music videos because
you get to see them all together as a collaboration.
Again, this is primarily non-digetic music, however there is
constant lip-sync to ensure that the audience understand it is a sole performance
music video and nothing else. Sometimes, however performance music videos are
crossed with a narrative and the band are the story-tellers and then they have
different actors/actresses as the characters telling the story. There are a lot
of different combinations.
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