I can feel it coming in the air tonight, oh Lord
And I've been waiting for this moment for all my life, oh Lord
Can you feel it coming in the air tonight, oh Lord, oh Lord
Well if you told me you were drowning, I would not lend a hand
I've seen your face before my friend, but I don't know if you know who I am
Well I was there and I saw what you did, I saw it with my own two eyes
So you can wipe off that grin, I know where you've been
It's all been a pack of lies
And I can feel it coming in the air tonight, oh Lord
Well I've been waiting for this moment for all my life, oh Lord
I can feel it coming in the air tonight, oh Lord
Well I've been waiting for this moment for all my life, oh Lord, oh Lord
Well I remember, I remember, don't worry, how could I ever forget
It's the first time, the last time we ever met
But I know the reason why you keep your silence UP, oh no you don't fool me
Well the hurt doesn't show, but the pain still grows
It's no stranger to you and me
I can feel it coming in the air tonight, oh Lord
Well been waiting for this moment for all my life, oh Lord
I can feel it in the air tonight, oh Lord, oh lord
Well I've been waiting for this moment for all my life, oh Lord
I can feel it coming in the air tonight, oh Lord
And I've been waiting for this moment for all my life, oh Lord
I can feel it in the air tonight, oh lord, oh lord, oh lord
Well I've been waiting for this moment for all my life, oh lord, oh lord
I can feel it in the air tonight, oh lord, oh lord, oh lord, oh lord
Well I've been waiting for this moment for all my life, oh lord, oh lord, oh lord
Wednesday, 26 September 2012
Sunday, 23 September 2012
Goodwin's points
Andrew Goodwin's Theory on Music Videos:
Goodwin strongly suggests that the lyrics will constantly refer to the visuals on screen and this is evident in many videos, one particular example being Ciara - act like a boy.
Carol Vernallis's Theory on music videos:
Her theory is centered around 4 key concepts that all relate to the way the music video is constructed. There four concepts are:
- Music videos demonstrate genre characteristics
- There is a relationship between lyrics and visuals
- There is a relationship between music and visuals
- 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
- There is frequently reference to notion of looking and particularly voyeuristic treatment of the female body
- There is often intertextual reference
Goodwin strongly suggests that the lyrics will constantly refer to the visuals on screen and this is evident in many videos, one particular example being Ciara - act like a boy.
Carol Vernallis's Theory on music videos:
Her theory is centered around 4 key concepts that all relate to the way the music video is constructed. There four concepts are:
- Narrative
- Editing
- Camera movement and framing
- Diegesis
I agree with both theories as it applies to the majority of music videos and it is also used in the videos that are more famous and well known.
Wednesday, 19 September 2012
Notes on music video's
NARRATIVE
Narrative in music videos are fragmented or even at times have no narrative at all. There are fast edits in a music video, therefore continuity is not always present or there may not be any need for it. There is never or very rarely a complete narrative. The video entices the viewers and gets them wanting to view the video again and again. Parallel editing is also used to present the artist and show them off.
Some music videos are very good that it helps make the song memorable even if the song is mediocre. Technical codes are used to construct both the video itself and the representations inherent within it.
Realism is created from the depth of field, where the focus changes from one thing to another. Also, everything needs to fit to the iconography of the genre in order to help with the realistic look of the video.
The women-body is common in musics videos, exhibiting body parts all the time and portraying themselves to being provocative. Acknowledging the camera is also common as it helps to interact with the audience and connect to them.
CAMERAWORK
How the camera is used and how images are sequenced will have a significant impact upon meaning.
The camera movement, angle and shot distance all need to be analysed carefully to construct the right meaning.
The close up predominates because of the size of the screen and also because of the desire to create a sense of intimacy for the viewer. It also emphasises the selling of the artist, song and album sales.
Carol Vernallis suggests that a video must provide a flattering depiction of the singer lip-synching the song. The grammar of music video makes us aware of the edge of the frame and the meaning behind it.
Music videos often frame the body inappropriately e.g. in kylie monogue.
Fast cut montage are common forms with the music promo. Multiple viewing is ensured through rendering many of the images which are impossible to grasp upon. Slow pace and gentle transitions to establish mood.
Laura Mulvey (Male gaze)
Laura Mulvey came up with her theory of the male gaze in 1975. She believed that the audience had to view the video from a hetrosexual male. The camera focuses on the curves of a female body. Women are represented as an object and some women enjoy being 'looked' at foe example beauty pageants. The gaze could also be directed towards same genders for many reasons, not all being sexual, for example comaprison of body image or clothing.
Roland Barthes (Enigma code)
1. Proairetic code (the voice of empirics): The code of actions. Any action initiated must be completed. The cumulative actions constitute the plot events of the text.
2. Hermeneutic code (the voice of truth): The code of enigmas or puzzles.
3. Connotative [or Semic] code (the voice of the person): The accumulation of connotations. Semes, sequential thoughts, traits and actions constitute character. “The proper noun surrounded by connotations.”
4. Cultural or referential code (the voice of science [or knowledge]): Though all codes are cultural we reserve this designation for the storehouse of knowledge we use in interpreting everyday experience.
5. Symbolic code (voice of the symbol): Binary oppositions or themes. The inscription into the text of the antithesis central to the organization of the cultural code.
The codes are complicated by partial delays and interruptions.
1. Thematization: emphasis on object which will be subject of the enigma.
2. Proposal of enigma: questions in the text.
3.Formulation of enigma: frequent supplementation of the enigma as the text progresses.
4. Request for an answer: facilitates narrative movement.
5. Snare: types of deception
a) deception of one character by another.
b) deception of the reader by the discourse.
c) character deceived by self.
6. Snare and truth: A statement which might be taken two different ways.
7. Suspended answers.
8. Partial answers.
9. Jamming. An apparent failure of the hermeneutic activity, usually because of the exhaustion of all available resources. Death of writer, destruction of evidence.
10. Disclosure: a discussion or uttering of the irreversible word, closure, the end of signification.
Narrative in music videos are fragmented or even at times have no narrative at all. There are fast edits in a music video, therefore continuity is not always present or there may not be any need for it. There is never or very rarely a complete narrative. The video entices the viewers and gets them wanting to view the video again and again. Parallel editing is also used to present the artist and show them off.
Some music videos are very good that it helps make the song memorable even if the song is mediocre. Technical codes are used to construct both the video itself and the representations inherent within it.
Realism is created from the depth of field, where the focus changes from one thing to another. Also, everything needs to fit to the iconography of the genre in order to help with the realistic look of the video.
The women-body is common in musics videos, exhibiting body parts all the time and portraying themselves to being provocative. Acknowledging the camera is also common as it helps to interact with the audience and connect to them.
CAMERAWORK
How the camera is used and how images are sequenced will have a significant impact upon meaning.
The camera movement, angle and shot distance all need to be analysed carefully to construct the right meaning.
The close up predominates because of the size of the screen and also because of the desire to create a sense of intimacy for the viewer. It also emphasises the selling of the artist, song and album sales.
Carol Vernallis suggests that a video must provide a flattering depiction of the singer lip-synching the song. The grammar of music video makes us aware of the edge of the frame and the meaning behind it.
Music videos often frame the body inappropriately e.g. in kylie monogue.
Fast cut montage are common forms with the music promo. Multiple viewing is ensured through rendering many of the images which are impossible to grasp upon. Slow pace and gentle transitions to establish mood.
Laura Mulvey (Male gaze)
Laura Mulvey came up with her theory of the male gaze in 1975. She believed that the audience had to view the video from a hetrosexual male. The camera focuses on the curves of a female body. Women are represented as an object and some women enjoy being 'looked' at foe example beauty pageants. The gaze could also be directed towards same genders for many reasons, not all being sexual, for example comaprison of body image or clothing.
Roland Barthes (Enigma code)
1. Proairetic code (the voice of empirics): The code of actions. Any action initiated must be completed. The cumulative actions constitute the plot events of the text.
2. Hermeneutic code (the voice of truth): The code of enigmas or puzzles.
3. Connotative [or Semic] code (the voice of the person): The accumulation of connotations. Semes, sequential thoughts, traits and actions constitute character. “The proper noun surrounded by connotations.”
4. Cultural or referential code (the voice of science [or knowledge]): Though all codes are cultural we reserve this designation for the storehouse of knowledge we use in interpreting everyday experience.
5. Symbolic code (voice of the symbol): Binary oppositions or themes. The inscription into the text of the antithesis central to the organization of the cultural code.
The codes are complicated by partial delays and interruptions.
1. Thematization: emphasis on object which will be subject of the enigma.
2. Proposal of enigma: questions in the text.
3.Formulation of enigma: frequent supplementation of the enigma as the text progresses.
4. Request for an answer: facilitates narrative movement.
5. Snare: types of deception
a) deception of one character by another.
b) deception of the reader by the discourse.
c) character deceived by self.
6. Snare and truth: A statement which might be taken two different ways.
7. Suspended answers.
8. Partial answers.
9. Jamming. An apparent failure of the hermeneutic activity, usually because of the exhaustion of all available resources. Death of writer, destruction of evidence.
10. Disclosure: a discussion or uttering of the irreversible word, closure, the end of signification.
Inspirational Music Video
I have been watching a range of music videos and looking out for certain parts of the video that could inspire me when I create my music video. The first video is a sort of animatic and funky video which is very weird yet it goes well with the song and the visuals cut to the beat. The second music video is a sort of continued, moving video as the shots go into the objects and zoom in and out, moving into another shot. The third video is a simple video yet it is very inspirational as camera does not move at all and video consist of stop play shots.
Tuesday, 18 September 2012
Top 3 songs choice
I have been listening to songs that me and my partner can produce a music video to and here are some of the songs we have decided to select as a possible song choice. The first is a song named "Negotiation Limerick", which has a catchy drumming beat and sounds old school which could be fun to perform to. This particularly caught my attention and is a possible song selection.
The Phil Collins track is also a possible option as a song choice due to the simple beat which we can perform to and make many edits in the post production to create a successful music video. Me and my partner agreed to this and we chose it as possibility.
The third possible song choice is Bongo Bong by Manu Chao due to the beat being catchy. The 'bing' that is constantly played throughout the song is what makes the song unique and also us to be creative with the video. I can imagine a animated video for this song, which would be fun to create.
Monday, 17 September 2012
Lip Sync Preliminary task - Animals
In this preliminary task, I had to match the dancing animals with the beat of the song to give it meaning and make it seem as though they are dancing to the beat. I used a variation of effects and techniques to help me do this. In one part of the clip, I increased the speed of the clip so it could match the beat of the tune.
Another effect I used was to experiment with the colour wheel and I changed the colour of the clip to a lighter more yellow colour to make it more eye catching. There are two main colours in that clip and I deliberately did so.
Here are some more screen grabs of my edit. The image below to the right was duplicated and put one after the other, where one of the clip was rewinded. This was a particular effect which grabbed attention and helped with cutting to the beat, making the video seem believable.
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