CODES AND CONVENTIONS

RESEARCH TASK

BY ASIAN SENSATION

Hip

Hop

EMINEM- WITHOUT ME• THIS MUSIC VIDEO IS FOR THE SONG ‘WITHOUT ME’ WITH THE ARTIST BEING EMINEM. THE VIDEO IS

NARRATIVE, PERFORMANCE AND CONCEPT BASED THROUGH EMINEM PERFORMING TO US, TELLING US A STORY AND THE MUSIC VIDEO BEING A PARODY OF POP CULTURE. THE NARRATIVE INVOLVED TELLS A STORY OF A TROUBLED BOY NEEDING HELP FROM A SUPERHERO, WHICH IN THIS CASE HAPPENS TO BE EMINEM. THE PERFORMANCE IS IN A STUDIO SETTING IN WHICH THERE IS A CHAOTIC BACKGROUND WITH EMINEM PERFORMING TO THE CAMERA. IT DOES NOT INVOLVE DANCE ROUTINES. IN TERMS OF CONTEXT, THE ENTIRE VIDEO IS MAINLY BASED ON THE IDEA OF A COMIC. WE ALSO SEE EMINEM PLAYING THE ROLE OF ROBIN AND WE SEE THE ICONIC BATMAN SYMBOL IN A SPOTLIGHT FORM UTILISED IN THE VIDEO WITH A SIGN OF AN E. THERE ARE VARIOUS TYPES OF LOCATIONS IN THIS VIDEO. INITIALLY, THEY ARE ON A BED WHICH REINFORCES THE STEREOTYPE OF HIP HOP VIDEOS BEING SEXUALLY ORIENTATED. IN ANOTHER SCENE, WHILE DRESSED AS BIN LADEN, HE IS IN A CAVE WHICH CONTROVERSIALLY REFERENCES THE TERRORISM THAT WAS PRESENT AT THAT TIME. FOR A SIGNIFICANT PORTION OF THE VIDEO THEY ARE IN A CAR REFERENCING THE ICONIC BATMOBILE SEEN IN THE BATMAN SERIES. AS FOR THE ARTIST’S STAR IMAGE, HE SPENDS THE MAJORITY OF THE VIDEO DRESSED IN THE ATTIRE OF COMIC BOOK HERO ROBIN. THIS IS MORE TOWARDS THE CONCEPT BEHIND THE MUSIC VIDEO BUT LINKS TO THE STAR IMAGE AS IT CONVEYS THE IDEA OF HIM BEING THIS COMICAL INDIVIDUAL THROUGH HIS TAKE ON THE OUTFIT. IN OTHER SECTIONS OF THE VIDEO HE IS SEEN TO BE IN THE STEREOTYPICAL CLOTHING OF BASEBALL JACKETS, BAGGY TRACKSUIT BOTTOMS, A BEANIE HAT, AND HAVING EXCESSIVE JEWELLERY ON HIM SUCH AS WATCHES AND BRACELETS. AS FOR CAMERA WORK, VOYEURISM IS USED CONSISTENTLY THROUGHOUT THE VIDEO. WE SEE THIS RIGHT AT THE START OF THE VIDEO IN WHICH THE DIRECTOR COUNTS DOWN FROM 5 AS WE SEE THE COUNTDOWN ON SCREEN AND THEN ARE PLACED INTO THE SCREEN. WE ARE MADE TO FEEL POSITIONED WITH EMINEM AS IF WE ARE THERE WITH HIM. THE LIGHTING IS QUITE HIGH KEY SO THAT WE CAN SEE EVERYTHING THAT IS HAPPENING CLEARLY. ADDITIONALLY, THE EDITING IS FAST PACED TO HIGHLIGHT THE CHAOTIC NATURE OF THE GENRE THAT IS HIP HOP AND HOW FAST HIS STYLE OF RAP IS. THE RELATIONSHIP BETWEEN EDITING, VISUALS, LYRICS, AND BEAT IS VERY STRONG AND IN SYNCH.

SCHOOLBOY Q- COLLARD GREENS• THIS MUSIC VIDEO IS FOR THE SONG ‘COLLARD GREENS’ WITH THE ARTIST BEING SCHOOLBOY Q AND FEATURING

KENDRICK LAMAR. THE VIDEO IS PERFORMANCE BASED THROUGH THE ARTISTS PERFORMING THE SONG TO US. THE PERFORMANCE IS WITHIN A HOUSE PARTY IN WHICH THE ARTISTS SEEM TO BE LIVING A HEDONIST WAY OF LIFE. THE DANCE ROUTINE IS NOT PARTICULARLY PROFESSIONAL AS IT IS MORE PARTY BASED IN WHICH THE DANCING COMES OFF AS QUITE AGGRESSIVE AND AS IF IT IS INFLUENCED BY THE ALCOHOL AND ATMOSPHERE IF ANYTHING. THE LOCATIONS IN THIS VIDEO ARE ALL WITHIN WHAT APPEARS TO BE THE ARTIST’S HOUSE. HIS HOUSE IS FILLED WITH FEMALES IN NUDE DRESSING AND PROVOCATIVE CLOTHING, REINFORCING THE STEREOTYPE OF HIP HOP BEING EXTREMELY SEXUALLY ORIENTATED. THEY ARE ALSO SEEN IN WHAT APPEARS TO BE HIS BACKYARD WHICH CONTAINS A SWIMMING POOL AND A LOT OF SPACE, HIGHLIGHTING HIS LUXURIOUS LIFESTYLE AND CHAOTIC WAY OF LIVING THROUGH THE AMOUNT OF PEOPLE PRESENT AND ALCOHOL. AS FOR THE ARTIST’S STAR IMAGE, HE IS DRESSED IN A PATTERNED T-SHIRT AND BAGGY JEANS, WITH HIS SIGNATURE BUCKET HAT, RELATING TO WHAT HIP HOP ARTISTS ARE STEREOTYPICALLY THOUGHT TO ALWAYS DRESS AS. THE EDITING FOR THE VIDEO IS REALLY FAST PACED TOP MATCH THE RHYTHM OF THE SONG AND EMPHASISE HOW CHAOTIC IT ACTUALLY IS. THE USE OF MONTAGE IS SEEMED TO BE ABUSED IN THIS VIDEO. IT MAKES IT DIFFICULT FOR THE VIEWER TO FOCUS ON A PARTICULAR SCENE LONG ENOUGH WHICH PROVES VERY EFFECTIVE IN THE VIDEO ACCOMPLISHING ITS STYLE OF CHOICE. FURTHERMORE, A LOT OF SPECIAL EFFECTS ARE USED IN SPLITTING THE SCREENS AND CREATING SYMMETRY AND SUCH FOR A SURREAL FEEL. THIS HELPS HIGHLIGHT THE NATURE OF THE VIDEO AND INDICATES THE USE OF DRUGS AND SUCH, AS THE VISUALS ARE QUITE HECTIC TO SAY THE LEAST. IT ALSO IMPLIES TOWARDS THE GENRE OF HIP HOP BEING QUITE MODERN NOWADAYS AND INVOLVING A LOT OF TECHNOLOGY IN ITS MUSIC, AND THEREFORE, INVOLVING A HUGE USE OF TECHNOLOGY IN THE VIDEO MAKING. THE RELATIONSHIP BETWEEN EDITING, VISUALS, LYRICS, AND BEAT IS VERY STRONG AND IN SYNCH.

JAY Z & KANYE WEST- NI**AS IN PARIS• THE MUSIC VIDEO IS FOR THE SONG ‘NI**AS IN PARIS’ WITH THE ARTISTS BEING JAY Z AND KANYE WEST. THE

VIDEO IS PERFORMANCE BASED THROUGH THE ARTISTS PERFORMING THE SONG TO US. THE PERFORMANCE IS ON A STAGE IN A HUGE ARENA IN WHICH THEY ARE PERFORMING TO THOUSANDS OF PEOPLE IN THE AUDIENCE. THERE IS NOT A PARTICULAR DANCE ROUTINE, AS THE ARTISTS’ MAINLY JUST MOVE TO THE RHYTHM WITH INDIVIDUALS IN THE AUDIENCE DANCING TO THE MUSIC IN PARTY STYLE. THE SETTING OF THE VIDEO AS I’VE STATED ABOVE IS ON A STAGE IN AN ARENA. THE ARTISTS’ STAR IMAGES ARE STEREOTYPICAL TO HIP HOP ARTISTS IN THAT THEY ARE WEARING T-SHIRTS, SNAPBACKS, TRAINERS, BAGGY JEANS, JEWELLERY ETC. THERE ARE A LOT OF EFFECTS USED IN THIS VIDEO, SO MUCH IN FACT THAT AT THE START OF THE VIDEO THERE IS A WARNING FOR ANYONE VIEWING WHO MAY HAVE EPILEPSY OF SUCH AND WARNING THAT THE VIDEO CONTAINS A LOT OF STRONG LIGHTING AND EFFECTS. THE EFFECTS MAY INDICATE TOWARDS THE GENRE OF HIP HOP BEING HEAVILY INFLUENCED BY TECHNOLOGY IN BOTH ITS MUSIC AND VISUALS. TOWARDS THE END OF THE VIDEO WE START TO SEE OMINOUS VISUALS INVOLVING THE USE OF PREDATORY ANIMALS IN A DARK LIGHTING, SUGGESTING TOWARDS THE GENRE OF HIP HOP BEING QUITE DARK IN SOME AREAS AND ALSO HOW THESE TWO BLOCKBUSTER ARTISTS HAVE RISEN TO THE TOP IN WHICH THEY ARE VIEWED AS THE LIONS. THEY ARE NOW THE PREDATORS OR AT THE TOP OF THE FOOD CHAIN IF YOU WILL, WITH THIS METAPHOR BEING IMPLICATED.

KID CUDI- JUST WHAT I AM• THE MUSIC VIDEO IS FOR THE SONG ‘JUST WHAT I AM’ WITH THE ARTIST BEING KID CUDI. THE

VIDEO IS PERFORMANCE BASED THROUGH THE ARTIST PERFORMING THE SONG TO US. THE PERFORMANCE IS WITHIN A PARTY IN WHICH THE ARTIST SEEM TO BE LIVING A HEDONIST WAY OF LIFE. THE DANCE ROUTINE IS NOT PARTICULARLY PROFESSIONAL AS IT IS MORE PARTY BASED IN WHICH THE DANCING COMES OFF AS QUITE AGGRESSIVE AND AS IF IT IS INFLUENCED BY THE ALCOHOL AND ATMOSPHERE IF ANYTHING. THE LOCATIONS ARE A CAR, AND A PARTY. THE ARTIST’S STAR IMAGE IS STEREOTYPICAL OF HIP HOP ARTISTS IN THAT HE IS WEARING BAGGY CLOTHING WITH A T-SHIRT AND BUCKET HAT. THERE ARE QUITE A LOT OF EFFECTS USED IN THIS VIDEO FOR EDITING PURPOSES. WE SEE THE EFFECT OF SMOKE IMPLEMENTED WHEN THE ARTIST MENTIONS THE SMOKING OF DRUGS IN HIS LYRICS, REINFORCING THE IDEA OF THEIR BEING A RELATIONSHIP BETWEEN THE VISUALS AND LYRICS. ADDITIONALLY, THE GENRE OF HIP HOP IS UNDERSTOOD TO HAVE ACQUIRED A LOT OF HELP FROM TECHNOLOGY IN ITS MUSIC AND SO YOU CAN UNDERSTAND WHY THE VIDEO WILL ALSO BE HEAVILY INFLUENCED BY IT.

SUMMING UP THE CONVENTIONS OF HIP HOP• CULTURE- THE GENRE IS NORMALLY THOUGHT TO BE A BLACK DOMINATED INDUSTRY.

• COSTUME- HUGE CONTRAST BETWEEN THE DRESSING OF MEN AND WOMEN. WHILE MEN ARE SEEN TO WEAR BAGGY TROUSERS AND AT TIMES NO SHIRT WITH HEAVY JEWELLERY, WOMEN ARE SEEN TO WEAR ALMOST NOTHING AS THEY ARE VIEWED AS SEXUAL OBJECTS.

• LOCATIONS- MAINLY IN HOMETOWNS (THE GHETTO), HUGE HOUSES.

• THEMES- GANG CULTURE, PREJUDICE, RELATIONSHIP AGENDAS, DEMORALISATION OF WOMEN IN TERMS OF SEXUALISING THEM.

• EDITING- LOUD BASS, FAST TEMPO, SPECIAL EFFECTS.

Pop

ONE DIRECTION- LIVE WHILE WE’RE YOUNG

• THE MUSIC VIDEO IS FOR THE SONG ‘LIVE WHILE WE’RE YOUNG’ WITH THE ARTISTS BEING BOY BAND SENSATION ONE DIRECTION. THE VIDEO IS PERFORMANCE BASED WITH IT BEING ON LOCATION, OUTSIDE IN OPEN SPACE IN SOME SORT OF RETREAT. IT CONSISTS OF A HUGE PARTY TAKING PLACE INVOLVING LOADS OF TEENAGERS IN WHICH IT LOOKS AS IF NO EXPENSES WERE SPARED IN THE PRODUCTION OF THIS VIDEO. THE PERFORMANCE DOES INVOLVE A DANCE ROUTINE AS MOST POP VIDEOS USUALLY DO WITH THE ROUTINE BEING ONE THAT IS ASSOCIATED WITH THE BAND BY A LOT OF INDIVIDUALS AND AN EASY ONE TO LEARN, WHICH PROVES EFFECTIVE IN ATTRACTING VIEWERS. THE ARTISTS ARE DRESSED IN QUITE MODERN CLOTHING AND AS SOME WOULD CALL ‘HIPSTER’, WHICH IS THE LOOK THAT HAPPENS TO BE TRENDING FOR POP STYLED INDIVIDUALS AND TEENAGERS. AN UNBUTTONED SHIRT, SLEEVES UP, SKINNY JEANS AND NICELY GROOMED HAIR HELPS FULFIL THIS LOOK. THERE ARE A LOT OF CLOSE UP SHOTS IN THE VIDEO TO TRY AND ESTABLISH A RELATIONSHIP BETWEEN THE ARTISTS AND THE VIEWER, AND YOU COULD SAY TO SHOW OFF THEIR LOOKS IN A WAY WITH THE MAJORITY OF VIEWS COMING FROM, YOU WOULD THINK, THE FEMALE POPULATION. THE LIGHTING IS HIGH KEY.

JESSIE J FT ARIANA GRANDE & NICKI MINAJ- BANG BANG

• THE MUSIC VIDEO IS FOR THE SONG ‘BANG BANG’ WITH THE ARTIST BEING JESSIE J FEATURING ARIANA GRANDE AND NICKI MINAJ. THE VIDEO IS PERFORMANCE BASED IN WHICH THE ARTISTS ARE PERFORMING TO US. THE PERFORMANCE TAKES PLACE IN SEVERAL LOCATIONS, BEING THE STREETS, A ROOM, AND A HELIPAD. THE PERFORMANCE DOESN’T CONSIST OF ANY STAND OUT DANCE ROUTINES BUT THE ARTISTS ARE DANCING AND QUITE PROVOCATIVELY AT THAT. THE ARTIST’S STAR IMAGE IS QUITE PROVOCATIVE. THEY ARE DRESSED IN TIGHT CLOTHING AND IN SOME CASES VERY SHORT SKIRTS OR SHORTS, REINFORCING THE STEREOTYPE OF FEMALE POP STARS BEING SEX SYMBOLS NOWADAYS. THERE ARE A LOT OF CLOSE UPS AND ANGLED SHOTS TO GET US TO VIEW THE ARTISTS IN A SEXUAL WAY. THERE ARE QUITE A LOT OF MONTAGES SO THAT IT SEEMS AS IF A LOT IS GOING ON AND EXAGGERATE THE SPACING BETWEEN THE ARTISTS BEFORE THEY ARE ALL UNITED TOWARDS THE END OF THE VIDEO. THE LIGHTING IS HIGH KEY.

TAYLOR SWIFT- LOVE STORY• THE MUSIC VIDEO IS FOR THE SONG ‘LOVE STORY’ WITH THE ARTIST BEING TAYLOR SWIFT. THE VIDEO HAPPENS TO BE

NARRATIVE, PERFORMANCE AND CONCEPT BASED. THE NARRATIVE IS ABOUT A HIGH SCHOOL GIRL AND BOY WHO SEE EACHOTHER FOR THE FIRST TIME AND FALL IN LOVE, WITH THEM NEEDING TO GO THROUGH MANY OBSTACLES AS OF RESULT. THE PERFORMANCE IS IN WHAT APPEARS TO BE A VENETIAN SETTING WITH A CASTLE BACKDROP. THERE IS A DANCE ROUTINE WHICH RELATES TO THE CONTEXT OF THE VIDEO AS IT IS ONE OF AN ANCIENT AGE IN THAT OF SHAKESPEARIAN TIME, WHICH MAY NOW BE REFERRED TO AS WHAT WE CALL ‘BALLROOM DANCING.’ THIS SONG USES SHAKESPEARE’S CLASSIC PLAY ‘ROMEO AND JULIET’ AS ITS BASIS. THE SEVERAL LOCATIONS SEEN IN THE VIDEO ARE A COLLEGE CAMPUS, A HUGE HALL, CASTLE AND SO FORTH. THE ARTIST’S STAR IMAGE IS OF A DRESS WHICH IS UNDERSTOOD BE WHAT THE WOMEN OF THE TIME PERIOD THE PLAY WAS SET IN WOULD HAVE WORN. SHE’S ALSO WEARING QUITE EXPENSIVE LOOKING JEWELLERY. WHEN IN THE MODERN AND NON-FICTIONAL PARTS OF THE VIDEO, BEING HER AS A STUDENT AT COLLEGE, SHE IS IN THE TYPICAL CLOTHING OF JEANS AND A TOP. THERE ARE QUITE A LOT OF CLOSE UPS AND MID SHOTS TO SHOW THE VIEWER HOW SHE IS FEELING WITH HER EMOTIONS, AND ALSO ESTABLISH A CONNECTION BETWEEN US AND HER. ADDITIONALLY, THERE ARE MANY TWO SHOTS TO REVEAL THE DISTINCT RELATIONSHIP BETWEEN THE ARTIST AND HER LOVER IN THE VIDEO AT QUESTION. THE LIGHTING IS HIGH KEY AS IT IS A LOVE SONG, AND SO, NEEDING TO CREATE A COMFORTING FEEL AS OPPOSE TO AN INTENSE ONE SET FROM LOW KEY. THE EDITING ISN’T TOO FAST PACED AS THE SONG IS A SOOTHING ONE. HOWEVER, THE USE OF MONTAGE HEIGHTENS TOWARDS THE END SWITCHING BETWEEN THE TWO SIDES OF THE VIDEO IN HOPE OF MAKING A STRONGER IMPRESSION ON THE VIEWER.

KATY PERRY- DARK HORSE• THE MUSIC VIDEO IS FOR THE SONG ‘DARK HORSE’ WITH THE ARTIST BEING KATY PERRY. THE VIDEO APPEARS

TO BE A NARRATIVE, PERFORMANCE, AND CONCEPT BASED. THE NARRATIVE TELLS A STORY OF A POWERFUL WOMAN WHO HAS STRENGTH IN HER LOVE, IN THAT SHE’S QUOTED TO BE “AS SWEET AS PIE BUT IF YOU BREAK HER HEART SHE’LL TURN AS COLD AS A FREEZER.” THE WOMAN HAPPENS TO BE AN EGYPTIAN GODDESS WHO SEEMS TO BE LIVING IN LUXURY AND CLAIMING ALL THE REWARDS THERE ARE AVAILABLE WHETHER IT BE THROUGH GIFTS OR TAKEN BY FORCE. THE PERFORMANCE IS ON LOCATION INVOLVING SOME SORT OF DANCE ROUTINE, WITH THE LOCATION BEING IN EGYPT, AMONG PYRAMIDS AND ON A THRONE OF SUCH. THE CONTEXT BEHIND THIS MUSIC VIDEO IS HEAVILY BASED ON EGYPTIAN HISTORY WITH KATY PERRY PLAYING THE ROLE OF WHAT YOU CAN ASSUME IS THE CORRUPT GODDESS, MAYBE A REFERENCE TOWARDS CLEOPATRA. THROUGHOUT THE VIDEO, WE SEE MANY INDIVIDUALS TRYING TO WORM THEIR WAY INTO HER GOOD BOOKS AND IN ONE CASE, POISON HER, WHICH HAS LITTLE EFFECT AS SHE USES HER POWER TO DESTROY HIM AND GETS HER SLAVES TO ACQUIRE HER SOME WATER, WHICH AFTER DOING SOME RESEARCH, I DISCOVERED TO BE A STORY SOMEWHAT SIMILAR TO AN OCCURRENCE THAT OCCURRED WITH CLEOPATRA HERSELF. THE ARTIST’S STAR IMAGE CONSISTS OF QUITE EXTRAORDINARILY UNCANNY CLOTHING, UPHOLDING THE STYLING OF THE ANCIENT EGYPTIAN GODDESSES. SHE ALSO HAS HER HAIR DONE UP TO MIMIC THE LOOK OF A SPHINX. THERE ARE QUITE A LOT OF HIGH ANGLES TO EMPHASISE HER POSITION OF POWER IN THIS VIDEO. ADDITIONALLY, AS THE MUSIC SPEEDS UP SO DOES THE SPEED OF THE CHANGING OF IMAGES IN MONTAGE FORM. THE LIGHTING IS HIGH KEY.

SUMMING UP THE CONVENTIONS OF POP

• ARTISTS ARE CLOTHED IN FASHIONABLE, STYLISH, AND MAINSTREAM OUTFITS TO HELP WITH STANDING OUT.

• PORTRAYED AS HAPPY, CONTENT, AND ENJOYING LIFE.

• LYRICS USUALLY BASED AROUND LOVE OR RELATIONSHIPS.

• TARGET AUDIENCE MAINLY TEENS.

• BRIGHT AND BOLD COLOURS.

Rock

IMAGINE DRAGONS- DEMONS• THE MUSIC VIDEO IS FOR THE SONG ‘DEMONS’ BY THE BAND IMAGINE DRAGONS. THE

VIDEO IS BOTH NARRATIVE AND PERFORMANCE BASED. THE NARRATIVE TELLS THE STORY OF HOW MANY PEOPLE ARE AFFECTED BY PROBLEMS OF THEIR OWN, WHETHER IT IS ANOREXIA OR BEING SUBJECT TO ABUSE; EVERYONE HAS PROBLEMS AND A ‘DEMON’ THAT NEEDS UNLEASHING IF YOU WILL. THE PERFORMANCE IS SET ON A STAGE IN FRONT OF HUNDREDS OF PEOPLE. THE ARTISTS ARE ALL DRESSED IN BLACK, WITH THEIR ATTIRE BEING THAT OF A STEREOTYPICAL ONE TOWARDS ROCK ARTISTS, WITH SKINNY JEANS AND LOOSE TOPS. THEY ALSO HAVE QUITE DISTINCTIVE HAIRSTYLES, WITH THE LEAD SINGER HAVING A MULLET AND THE GUITARIST HAVING QUITE LONG HAIR. THE LIGHTING, YOU CAN ARGUE, IS BOTH HIGH KEY AND LOW KEY, WITH IT BEING QUITE DARK IN THE ARENA BUT NOT TOO DARK BEYOND SIGHT, AND THEN THE CUT SCENES HELPING THE NARRATIVE PROGRESS BEING IN HIGH KEY. THE EDITING IS QUITE SLOW AND THEN INTENSIFIES ONCE THE SONG PICKS UP PACE.

THIRTY SECONDS TO MARS- UP IN THE AIR• THE MUSIC VIDEO IS FOR THE SONG ‘UP IN THE AIR’ BY THE BAND THIRTY SECONDS TO MARS.

THE VIDEO IS PERFORMANCE BASED WITH THE BAND PERFORMING THE VIDEO IN A HUGE STUDIO SETTING. WITHIN THE VIDEO, THERE ARE SO MANY PECULIAR AND UNCANNY THINGS GOING ON, WHICH HAPPENS TO BE WHAT CAN BE EXPECTED FROM A TYPICAL ROCK VIDEO. WE HAVE A LION ROAMING FREE, A NUDE FEMALE BEHAVING PROMISCUOUSLY WHILE ON AN ELECTRONIC BULL, A PAINT FIGHT, MASKED DRUMMERS, AND SO MUCH MORE. THESE HAPPEN TO BE THE UNCONVENTIONAL THINGS WHICH IRONICALLY CAN BE DESCRIBED AS CONVENTIONS OF ROCK, WHICH IS WHAT MAKES THE VIDEO SO SUCCESSFUL IN TERMS OF FULFILLING THE CRITERIA OF ITS SPECIFIC GENRE. THE ARTISTS ARE DRESSED IN VARIOUS OUTFITS, ONE BEING ALL BLACK TO GIVE OFF A DARK AND MYSTERIOUS FEEL, ANOTHER BEING HALF NAKED TO PRESENT THE PROMISCUOUS SIDE OF THE MUSIC. THE LIGHTING IS HIGH KEY SO THAT WE ARE ABLE TO CLEARLY SEE EVERYTHING THAT IS GOING ON IN THE VIDEO; IN FACT, THERE IS A WARNING AT THE START OF THE VIDEO REFERENCING THOSE WITH PHOTOSENSITIVE EPILEPSY INDICATING JUST HOW STRONG THE LIGHTING IS.

THE VAMPS- LAST NIGHT• THE MUSIC VIDEO IS FOR THE SONG ‘LAST NIGHT’ BY THE BOY BAND NAMED

VAMPS. THE VIDEO IS PERFORMANCE BASED WITH THE PERFORMANCE BEING ON SET. THE LOCATION IS AN ABANDONED WAREHOUSE WHICH THE BOYS END UP TURNING INTO AN EXTRAVAGANT PARTY, OR FUNFAIR IF YOU WILL INCLUDING RIDES, GAMES, AND A WHOLE LOT OF TEENAGERS. THE ARTISTS ARE SEEN TO BE WEARING SKINNY JEANS, SHIRTS, BASICALLY QUITE MODERN AND HIPSTER LOOKING OUTFITS, WITH GUITAR AND DRUM SET AT HAND. THE LIGHTING IS HIGH KEY SETTING OFF A LIVELY ATMOSPHERE, WHILE THE EDITING IS VERY FAST PACED TO MATCH THE PACE OF THE MUSIC. A LOT OF MID SHOTS AND CLOSE UPS ARE USED TO CAPTURE THE EMOTIONS OF THE BAND AND MAKE US FEEL MORE INVOLVED WITH THEM, AND SOME WIDE SHOTS TO CAPTURE ALL FOUR MEMBERS TOGETHER.

THE NEIGHBOURHOOD- SWEATER WEATHER

• THE MUSIC VIDEO IS FOR THE SONG ‘SWEATER WEATHER’ BY A BAND CALLED THE NEIGHBOURHOOD. THE VIDEO IS NARRATIVE AND PERFORMANCE BASED WITH THE LOCATION BEING IN CALIFORNIA. THE NARRATIVE TELLS THE STORY OF THE BAND TAKING A TRIP TO CALIFORNIA AND HAVING THE TIME OF THEIR LIVES, WITH WHAT APPEARS TO BE A HEDONIST LIFESTYLE BEING PROMOTED BY THE COLLECTIVE INDIVIDUALS. THEY PERFORM TO US IN SEVERAL LOCATIONS, BE IT IN A HOUSE, A CAR, OR THE BEACH. HOWEVER, QUITE ODDLY, NONE OF THE PERFORMANCE IS ON STAGE WHICH IS UNCOMMON FOR A ROCK VIDEO. THE ARTISTS ARE DRESSED IN ALL BLACK UPHOLDING THE HIPSTER/ROCK LOOK. THEY ALSO HAVE QUITE A FEW TATTOOS HINTING TOWARDS THEIR REBELLIOUS NATURE. THERE ARE SOME SIGNIFICANT EDITING TECHNIQUES AND CAMERAWORK PRESENT, SPECIFICALLY TOWARDS THE END WHERE THE VISUALS ARE FLIPPED UPSIDE DOWN AS THE BEAT DROPS. ADDITIONALLY, THE ENTIRE VIDEO IS IN BLACK AND WHITE.

SUMMING UP THE CONVENTIONS OF ROCK• NARRATIVE VS PERFORMANCE, TELLING A STORY BUT MAINLY SHOWCASING

EMOTIONS THROUGH PERFORMANCE USUALLY IN FRONT OF OTHERS E.G. A STAGE OR ARENA.

• COSTUME- USUALLY DARK IN COLOUR, SKINNY FITTED.

• DISTINCTIVE HAIRSTYLES.

• LIGHTING IS USUALLY DARK WITH SPOTLIGHTS OR IN SOME CASES EXTREMELY WELL LIT.

• INSTRUMENTS, FIRE, DANGEROUS PROPS.