UPDATED: CASE STUDY: How do Busted appeal to their target audience through their video for their song “Year 3000”- BEN RODWELL

UPDATED: Case Study: How is gender represented in Queen Of The Stone Age's video for '3s and 7s'- BEN RODWELL

UPDATED: Case Study: How are narrative techniques used in Cold Play's video for 'The Scientist'- BEN RODWELL

"Some videos give you thrills, some chills and some are just eye candy. Coldplay's clip for "The Scientist" is the kind that makes you wonder, "What the hell?"" -MTV. Coldplay are a British rock band led by vocalist and pianist Chris Martin. Forming in 1996 under the name Pectoralz, Coldplay have since gone on to have 7 number 1 albums, 2 number 1 singles, have world tours and sell out venues such as Wembley Stadium. 'The Scientist' is the second single from Coldplay's second album 'A Rush Of Blood To The Head". Released in 2002, the track reached number 10 in the UK singles charts and number 13 in the US single charts. Upon it's release the song received critical acclaim: "The fantastic piano ballad 'The Scientist' has a cataclysmic falsetto finale that could raise every hair on the back of your neck" -Rob Sheffiled, Rolling Stone. With a piano part that "chimes through [and captures] perfectly, the warm depression of each individual key" (Nick Southall of Stylus magazine) 'The Scientist' was placed by NME as number 37 on its list of the '150 Best Tracks of the Past 15 Years' in 2011. The music video for 'The Scientist' has received similar critical acclaim as a result of its innovative and well-constructed reversed narrative structure. In 2003 MTV awarded the video with the multiple awards including  Best Group Video, Best Direction, and Breakthrough Video. Additionally It was also nominated at the 2004 Grammy Awards for Best Short Form Music Video. Directed by James Thraves, the video took inspiration from Spike Jonze's 1996 music video for The Pharcyde's "Drop" and Scottish band Danny Wilson's 1989 video for the song "The Second Summer of Love" both of which employed a reverse narrative.

figure 1

The key aspect of Coldplay's video for 'The Scientist' is the use of a reversed narrative structure: the video starts at the end and footage is played in reverse throughout. Immediately a link is created between the lyrics of the chorus and the narrative structure and visuals of the music video. The chorus of the song ends with the lyrics "take me back to the start". This links with the reversed visuals of the video. Andrew Goodwin states in his music video theories that "there is a succinct relationship between music and visuals be it illustrative, amplifying or contradictive". By using a reversed narrative this both illustrates and amplifies the lyrics of the chorus. Furthermore the video supports and enhances the impact of the music and lyrics to the audience. The video starts with a close up of the lead singer Chris Martin singing (figure 1). The shot slowly zooms out maintaining Martin's head in the dead centre of the shot furthermore maintaining the audiences focus on his singing and his lyrics. At this point the audience do not know that the narrative is in reverse. Martins final position in the opening shot (figure 2) initially creates a sense of questioning in the audience. This opening shot establishes

figure 2

an 'enigmatic or hermeneutic code' as described by Roland Barthes. Barthes stated that this code sets up questioning in the audience, for example "why is the singer lying on a dirty blue mattress in the street?". Barthes claimed that this code is essential as it gives audiences satisfaction through predicting or working out their answers or by having their assumptions disrupted by twists. This hermeneutic code is strengthened via the introduction of the reversed shots. In the following shot (figure 3) the audience see Martin raise from the mattress as a cyclist cycles backwards behind him via a slowly panning camera movement. This is where the overall reversed narrative structure of the song is introduced. As well as strengthening the enigmatic code, this shot establishes the theme of the music video and so imitates the connection between the music (the lyrics) and the visuals (the reversed

figure 3

shots). By using a reversed linear narrative elements of the story are revealed to the audience in a new an unorthodox way. For instance figure 4 shows when the audience are first introduced to the body of the protagonist's partner. The reversal of the narrative  means that this reveal happens closer to the climax of the song and so fits better with the songs construction. Additionally it is in contrast to the majority of music videos which would reveal key narrative aspects such as a dead body at the beginning. This is an effective way of making sure the audience remember the video and therefore the song. Andrew Goodwin stated that "the record label has certain demands" meaning that music videos are a way of ensuring the the artist and consequently the label they are signed to receive financial gain from music videos. By making the music video memorable and unorthodox audiences are more likely to remember the video and therefore the song increasing the likelihood of sales. Using a complete reversal of all shots and the narrative, audiences are more likely to remember Coldplay's single 'The Scientist'. This ensures commercial success for the band and their record label.

figure 4

The video for "The Scientist" both conforms to and challenges Tzvetan Todorov’s theory of narrative structure. Todorov suggested that there are three stages to how a narrative progresses and these stages are present in Coldplay's video however not in the ordinary order. The first stage is the equilibrium. This is a sense of normality that is carefully and clearly depicted to the audience. In the video for 'The Scientist', this is shown at the very end of the video where the protagonist and his partner are driving in their car. The composition of the shots shown at the end  suggests to the audience a balance and happiness that isnt present in the rest of the video. For instance quadrants are used in figure 4 to suggest  two characters lives that are balanced and related. By placing the two characters on either half of the shot it implies a stability which is not present when the protagnost is alone. The shot construction and emotions portrayed by the characters suggests that this is the equilibrium. The second stage suggested by Todorov is the disruption. This is something that disrupts and unbalances the equilibrium. In this video the disruption is the car crash. As fitting with the rest of the narrative, the car crash is portrayed to the audience in reverse. Filmed via a long shot (figure 5) that shows the full extent of the car rolling down the hill, emphasis is placed fully on

figure 5

the crash making certain the audience understand that any kind of equilibrium has been destroyed. The final stage as described by Todorov is the new equilibrium. This is how the characters in a text react to the disturbance and create a new equilibrium. The new equilibrium in this video is the rest of the begining of the video initiating with the opening shot. In contrast to the shots that portray the equilibrium, the opening shot that portrays the new equilibrium focuses entirely on the lonesome protagnist. Whereas the equilibrium is portrayed through composition such as quadrants suggesting a balance between two people, the new equilibrium shots focus entirely around the lone singer. The video for 'The Scientist' conforms to Todorov's theory of narrative structure; it has a clear equilibrium, disruption and new equilibrium. However it also challenges the theory as instead of using the stages in the conventional order the video starts the new equilibrium and then shows how the equilibrium was disrupted. By both using and challenging Todorov's theory the video achieves  a clear, classical  narrative with a twist that appeals to the audiences enigmatic code (as described by Barthes).

figure 6

Coldplay's video for 'The Scientist' uses a reversed narrative to create a build up and climax which both engages with the audience and caters for their enigmatic code. By matching the peak of the song with the most dramatic and action based section in the music video, the climax of the song is made more effective and so engages with the audience more effectively. Furthermore the reversed linear narrative of the video creates a buildup which further emphasises the climax. Throughout the video the audience are constantly striving to work out their hermeneutic code and their predictions about the enigmatic reversed narrative. By continuing the reversed narrative up to and through the car crash, audiences stay engaged. Climaxes are a conventional technique in Coldplay's videos. For example in their video for 'Paradise', a climax is used to create a powerful ending which engages with the audience and instils a 'feel good' emotion in them. As shown in figure 6, a saturated colour scheme is used in combination with an energetic performance, lens flares and playful mise en scene to create a climax which connotes happiness and freedom. Using a climax in this way, to create powerful emotions in the audience, is a conventional narrative technique. If the music video evokes strong feelings in the audience they are more likely to remember it and therefore provide the artist with better sales for the adjoining song. In addition to this, interesting narrative techniques and structures seem to be a motif of sorts for Coldplay. For instance Coldplay's video for their song "Yellow" features a single-cut, amplified, linear narrative. The video consists of one, 4 minute and 32 second long shot that follows lead singer Chris martin as walks along a beach at sunrise. The beginning of the video shows Martin in almost complete darkness however by the end of the song, it is entirely light. By using one continous shot, the liner nature of the music video is amplified to an incredible level; the audience can't help but focus on the real-time portrayal of time passing. 

Coldplay enjoy experimenting with narrative structures in their music videos, be it a reversed narrative structure such as in the video for 'The Scientist' or an intense, ultra-linear narrative such as in 'Yellow'. I feel that this, as well as giving Coldplay a motif in their music videos, ensures that their videos are interesting and engaging for their audience. The audience never know what they're going to get and as a result will always watch the new video to find out. This makes sure that the video fulfils its financial requirements of "selling the band" (Goodwin). I feel that I can take inspiration from this. Although difficult to achieve narrative structures as complex as those shown in the above mentioned videos, unusual narrative features such as flashbacks, cyclical structures or multi-linear narratives could be implemented in to my music video. Using interesting narrative structures is an effective way of ensuring your video is original and engaging for the audience as it maintains their attention through their need to figure out the story of your video.

In conclusion Coldplay use a range of narrative techniques in their video for 'The Scientist'. Instead of a conventional, chronologically-linear narrative, 'The Scientist' uses reversed linear narrative. This unorthodox narrative style creates an enigmatic tone to the video as the audience are constantly trying to work out their predictions. As well as this the reversed narrative means orthodox narrative stages as described by Todorov are made less normal as they are reversed. As is conventional with many of their videos, a climax is used to engage with the audience. By doing this the audience are more likely to remember the video and consequently the song. This fits with Goodwin's theory that music videos are bound by "requirements of the record label". The video uses unorthodox methods to create a memorable video which in turn means a commercially successful video.

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UPDATED: Case Study: How are the conventions of a rock music video evident in The Darkness' video ‘I Believe In A Thing Called Love' ?- BEN RODWELL

The Darkness are a British rock band from Lowestoft, Suffolk. Formed in 1999 by brothers Justin and Dan Hawkins, The Darkness took heavy inspiration from 70s Glam Rock, Metal and Hardcore Rock to create music which "put entertainment back in to rock music" (BBC). The Darkness' debut album 'Permission To Land' went straight to number two in the UK charts upon its release on the 7th of July 2003. It then rose to number one and stayed there for four weeks, eventually selling 1.5 million copies in the UK. 'I Believe In A Thing Called Love' was the third single from the album and peaked at number 2 in the UK singles chart. The New York Times wrote that the song "Sticks to the listener like hair gel.". Such as much of the Darkness' style and music, the video for 'I Believe In A Thing Called Love' boasts 70's inspired, Glam Rock outfits, an over-the-top, tongue-in-cheek performance and a narrative that was designed to portray the fun and entertainment of the song itself. Directed by Alex Smith, the music video laid the foundations for the rest of the bands music videos; latex catsuits, exaggerated performances and bizarre, comical narratives are omnipresent throughout the The Darkness' video discography and were all pioneered in the video for 'I Believe In A Thing Called Love'. The Darkness have since gone on to record 3 more studio albums, win 3 Brit awards, break up, have a reunion tour and change their line up twice. They are a band based around fun, entertainment and not taking themselves seriously and the video for 'I Believe In A Thing Called Love' encapsulates this. As Scott Plagenhoef from the online review website Pitchfork described them "I can't think of a more entertaining band than The Darkness".

Figure 1

The Darkness take conventions of glam and hard rock and exaggerate to a point where the video becomes a self deprecating, tongue-in-cheek performance. An example of this would be the mise en scene of the video. The costumes of the band members are direct inter-textual references to 70s glam rock bands such as Slade and T. Rex. For instance in Slade's video for 'Everyday' the four band members can be seen to be dressed in flamboyant, abnormal outfits such as a latex cat suit, a yellow tweed suit and a latex dress (figure 1). The Darkness take clear inspiration from this wearing outfits such as cat suits and flared suits as shown in figure 2

figure 2

. What is perhaps more obvious is the style of the Darkness' hair. Two members have long, dirty blonde hair another has a frizzy afro held in a bandanna and the other has long dark hair. One of the main elements of glam rock was taking unusual hair styles that hadn't been seen before (or had but on the other gender) and using them as a medium of expression. The Darkness' are fitting with this generic convention through the outfits they are wearing. However because of the time period in which The Darkness made their music video as well as the extent to which they took inspiration from  absurd glam rock costumes, the audience can infer an almost comical, purposefully over-the-top attitude. Modern day music videos are often used in a very serious way to sell and advertise the band. As Andrew Goodwin stated "the record label to which the artist is signed have certain demands". The Darkness however do not necessarily conform to this convention. The video is focused far more on absurdity and exaggerating glam rock influences to create a comical, entertaining video rather than creating a 'modern', fashionable looking band that are commercially successful. Dan Hawkins, the groups guitarist described the song as "party music,  it just gets people going." The music video reflects this; borrowing outrageous and bizarre costume conventions of  glam rock yet rejecting modern commercial based conventions to create a video focused around entertainment.

Figure 3

figure 4

Andrew Goodwin states that "Music videos more often than not tend to include a demonstration of typical genre characteristics" and the video for 'I Believe In A Thing Called Love' conforms to this statement. Broadly rock music videos are based around a performance to highlight the energy of the band. They may feature shows or crowds with focus on the lead member as a way to advertise and sell the band as well as to ensure audiences know who leads the band. The camera work and shot construction throughout the video places focus on Justin Hawkins, the lead signer and guitarist in the band. While there is some narrative in the video, performance is the key aspect and focus is very much placed on this. An example of the way camera work and shot construction is used to place focus on Justin Hawkins and so conform to general music video conventions is in figure 3. This shot uses vanishing lines to draw the audiences eye to the dead centre of the shot- where Hawkins is running in slow motion towards the camera. Vanishing lines help focus the audiences eye on the lead singer and so this highlights his importance; he is the leader of the band. Furthermore the use of slow motion in the shot, slows Hawkins's running down. This is a conventional technique used to show power and dominance throughout film media. It connotes that he is in control of time. Additionally it allows the audience to focus on his movement more again allowing him to be better advertised (linking to Goodwin's theory). Another example of how camera work and shot construction is used comply to typical rock conventions is in figure 4. Figure 4 is a long shot that shows the band performing during a breakdown in the song. The way the band are arranged is a direct reference to

Figure 5

the video for Queen's song 'Bohemian Rhapsody' (figure 5).In this very famous video the four members of Queen are positioned in a diamond formation as copied by The Darkness in this shot. Queen adopted styles and haircuts of glam rockers of the time and so by using this inter textual reference, The Darkness are further complying to influences and generic codes of glam rock. Figure 4 not only makes this reference but again places focus on Justin Hawkins. Placing the other members on a lower platform is a visual metaphor for the hierarchy within the band. Automatically the audiences understand he is more significant than the other members as he is physically higher up than them and so their focused is pulled toward him. This focus is strengthened via the camera movement. As the band continue to perform the camera zooms towards Justin Hawkins until the shot has become a mid-shot of just him. As well as physically pulling the audiences view towards him, by slowly removing the other band members from the shot it makes certain that the audience knows that Justin Hawkins is who their attention should be on. Throughout the video, the combination of camera shots, camera movement and shot construction places the audiences focus entirely on the lead singer. This is done not to sell or advertise Justin Hawkins commercially but instead to portray him as the leader of the "visual style which occurs across their work". The Darkness' motif is their exaggerated mise en scene and performance. In the video for 'Christmas Time (Don't Let The Bells End)' Justin Hawkins can again be seen clad in a 70s, galm-rock-inspired cat

Figure 6

suit leading the band in an over-the-top performance (Figure 6) .By ensuring the audience know that Justin Hawkins is the leader of the band it places their attention on him which consequently lets the bands motif become clearer and apparent. The Darkness conform to Goodwin's theory that there will often be "close ups of the artist" and that "artists will have a visual style which recurs across their work"

Figure 8

Instruments play a key part in the music video. This is a typical feature of rock music videos. In contrast to rap or hip hop which are based primarily around electronic instruments and computerised instruments, rock instead uses physical instruments and so the generic conventions of rock music videos reflect this. Classic rock videos such as Guns and Roses 'November Rain' uses an iconic moving mid shot that zooms in, and tilts off balance yet keeps the guitarist and his guitar at the centre of the frame (Figure 8). By having an organic, panning shot that maintains the position of the guitar in the middle, the audience's entire focus is placed on the one, stationary object: the guitar. This technique is imitated somewhat by The Darkness in 'I Believe In A Thing Called Love'.

The shot in figure 9 is a dolly shot that slowly moves in towards the soloing guitarist. Although the rest of the frame is moving the dead centre of the shot is stationary and focused on the guitar. The dolly shot gives the audience a feeling of being drawn toward the guitarist and so their attention is pulled fully on to the instrument. Using instruments to portray the excitement and power of band members is a conventional technique of rock music videos as their instruments and ability to play them is what sets them apart and makes them special. The Darkness fully conform to this convention, using instruments throughout to draw audiences in. They are part of The Darkness' motif as they are part of the exaggerated, over-the-top performances.

In conclusion The Darkness both conform to and challenge conventions of rock videos in their video for 'I Believe In A Thing Called Love'. The costumes worn by The Darkness in the video, although fitting of glam rock conventions, challenge the modern day expectations of music videos. The outfits worn are not used as Goodwin stated to conform to 'record lable's demands' for commercial success but were instead used to exaggerate the glam rock ideology of wearing bizarre and different clothing. The Darkness do use lots of closeups of the lead singer, Justin Hawkins which is conventional of all music videos. They do this not to advertise or necessarily sell him but to give the audience a clearer understanding of their motif; an amplified glam rock aura and performance. The Darkness conform to the rock music video convention of placing focus on music instruments. They do this do again strengthen the portrayal of their motif but also to add an element of power and dominance to them as a band.

The Darkness' video provides a large well of inspiration for my own music video. The challenging of generic conventions is particularly intriguing to me. The Darkness, while creating clear links to conventional Glam Rock motifs, challenge modern day expectations of Rock videos. I feel that challenging convention provides an originality that is refreshing and furthermore appeals to an audience more effectively than an average, completely conventional video. The costumes used by The Darkness are especially interesting. They use completely abstract costumes that would not be seen in everyday life. I feel that I could take an element of this on board for my music video. For instance combining ordinary clothing with bizarre, abnormal aspects would be refreshing and furthermore would add meaning to the costume. Additionally the camerawork and compositional techniques used in this video are of the highest standard and look very professional. I want my video to look as professional and industry standard as possible and so by studying the way each shot is composed and making note of how they have done so (for instance by using rule of thirds, quadrants etc) I can make my video look more professional. Each shot is clearly planned and so by me planing each shot just as meticulously, my video should look as well shot and composed as possible.

Case Study: Applying Andrew Goodwin’s theory of music videos- BEN RODWELL

Many of Andrew Goodwin's theory's about music videos are present in the video for 'Grape Vine Fires' by Death Cab For Cutie.

For instance there is a clear relationship between the lyrics of the song and the music video visuals. This helps enforce and amplify the lyrics as it enhances them with visuals. For instance in the first chorus of the song where the line "before we all burn" is repeated the audience are shown images of paper like scenes catching fire. By doing this the lyrics are made more prominent and furthermore the music video as a whole is made more relevant to it's song. This theory is demonstrated again later in the music video. As the lyrics "Watched the plumes paint the sky grey" are sang, there is a shot of a sky filling with dark grey smoke. By using visuals that mirror the song, the lyrics are enhanced and reinforced to the audience. It creates a cohesive and relevant music video which is beneficial for the audience. In addition to this, the downbeat, solemn tone of the music video is emphasised by using visuals which mirror the lyrics and furthermore the meaning of the song itself.

As the visuals reflecting and amplifying the lyrics, the same is true for the relationship between the video and the music itself. The structure of the song is mirrored through the structure of the music video; throughout the first two verses and choruses the song slowly builds and the music video follows suit giving the audience an idea of the story of the video. However when the middle 8 section of the song begins (at around 2.20) the protagonist is seen to physically turn a corner on his bike. This is symbolic of the story of the video progressing and moving along. While the lyrics of the song are mirrored in the video, the opposite is apparent in the relationship between the music and the visuals; they contradict. As the music lowers in intensity (fewer instruments play and the emphasis is placed wholly on the vocals) the visuals reach a climax; the protagonist’s brother’s partner is burnt to death. By having the music lower in intensity whilst the visuals reach their peak, it makes the visuals even more powerful and emotional. The middle 8 section of the song uses a different chord progression symbolising the change in intensity the visuals portray. After this section the music reaches its peak and the visuals mirror this showing scenes of rampant fire and the protagonist’s family’s desperate attempt to escape. By experimenting with the visual-music relationship the video pulls the audiences focus around making parts such as the death of the girl seem intense and emotional. This supports Goodwin’s theory

Finally Goodwin states that “there is frequently reference to notion of looking”. This is apparent throughout one of the main themes of the music video. The video starts with a photo in a frame of the protagonist which comes to life as the video progresses. As the video continues this theme is repeated several times; photos in frames coming to life and continuing the story. Often the photos represent better times away from the all-consuming fire. They are used as a metaphor for memories  and this is apparent at the end of the video where the main character returns to the fire to save photos of his brother and his partner. While in more conventional music videos this “notion of looking” is represented through screens, telescopes or glasses this music video, fitting with the paper-like aesthetic, using hand drawn photographs. Furthermore the repeated use of this technique gives a “screen with in a screen” style which is commonly used in music videos. By doing this it relates to the audience as they feel as well as them looking in on this video, the character of the video themselves are too; the audience feels related to.

In conclusion ‘Grape Vine Fires’ by Death Cab For Cutie demonstrates a number of Andrew Goodwin’s theory’s. The visuals both mirror and contradict the music and the lyrics of the song at different points pulling the audiences focus. As well as this the typical convention of music videos incorporating screens is used in this video however in a slightly more alternative way.

UPDATED: Case Study: How do these videos use genre characteristics and conventions?- BEN RODWELL

Three Rock music videos- 'The Weekend' by Modern Baseball, 'Say It Ain't So' by Weezer, 'Deadly Lethal Ninja Assassin' by Reuben


One the most conventional features of any Rock video is a performance of some kind. Where as in other genres such as Electronica or boy bands the focus is either on how the crowd interact with the music or the members of the band itself, the genre of Rock is based around real, physical instruments being played by musicians and so the music video of this genre reflects this. In all three videos footage of a live performance of the band playing the track is used. Not only does this link to the genre's focus on real musicians playing instruments but it also provides the audience with an idea of how the band perform live thus advertising the band by encouraging viewers to go and see them play at a show. A performance helps to excite and engage with the audience as it isn't something that is used exclusively with all other genres and furthermore helps create an effective video. Additionally a performance allows the band members to portray how much passion they feel when the play the music. This can be seen in all three music videos- band members moving with the beat of the music and singers singing with passionate looks on their faces. By doing this it portrays the band as being passionate and genuine in reagrds to their music and furthermore helps to sell the band.

Over time Rock videos have evolved and changed and furthermore conventions and characteristics of the rock music video have also changed. Where as in the 60s-80s,  Rock bands and their members were portrayed as extremely powerful and typically different to their audiences in their videos, in many modern Rock videos the opposite is apparent; producers want the band to seem as ordinary as possible so people identify with the band. This 'ordinarification' of Rock bands and their members is clear in all three of these music videos but is most apparent in 'Say It Ain't So' by Weezer. The mise en scene of the music video creates this average tone. All the members are dressed in very common, casual outfits (clothes the everyday person could easily have), the music video seems to be set in an ordinary, slightly messy   kitchen (hence someone taking something out of the fridge mid-video) and the actions of band members -such as the lead singer scratching his eye during a shot- are very natural and relaxed. By doing this the band are portrayed as ordinary, average people and s a consequence are seen as very relatable. Furthermore this promotes and sells them making the music video effective.

In all three videos, conventional music video editing techniques and camera movement are used to convey an energetic and passionate tone. In almost every genre of music video, quick, synchronised cutting between shots is used to both convey a sense of movement and energy in the video but also to hold the audiences attention. The genre of rock is no different and this quick cutting to the beat of the track is used throughout all three videos. The movement of the camera in the videos is also conventional for Rock videos. By using a mixture of panning, dolly and handheld shots, each music video incorporates movement in its shots. Rock videos typically do this to both tell the viewer that the band is wild, energetic and fun but also to emulate a show, helping to sell the bands live performances. These techniques are especially clear in the video for 'The Weekend' by Modern Baseball. Almost every shot is dynamic in some way, either through controlled panning or dolly shots or through the use of handheld cameras. This links to the songs upbeat and active tone as it portrays movement thoroughly throughout the video. By using camera movement and editing to create a vibrant, dynamic tone in music videos it helps to sell the band as an exciting, enjoyable act.

The Modern Baseball and Weezer videos focus on the alienation and 'geekiness' of the band members to appeal to their target audience. By making the members of the band appear as ordinary and almost nerdy as possible, teenagers (the target audience) will relate to them and feel they can connect with them. For instance the ordinary clothing and everyday location used in the Weezer video makes them seem like a group of normal people. Combine this with a man going about his washing in the background the performance adds a sense of reality. As well as this there is an aspirational aspect to the performance. By making the band members seem like ordinary people, audiences will start aspiring to be like the performers and play in bands such as in Weezer or have great parties such as in the Modern Baseball video.

As a whole, the three videos I chose use conventional techniques and aspects of other modern rock videos. The reason for this could be explained by Andrew Goodwin who stated that "Music videos demonstrate genre characteristics". Furthermore the videos I chose met these conventional aspects as they help portray modern Rock as a whole. for instance there was performance in all of three videos because Rock performers play instruments live on stage, the mise en scene in the videos portrayed the  members as ordinary people because that's the aesthetic of modern rock bands and conventional editing and camera movement is used to emulate the energetic real life performances of these bands. Andrew Goodwin also stated that "The demands of the record label will include the need for lots of close ups of the artist" meaning that close ups are used to give a clear, unmissable advertisement of the band. This is true throughout all three music videos. Close ups and extreme close ups of band members -especially lead singers- faces are used to clearly advertise the band to potential customers. Music Videos in essence are simply devices used to help promote and sell music and so devices such as closeups are almost always used.

Case Study: Media language in 'Judith' by A Perfect Circle- BEN RODWELL

The music video for 'Judith' buy A Perfect Circle uses media language such as editing, mise en scene, composition and camera movement to portray the band as dark, angst filled, powerful and brooding and furthermore to help sell and advertise them and their music.


figure 1

The mise en scene of the video and the performance itself immediately allow the audience to understand the tone of the video and band. The band, dressed in dark, ordinary clothing (for example in figure 1) are performing in a dark, gritty warehouse or large room. By setting the whole video in this underground, alternative scene and by dressing the performers in relatively ordinary yet dark clothing, the band are presented as both powerful but also dark and aggressive. In addition to this the movement and performance of the band members reinforce this representation. Instead of a choreographed dance routine, the performance is spontaneous and uses heavy playing of instruments to again portray the band as angst filled and brooding.


figure 2

The editing and style of editing used in this music video creates a energetic and dark tone. Like in his other projects such as the title sequences in 'Fight Club' and 'Se7en' the director of this music video- David Fincher- used analogue editing techniques to create an instability and grittiness in the video. By physically scratching or distorting specific frames such as in figure 2, the video seems to shake, scratch, distort and judder furthermore portraying the music and the band as angry, uncontrollable and powerful. As well as this Fincher physically removed frames to crate a jumping sensation in specific shots, adding to the uncontrollable tone of the music

figure 3

video. While this editing technique is unique and unorthodox, conventional music video editing is also used. Quick cuts are used to maintain the audiences attention and to convey an energy to the performance. As well as this the action in the video is linked to the music via quick, synchronised cuts to the beat of the song. A huge range of different shot types are used including close ups, extreme close ups, wide shots, low angle shots, tilted shots and high angled shots to maintain audiences focus and to portray a sense of progression through the performance. The use of extreme close ups in music videos is conventional and helps to focus the audience and ultimately sell the band as a whole; by using close-ups of the lead singer for instance in figure 3,

 this focuses the audience on him and sells him to them.

figure 4

Carefully constructed shots are used throughout the music video to allow the audience to understand the dynamic of the group; the shots convey members dominance and power. For instance in figure 4 a combination of composition and shallow focus draw all focus on to the lead singer. By placing the singer dead central in the shot with his hand and microphone in focus, he is portrayed as being powerful as if his presence is forcing the audience to look at him. Figure 5 shows how composition has been used to explain the dynamic of the other band members. In this shot quadrants have been used to split the focus of the audience between two band members by placing

figure 5

 them on opposite sides of the shot.

While this also implies a sense of power as if each member is in control of one half of the shot, it also tells the audience that these members are equally powerful. As a whole, composition in this music video is especially important as whenever a member is shot, they are done so in a way that makes them seem powerful. This adds to the representation of the band as a whole as both brooding and angry yet powerful and in control.

In almost every shot in the music video, the camera is moving. Using dollies and handheld cameras to provide either steady or shaky movement, the camerawork in the video helps to imply an uncontrollable energy the band has as if nothing can stay still whilst they play.

figure 6

the example from figure 6, the camera slowly moves round to where the lead singer is sitting. By using smooth motion via a dolly in combination with the distorted, scratchy, analogue editing technique a balance is created between the wild, energy the music and band have as a whole and the power the lead singer has. While it  helps to create a representation of the band, using camera movement also helps hold the audiences attention,making the music video more successful as a whole.

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