Blondie 'Call Me' video analysis

The video 'Call Me' by Blondie contains both elements of the rock genre and the 'Your Song' video which makes it a prime example to be analysed. Released in 1980, it also fits into the time period that Fleetwood Mac would have been around.

In relation to the rock genres conventions, this video shows many shots of Blondie in a live performance, something which is present in every rock video from this time period. This is similar to the 'Little Lies' video with the members of the band playing their instruments. This rock influence is also shown through her clothing and actions, suggesting at a playful yet slightly edgy character.

However, this video also creates the 'home video' feel to it, especially in regards to the scenes of Blondie at the beach. The camera is constantly focused on Blondie and she plays to the camera in the same way that Ellie Goulding in the 'Your Song' video does. However, unlike the 'Your Song' video there is not the presence of the special effect that creates the grainy sort of quality that makes the video have that more 'home' feel to it. Yet the 'Call Me' video does use the same sort of informal settings that are present in the 'Your Song' video making it more relatable to the viewer.

In relation to this 'home video' style, the sense of voyeurism is also present within this video, as the camera is constantly watching Blondie, be it during the live performance or the more informal scenes, highlighting one of Goodwin's theories. This sense of voyeurism coupled with 'home video' feel makes the viewer feel like they have been granted access to view Blondie in a normal day, making them feel special and included thus making them more likely to buy and support Blondie in the future.

In various places some action is slowed down to emphasises what is happening. Actions such as Blondie taking off her t-shirt to reveal a swimsuit, are slowed down to add that attractive appeal that videos use to aid sales, and so by slowing down that movement, the fact that Blondie is taking of an item of clothing is enhanced even more. However, there are also some actions of Blondie on stage at a live performance that are also slowed down slightly, enhancing the more playful, party type character that she is and what sort of performer she is, making the viewers want to go and see her live.

Various words are placed upon the screen throughout the video, amplifying the lyrics being sung. In doing this, the video shows an importance for each word, whilst also conforming to Goodwin's idea of the link between lyrics and the visuals.

The use of the close-up is also another prominent feature within the music video, enabling the establishment of a star persona, for example the close-up of Blondie sticking her tongue out at the camera indicates a playful person. This star persona is also enhanced by the clothing and actions performed by Blondie as already discussed.

To conclude, the 'Call Me' video contains elements of both of the other videos I have analysed. Firstly, the conventions of a rock video are fulfilled as around half of the video is of live footage, whilst her actions and clothing convey that of a 'edgy' character. This 'edgy' character is put into Blondie's star persona, which is also enhanced by the use of close up and slow motion. Voyeurism is also present within this video, making the viewer feel included by Blondie.

Fleetwood Mac - Little Lies video analysis

In the 1980s, a period that saw a huge increase in the number of music videos being produced thanks to the creation of MTV in 1981, Fleetwood Mac began to produce music videos for their new album 'Tango in the Night', the last album to be recorded by the 'Rumours' lie-up of which 'Songbird' was from. This video of 'Little Lies' enhances the genre of rock but with country influence that is present throughout all of Fleetwood Mac's music.

Firstly, the video features many shots of the band playing the music within the scene, a feature that is common within rock videos, with many from the period being video's shot from a live show- a feature that is still common today. However, by placing the band in a barn, whilst using many typical props of a country life such as hay barrels and a horse, emphasises the country influences the music has. To add to this, the costumes each member of the band are wearing also represent this sense of country influence, whilst having enough of an edge to it that represents the rock genre as well.

There are many close-ups of each band member within this video, a typical convention of any genre of music video, whilst also proving Goodwin's idea's about music videos. These close-ups convey the emotion on each of the band members faces in relation to the song being played. However, these close-ups also draw the viewer into the video and each member of the band, making then feel the need to stick with the video til the end and then with the band. These close-ups also convey the sense of star persona for the band, another of Goodwin's ideas.

This video uses a lot of post-production editing in the sense that many shots are changed from 'normal' into what can be considered as a cartoon style in black and white, like that in the A-Ha's video 'Take on Me'. This post-production edit is used continuously throughout the video in varying moments, providing an interest point for the video as it differs to what is conventionally done in rock videos, whilst also emphasising the country feel the video portrays. To add to this, the post-production editing also indicates a older feel, like time is passing on, something which is reflected in the lyrics.

Goodwin's idea of the relationship between the music and visuals is very prominent within the video. Many edits happen on the beat and in regards to the lyrics, for example the use of jump cuts on the line "Tell me, tell me, tell me lies". To add to this, the link between the lyrics and visuals is also present such as the line "No more broken hearts" is coupled with a shot of one of the members of the band clutching his guitar towards his chest in a protective manner. These two points prove that Goodwin's idea's are present within any music video regardless of the conventions of the genre.

The convention of voyeurism is also very prominent within this video with many shots being tracking shots following the members of the band around the setting. A good example of this is when the camera follows the band members through the slates of a wooden barn wall. This enhances the feeling that the viewer is following the band in quite a secretive way, suggesting that they are true fans of the band. To enhance this even more, this shot is coupled with many jump cuts that also change each member. Although jump cuts are meant to disorientate the viewer, the use within this shot, and in fact within the video, makes the viewer feel closer to the band as they constantly cut to other members of the band. In addition to this, shots of each member are faded in and out of the scene, which on one level emphasises the point above, but also reflects the songs message.

To conclude, this video conforms to the typical rock video conventions such as the shots of the band playing together and separately. These are added to by the presence of some of Goodwin's ideas such as the enhanced sense of voyeurism and the link between lyrics, music and visuals. The use of editing both in the sense of cuts and special effects, adds to the video as it reflects both the genre of the song and the meaning behind the lyrics.

Ellie Goulding 'Your Song' video analysis

I have decided to create a music video for Fleetwood Mac's song 'Songbird', as by having no original video, ideas are more open to inspiration and I am not tempted to essentially follow what has already been created before me.

'Your Song' by Ellie Goulding is one of the biggest inspirations for my own video, as I plan to follow the same sort of concept but with a slightly larger focus on the more emotional aspects of the song. However, this video is of a different genre to 'Songbird' as it is pop, means that it caters to other genre conventions than a Fleetwood Mac video would.

This video contains many element of Goodwins thesis on music videos, such as the consistent use of the Close-Up, whilst conveying the emotions on the artists face in relation to the lyrics of the song, also emphasises the concept of the 'star persona' that Ellie Goulding is creating. Within this video, she presents to the audience this idea that she is a pop singer with this softer, emotional and 'normal' side to her. She doesn't need to have a high concept video full of major performance in order to get herself noticed in the music scene and it is in this aspect that Ellie Goulding can set herself away from the mainstream pop. This idea of a highly dramatised video that is very popular amongst current mainstream music would also not work very well in relation to the song itself and so allows the song and video to coincide effectively. This more natural effect of the artist created is also presented to the viewer by the everyday clothing and informal settings that are easily associable to the audience, such as a train. To add to this, close-ups of various objects such as a train ticket and leaves on the ground, whilst also flicking between high-key and natural lighting, enhances this representation of 'normal' in regards to Goulding.

A sense of voyeurism (a concept devised by Foucault) is very strong within this video, with the concept of a home video being at the forefront of her video. The video follows Goulding with cinematic concepts such as hand-held camera being used to make this sense of voyeurism seem more real to the viewer. Added to this is the use of soft focus and depth of focus which not only enhances the emotion being portrayed but also contributes to this idea of the 'Your Song' video being created along the lines of a home video.

There are elements of linking the lyrics with the visuals in regards to the lines "I'd buy a big house where we both could live" in which the shot is of Ellie and a male character in a house playing a piano, a difference to the earlier shots of her being outside. In addition to this evidence is the line "I'm not one of those who can easily hide" in which Ellie is in full show, contradicting with the line sung.

The link between the music and visuals is another element of Goodwin's theory that is present within the 'Your Song' video, especially in terms of the editing. Most edits occur on the beat of the music, making the video flow seamlessly and whilst also making the change in edits less obvious for the viewer.

This video does converse to some of the typical pop conventions, such as the artist shot in close-ups whilst singing towards the camera, whilst also conforming to most of Goodwin's ideas about music videos. However, by presenting the artist in a more natural and realistic light, whilst also using different styles of camera work such as the consistent fade and hand-held camera, contradicts with some of the pop video conventions.

Inital analysis of music videos

To gain a basic understanding of Andrew Goodwin's theory, I analysed two music videos following the direction of a sheet. By being in this format, I am able to see the features of Goodwin's theory clearly in the music video and so will allow me to analyse videos relevant to my own successfully.

Analysis of music videos- Andrew Goodwin

Andrew Goodwin created a theory in relation to the analysis of music videos. His idea focused on 5 aspects which are:

• The link between both the lyrics and music to the visuals
• The narrative and performance in the video (including genre indicators)
• The creation of the star persona (including Notion of Looking/ voyeurism)
• Intertexual references
• Technical aspects (including Notion of Looking/ voyeurism, close-up's etc
  

Lyrics and the visuals: Goodwin claims that the images seen in the music video will either illustrate, amplify or contradict the lyric being sung. In simpler terms, Goodwin suggests that the visuals will either indicate the lyric being sung through images that support both the lyric and the genre (the most common within music videos); repeat and highlight the imortance of the a certain lyric or completely ignore/ go against what the lyric is saying.

Narrative and performance: Each genre of music and therefore video has its own musical style and iconography which allows the audience to differentiate between the genres. In addition to this, Goodwin believes that the song fails to give its audience a full understanding of the meaing, leaving it down to the audience to make up the rest. The music video therefore should ignore common narrative (important for the role of advertising) whislt also providing repeatable moments and having a strong performance to engage the audience, in order to both tell the meaning of the song (in some cases) and leave it for the audience to decide on.

Star persona: A music video will create an artist image and over time this image is developed to being a major part of an artist. This creates a selling point that the industry requires in order to make the artist successful. In regards to female artists, this star persona is also created through the enhanced sexuality that is created through the performance and camera work.

Intertextual references: Music videos reference other media texts e.g. films, TV shows, other music videos etc in order to make video more interesting for the audience and keep them engaged.

Technical aspects: A common feature of music videos, according to Goodwin, is the constant use of close-up's on the artist that draw the audience in and creates a personal connection with the audience as the artist is looking right at them. In additon to this, through the use of panning and close-up's on certain body parts, the Notion of Looking is created to add sexuality especially in regards to female artists. This is used to provide another selling point for the artist as it atracts male fans.

These points combine to successfully aid in the analysis on music videos, as these points are present in every music video.

A brief history of the music video

Click on the below link to view a brief history of the music video.

http://prezi.com/ebc2dhupidj5/a-brief-history-of-the-music-video/

The purpose of a music video

The music video is a common feature within current society. They have many functions as seen by the following:

- Promote the song

- Promote the artist

- Raise the profile of the artist

- Promote the album

- Entertain the audience

- Generate an emotional response from the audience/ make a connection

- Exemplify/ contradict with the lyrics of a song

- Create a star persona

- Expand the artists media platform

The first four points in the above list are the most important aspects of the music video. When releasing a music video, the record label is trying to generate as much interest in the artist as possible in order to promote sales in both the single and accompanying album. Therefore main function of a music video is to provide the audience with as much enjoyment as possible so that they buy the single. As the videos aim is to essentially sell the artist, a music video is therefore unlike a film despite its linking characteristics.

Music videos always cause controversy as they promote the sexuality of artists; females in particular and the format contains slightly controversial codes and conventions. Music videos allow artists to express their own thoughts which again could lead to some controversy. Music videos are a genre within their own right as audiences feel like they are watching a media product and are aware of it.