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FIVE MORE HOURS: DJ DEORRO FT. CHRIS BROWN KEY CODES AND CODES AND CONVENTIONS

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Page 1: Five more hours

FIVE MORE HOURS: DJ DEORRO FT. CHRIS

BROWNKEY CODES AND CODES AND CONVENTIONS

Page 2: Five more hours

DANCING. • In this music video, the main code and convention in the sub-genre Dance-Pop which is

dancing was implemented very well which made it a good deconstruction. Here are some screenshots from the video showing this. Here you see dancing outside with just the main artist and inside the party bus with all the other extra’s too.

Page 3: Five more hours

COLOUR. • The second most important code and convention in my sub genre is colour, in my deconstruction video,

there are many scenes where colour is implemented which made it a good video to deconstruct. Here are some screenshot to quantify my findings. In the screenshots, you can see the car exhaust emitting different colour fumes, and you can see very colourful outfits in the party bus.

Page 4: Five more hours

MAKE-UP AND SEXUALISATION. • Another key component of dance-pop music videos is how they sexualize women and but a lot of work

into the hair and make-up to make the artist ’picture perfect’. Here are some representations in from of screenshots of how this was implemented in the video I deconstructed. In the screenshots you can see how a full face of make-up is done in the first picture and in the last two you can see that the girls are exposing a huge amount of their bodies and are adopting sexual poses.

Page 5: Five more hours

SHOT TYPES • Finally, one of the main codes and conventions I would like to talk about is the shot types using in

Dance-Pop. The main form is direct address because there is usually lip sync implemented which means the artist looks directly at the audience and sings. They also tend to use a range a mid-shots, wide shots and close ups. Here are examples from my deconstruction video. These screenshots show examples of a wide shot, mid hot and close up. In all of them he is looking directly at the audience and singing.