Sven E Carlsson
Sven E Carlsson said that 'One of the most common methods of analysis is to break up the music video into black and white boxes. Almost everything is then percieved as opposites - trash or art, commerce of creativity, male or female, naturalism or antirealism, etc.. This means that the common approach towards music videos in the sense that binary opposites influence the narration of the video, and move it forward. Sven E Carlsson also believed that there are two forms of categories that music videos have the ability to fall into, they are:
1. Performance - This is where the videos focus mainly of the artist/artists in some way. There can be three types of performance, Dance performance, Song performance and Instrumental performance. The point of the music video is to show as much footage of the artist as possible. When it comes to performance, Carlsson believed the performer becomes an item throughout the video as the point is just to advertise themselves. It is as if the preformer is made into a 'commercial exhibitionist.' By this i mean that the performer is thought to be of as an object for the audience and music video, which makes it like an advert for them. When it comes to this type of performance, it's meant to be eye catching and appealing for the fans, and meant to connote that the artist is a role model, and someone for the audience to aspire to. A good example of these performances would be by preferabl female artists, like Rihanna and Beyonce, as they tend to have more sexually influenced videos, than that of some other artists. They use there good looks, and attractive figures and use them as the main selling point for the music video, by dancing and singing a lot of the way through. They are basically following Carlsson's rule of using yourself as an item to sell music.
2. Conceptual - In conceptual clips, the audience watch something beyond the artist's which aims to have artistic ambition. Without the ideo of narrative in a video, they can include aspects of art such as surrounding and scenery, instead of actually needing the artist to appear in the video. This can be quite difficult to come across in todays society as it not seen much, and the main idea is to get the artist across a lot of the time. Sometimes videos may be seen with the artist in them for only brief moments, which would mean a majority of the video is conceptual, however, this can be argued.
' Modern Mythic Embodiment ' - Sven E Carlsson.
Sven E Carlsson vreated the theory that most performance movies make the performer not a performer anymore. ' He or she is a materializiation of the commercial exhibitionist. He or she is a monger of the own body image, selling everything to be in the spotlight - selling voice, face, lifestyle, records and so on.' He is basically saying that performers are restricted in the way that they can perform as they are being used to sell themselves, in order to make the video appealable to the audience. Sven E Carlsson says that this is down to the artist being a seller of their body image.
Micheal Shore.
Micheal Shore concludes that music videos are recycled styles that contains an overload of information, and therefore contains veiws of adolescent male fantasies. Most videos contain elements of speed, power, girls and wealth. All of these aspects and transformed into soft-core pornography with cliched imagery. This theory relates to curent issues within the musiv industry where the argument is that many music videos convey provocative imagery which is too sexualised for the audience who may be watching it. Women are highly sexualised and objectified in Rap and Hip-Hop videos, hence the term 'video hunnies.' The high sexualisation rate in music videos is rapidly increasing.
Andrew Goodwin.
Andrew Goodwin says that these theoretical conclusions are the basis of understanding music videos.
Cinematic Genre
Advertising
New forms of television
Visual are
'Electronic wallpaper'
Dreams
Post modern poetry
Metaphysical poetry
'Semiotic Pornography'
