Commodification – the idea that music videos are ‘the ultimate expression of various trends in contemporary culture coming together’. Commodification is easily applied to music videos as recently it is being recognized more and more as an art form in itself and a way of expression, thus becoming a commodity.
This is becoming the case more and more recently with the rise of sites such as iTunes where artists can sell their videos to the public as a marketable product as well as a form of creative expression.
This area of music video trend is not as prominent in my music video, however, I would like to take ideas such as repeatability and apply them to my video, making it simply repeatable and not a one hit wonder. Hopefully this will be achieved by using the stop motion technique making it an enjoyable and interesting media piece.
‘Textural ‘Schizophrenia’ – this is the when music videos are a complete detachment from reality and can be viewed as an expression of the director or artists inhibited feelings. An example of this can be seen in
the Foo Fighters video – Everlong, where director Michel Gondry plays out a nightmare he used to have where his hand would become too large to perform any tasks whatsoever, he does this by applying this concept to the video and Dave Grohl’s hand becomes extremely large in order to help him attack and defend himself from the antagonistic characters within the narrative.
This information was sourced from ‘I’ve been twelve forever’ – DVD extra on Michel Gondry.
Textural Schizophrenia doesn’t really apply to my music video; however the creative and detached element of the video will come through stop motion and the fact that I aim to take pictures on a Canon EOS camera, then have them professionally printed then take pictures of them again, keeping the viewer interested and enabling the repeatability factor. This also creates a unique style of music video, giving it a believable ‘true’ element, while still making it clearly disjointed from a full screen shot.
Postmodernism and the disappearance of reality – this is looking at the increasingly blurry boundaries between reality and media and in the majority of music videos ceases to exist at all, however, genre’s such as rap, R’n’B and hip hop still have elements of realism within them. A good example of the disappearance of reality is Daft Punks’ video for ‘Harder, Better, Faster, Stronger’ (produced by Daft Punk and directed by Kazuhisa Takenouchi under the supervision of anime artist Leiji Matsumoto) featuring four characters supposed to be the band in an electronic facility where they are turned to resemble humans by various machine and electronic pieces of equipment. This video is in no way realistic due to the anime aspect whic
h is both hand drawn and computer generated.
Although my media video will not use the principle of the ‘disappearance of reality’ within the context or the plot, my video is detached from reality due to the fact that it is in stop motion and it is clearly not realistic, this can be observed through the viewing of inanimate objects moving and performing tasks that are in no way feasible without human assistance.
Erosion of authenticity – this is basically the ratio between the importance of sound and image. Increasingly image far outweighing sound or meaning. However this erosion of authenticity can also be seen as an erosion of the relationship between the fan and the artist which has always been a main characteristic of rock and pop culture.
Lawrence Grossberg calls this the ‘ideology of authenticity’ meaning that music is at its most authentic state
when people are playing instruments or performing live. So it is becoming an increasingly popular convention to have artists performing their instruments, performing ‘live’ or often miming in a music video to give a false sense of authenticity.
An example of this could be in the Jamie T video ‘sticks ‘n’ stones’ where the video shows him in various scenes around a city ‘performing’ the vocal parts to the song, when in actual fact it is miming. However, as the audience we go along with this inauthentic authenticity as we are more concerned about the aesthetics of the video rather than whether the video is deemed to be ‘real’ or not.
Another aspect of inauthentic authenticity is the labeling of songs at the beginning and end, this shows that is not an authentic performance and that it has been edited for television use, however they often label live sets or performances now as well, for the same purpose. Promotion. Radio DJ’s often forget to name the artist or even more crucially the song, making it very hard for people to market their songs on the radio and even harder for listeners to find them off the radio. This technique of labeling was introduced by MTV and has caught on widely in the search for promotion and advertising.
It has been suggested that music video is killing music or rock vulture, but it is just changing the face of it and making image more important that the music itself, and audiences are becoming much more concerned with the visual concept and aspect of the video than the song itself. This does however have repercussions, as artists who maybe have a poor image, but brilliant music may be overlooked or underappreciated. However there are always people who break all conventions and achieve success when everything point against them, for example Seasick Steve.
Music videos are crucial in establishing an artists’ performer identity or persona, especially now as the visual aspect is so important especially to youth ‘MTV’ culture. This is summed up by John Friske when he says that ‘MTV foregrounds the signifier over the signified’ saying that MTV promotes the idea of image before message. There have been other criticisms of music video saying that they limit the imagination of the fans and restricts them to a narrative or a structure. Taking away their freedom to interpret a song how they want to or see it themselves.
My music video heavily relies on the erosion of authenticity due to its;
• Lack of ‘real live performance’
• Emphasis on the visual
• The labeling of the artist and the song at the start and the end of the video
• The importance of ‘image’ over ‘music’.
• Abandonment of narrative structure
My media piece does not however, rely on the principle of inauthentic authenticity as the video is not being used to create or establish a performer identity and the structure of the video is not at all based on the lyrics to the song, it is in fact based around a disjuncture storyline created by me and my group.
This is becoming the case more and more recently with the rise of sites such as iTunes where artists can sell their videos to the public as a marketable product as well as a form of creative expression.
This area of music video trend is not as prominent in my music video, however, I would like to take ideas such as repeatability and apply them to my video, making it simply repeatable and not a one hit wonder. Hopefully this will be achieved by using the stop motion technique making it an enjoyable and interesting media piece.
‘Textural ‘Schizophrenia’ – this is the when music videos are a complete detachment from reality and can be viewed as an expression of the director or artists inhibited feelings. An example of this can be seen in
the Foo Fighters video – Everlong, where director Michel Gondry plays out a nightmare he used to have where his hand would become too large to perform any tasks whatsoever, he does this by applying this concept to the video and Dave Grohl’s hand becomes extremely large in order to help him attack and defend himself from the antagonistic characters within the narrative.This information was sourced from ‘I’ve been twelve forever’ – DVD extra on Michel Gondry.
Textural Schizophrenia doesn’t really apply to my music video; however the creative and detached element of the video will come through stop motion and the fact that I aim to take pictures on a Canon EOS camera, then have them professionally printed then take pictures of them again, keeping the viewer interested and enabling the repeatability factor. This also creates a unique style of music video, giving it a believable ‘true’ element, while still making it clearly disjointed from a full screen shot.
Postmodernism and the disappearance of reality – this is looking at the increasingly blurry boundaries between reality and media and in the majority of music videos ceases to exist at all, however, genre’s such as rap, R’n’B and hip hop still have elements of realism within them. A good example of the disappearance of reality is Daft Punks’ video for ‘Harder, Better, Faster, Stronger’ (produced by Daft Punk and directed by Kazuhisa Takenouchi under the supervision of anime artist Leiji Matsumoto) featuring four characters supposed to be the band in an electronic facility where they are turned to resemble humans by various machine and electronic pieces of equipment. This video is in no way realistic due to the anime aspect whic
h is both hand drawn and computer generated.Although my media video will not use the principle of the ‘disappearance of reality’ within the context or the plot, my video is detached from reality due to the fact that it is in stop motion and it is clearly not realistic, this can be observed through the viewing of inanimate objects moving and performing tasks that are in no way feasible without human assistance.
Erosion of authenticity – this is basically the ratio between the importance of sound and image. Increasingly image far outweighing sound or meaning. However this erosion of authenticity can also be seen as an erosion of the relationship between the fan and the artist which has always been a main characteristic of rock and pop culture.
Lawrence Grossberg calls this the ‘ideology of authenticity’ meaning that music is at its most authentic state
when people are playing instruments or performing live. So it is becoming an increasingly popular convention to have artists performing their instruments, performing ‘live’ or often miming in a music video to give a false sense of authenticity.An example of this could be in the Jamie T video ‘sticks ‘n’ stones’ where the video shows him in various scenes around a city ‘performing’ the vocal parts to the song, when in actual fact it is miming. However, as the audience we go along with this inauthentic authenticity as we are more concerned about the aesthetics of the video rather than whether the video is deemed to be ‘real’ or not.
Another aspect of inauthentic authenticity is the labeling of songs at the beginning and end, this shows that is not an authentic performance and that it has been edited for television use, however they often label live sets or performances now as well, for the same purpose. Promotion. Radio DJ’s often forget to name the artist or even more crucially the song, making it very hard for people to market their songs on the radio and even harder for listeners to find them off the radio. This technique of labeling was introduced by MTV and has caught on widely in the search for promotion and advertising.
It has been suggested that music video is killing music or rock vulture, but it is just changing the face of it and making image more important that the music itself, and audiences are becoming much more concerned with the visual concept and aspect of the video than the song itself. This does however have repercussions, as artists who maybe have a poor image, but brilliant music may be overlooked or underappreciated. However there are always people who break all conventions and achieve success when everything point against them, for example Seasick Steve.
Music videos are crucial in establishing an artists’ performer identity or persona, especially now as the visual aspect is so important especially to youth ‘MTV’ culture. This is summed up by John Friske when he says that ‘MTV foregrounds the signifier over the signified’ saying that MTV promotes the idea of image before message. There have been other criticisms of music video saying that they limit the imagination of the fans and restricts them to a narrative or a structure. Taking away their freedom to interpret a song how they want to or see it themselves.
My music video heavily relies on the erosion of authenticity due to its;
• Lack of ‘real live performance’
• Emphasis on the visual
• The labeling of the artist and the song at the start and the end of the video
• The importance of ‘image’ over ‘music’.
• Abandonment of narrative structure
My media piece does not however, rely on the principle of inauthentic authenticity as the video is not being used to create or establish a performer identity and the structure of the video is not at all based on the lyrics to the song, it is in fact based around a disjuncture storyline created by me and my group.
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