MUSIC VIDEO GENRES Siannan Kerrigan

MUSIC VIDEO GENRE

A theory behind defining a genre of a music video is that of semiotics which was proposed by Barthes. The idea is that through key conventions and signs, an audience will be able to tell and understand the genre that is being presented to them.

David Bordwell furthers this idea by arguing that the audience defines the genre rather than the director.

However, it could be argued that the director helps construct the genre and it is that audience that simply pick up on these ideas and come to their own conclusions. This runs in line with Barthes’ theory.

Mark Reid on the other hand argues that the audience will decide on the genre based on what they are told. For example, when watching a video and told it scary, the audience will be apprehensive and prepare themselves for something that is scary. If they were told that the video was funny, their reaction and perception of the video will be different.

OLLY MURS – DEAR DARLING’ | NARRATIVE

From the very first stills it is easy for an audience to decipher that this video is narrative. The mise en scene contributes to this as the setting is very realistic and the location is set in a house/flat. The sad/angry facial expressions of the performer also contributes to the understanding as it shows that the reason for this emotion will be shown in the rest of the video.

OLLY MURS – DEAR DARLING’ | NARRATIVE

During this part of the video a couple can be seen behind the performer and so a story is being constructed. The couple also indicate the reason to the sadness of the performer in the previous still.

OLLY MURS – DEAR DARLING’ | NARRATIVE

This still shows the development of the relationship and the progression of the story. The couple are now arguing and the female is shown walking away. The performer is still located toward the front of the shot and his ‘after’ reaction is shown. It is made aware to the audience that the image occurring in the background will eventually become the image in the foreground.

WILL.I.AM - BANG BANG|PERFORMANCE

The use of a band in the still indicates that this video will be performance based. The main performer is central on set and shows that he will be the centre of attention.

WILL.I.AM - BANG BANG|PERFORMANCE

The use of dancers further develops this understanding. The dancers add more of a ‘performance’ effect and so makes it seem a lot more like a show than a music video.

WILL.I.AM - BANG BANG|PERFORMANCE

The use of a spotlight adds to the performance feel. The shot is a medium close up of the performance and so they retain the central point of attention. The editing involved in the stills also further the concept of performance as it delivers a more theatrical feel.

MILEY CYRUS – WE CAN’T STOP | IMAGE

This music video is based heavily on the image of the performer. The artist is know for her outspoken and radical image so it is vital to display this in music videos. The image shows the artist in a selective way, that of being a thug/gangsta, which is the image that is wanting to be portrayed. The costume in the still plays a huge part in creating this image e.g the grills and chains. the artist is also the central focus of the close up shot.

MILEY CYRUS – WE CAN’T STOP | IMAGE

This still shows the artist laying on the bed in a provocative manner. This type of shot is used in the video to sexualise the artist and add to the image of the artist being provocative.

MILEY CYRUS – WE CAN’T STOP | IMAGE

This still represents how the image of the artist being a ‘party girl’ is created. The situation itself, a party, helps create a sense of fun and outlandish behaviour which in turn will be associated with the artist and further develops the intended image.