REPRESENTATION QUESTION

Explain how music video producers use representation to promote their artist(s). 

Refer to one of the music videos you have studied to support your answer. [10] 

You should have studied two music videos: one from List A and one from List B below. 

List A	List B
Corinne Bailey Rae – Stop Where You Are  Emeli Sandé – Heaven Lil Nas X – Sun Goes Down	Radiohead – Burn the Witch   David Guetta – Titanium   Sufjan Stevens – Sugar

MARK SCHEME

The structure of the essay is:

None existent/random = 0      

Clunky but possible to follow = 1   

Clear and coherent throughout = 2

The answer is:

Not focused on the question = 0   

Somewhat focused on answering the question = 1

Consistently focused on answering the question = 2

The use of examples is:

Non existent or weak = 0

Clear but not detailed/consistent = 1

Clear, detailed and consistent = 2

Analysis is:

Non existent or unclear = 0

Follows most examples but may lack precision = 1

Clear, precise and follows every example = 2

The use of terminology is:

Non existent or weak = 0

Fairly secure but no consistent = 1

Excellent throughout = 2

SOME OPENING POINTS

• A generic convention of most music videos is to promote the artist by representing them as a skilled and passionate performer.
• One of the ways that music videos producers promote artists is by representing the artist as an aspirational figure.
• Another of the way that music video producers promote artists is by constructing representations that encode value alignment with the target audience.
• Another way that music video producers promote artists is by constructing narrative elements in which they are represented interacting positively with an avatar of the target audience.

LET'S TRY THE TOP ONE...

A generic convention of most music videos is to promote the artist by representing them as a skilled and passionate performer. 

EXAMPLE ESSAY

Music videos have existed for around fifty years, acting as advertisements for the song and artist. Initially, performance footage took precedence and is still a convention of many music videos, but increasingly there is an attempt to build a representation of the artist as someone with whom the audience can identify, either as an aspirational figure or someone with whom their socio-political values align.

 

While the music video to Stop Where You Are (SWYA) does not include the convention of representing the performer using concert footage or performing a choreographed dance routine, it does use direct mode of address with the artist lip syncing direct to camera. Corinne Bailey Rae’s (CBR) performance is impassioned and emotive and the use of low angle shots may be intended to position the audience to feel as they would at a concert, encouraging them to want to see her live.  However, the halo effect created by the backlighting, and the use of shallow depth of field construct a representation of the artist as an ethereal/angelic figure; perhaps the intention is less about presenting the artist as a performer and more about promoting spiritual value enlightenment with the audience.

 

Another convention used by music videos producers is to construct a representation of the artist as an aspirational figure. Within a capitalist western paradigm, this type of representation is often encoded using mise en scene that connotes a lavish lifestyle: wearing expensive clothing, driving expensive cars or partying in luxurious locations. The second shot of SWYA features a low angle close up on Corinne Bailey Rae’s (CBR) expensive designer shoes; she is also wearing a designer dress, a possible signifier of her wealth. However, it seems unlikely that the producers intend this to be aspirational in a capitalist sense because the location is neither lavish or luxurious, and the socio-political messaging of the video is not about aspiring to wealth but rather aspiring to spiritual contentment. Again, it seems that value alignment is the most important element of promoting the artist.

The anti-capitalist socio-political messaging is obvious in one set piece which features a homeless woman interacting with a male white-collar professional. Applying Hall, their first encounter seems to fix a hegemonic preferred meaning; the mise en scene constructs her gender nonconformity, and the lighting draws attention to her aggressive facial expression. hooks may point out that the indifferent way she is treated by the male white-collar worker, encodes a message of white supremacist capitalist patriarchy. However, after a shot of CBR seemingly looking down at the event the sequences cuts back to the white-collar worker returning with a drink then sitting down in a two shot medium closeup that emphasises their equality by using eyeline matching. This short narrative promotes CBR’s progressive moral perspective on homelessness by constructing a narrative that features a counter typical relationship between homeless people and the middle classes, establishing socio-political value alignment with her younger, left-wing target audience.

We can apply Hall again when examining the messaging around the representation of stereotypes. In one sequence, CBR is shown walking through a dark alleyway; the forbidding mise en scene is emphasised by the combination of back lighting and low-key lighting that literally cuts the shot in two, building a binary opposition between CBR as the innocent protagonist and what appears at first to be a representation of a young black thug. Hall would point to the way that black men are consistently stereotyped as violent criminals and this sequence uses the same narrative shorthand, framing CBR as the potential victim.  However, a series of subsequent shots establishes that he is a breakdancer who goes on to perform for and with the CBR. This short narrative typifies the progressive value transfer between the artist and her audience as it challenges stereotypes about race by establishing a counter typical representation of young black males.

So, as we can see, the music video to SWYA uses several generic conventions around the use of representation to promote its artist, but central to the process is encoding socio-political and spiritual value alignment that promotes identification between the artist and the target audience.

Music Videos - Set Texts

Below are the two music video set texts that we will be studying for you exam. 

Corrine Bailey-Rae - Stop Where You Are

David Guetta - Titanium

SAMPLE QUESTION: Music Video

Explain how representations in music videos are chosen to promote the artist(s). 

Refer to one of the music videos you have studied to support your answer. [10] 

You should have studied two music videos: one from List A and one from List B below. 

List A 

Corinne Bailey Rae – Stop Where You Are 
Emeli Sandé – Heaven
Lil Nas X – Sun Goes Down

List B

Radiohead – Burn the Witch  
David Guetta – Titanium  
Sufjan Stevens – Sugar

Music Video: General Codes

How and Why do music videos use...

Typically, questions on music videos will ask about HOW and WHY music videos use:

Representation, Genre Conventions, Stereotypes

Or, HOW and WHY they communicate values and ideologies to their target audience. 

These questions are almost always GENERAL questions about music videos, so you need to remember the purpose of music videos: 

To promote the artists by...

- Constructing a representation of the artist as a skilled/passionate/exciting performer.

- Constructing a representation of the artist as an aspirational figure (wealthy, fashion icon?) 

- Representing an avatar of the target audience who is seen interacting with the artist.

- Indicating socio-political value alignment between the artist and the audience.

- Indicating value alignment between the artist and the audience in the context of art and media.

Here is a great example...

Michael Jackson - Thriller (Official 4K Video) - YouTube

MUSIC VIDEOS: REPRESENTATION

Over the next two weeks, you will be working in groups of 2 or 3 to produce a presentation about the Music Videos we have studied (Titanium and Stop Where You Are). You will be assigned* one of the questions below and you will research the topic, prepare a resource for the class, write the essay and present them all to the class. 

In all cases, you will need to refer closely to the music video in your answer. 

QUESTIONS: If possible, reference the theorists from Media Representation. 

1. Explain how representations in music videos are chosen to promote the artist(s). Refer to one of the music videos you have studied to support your answer. 
2. Explain how representations of musical artists and their work communicate information about their cultural and political contexts. 
3. Explain how and why stereotypes are used in music videos. Refer to one of the music videos you have studied to support your answer.
4. Explain how media language in music video incorporates viewpoints and ideologies. Refer to one of the music videos you have studied to support your answer. 

AS YOU PREPARE, REMEMBER: Your presentations / essays need to contain thoughtful and thorough analysis of the question. You need to use specific and detailed information (keep a record of all research). 

If you learn a new piece of terminology, you will need a slide to explain the meaning. 

NB: YOU HAVE TWO WEEKS TO PREPARE. 

YOU WILL BE PRESENTING IN THE LAST WEEKS OF TERM.

Corrine Bailey-Rae - Stop Where You Are

David Guetta - Titanium

MUSIC VIDEO - NASTYISH - INTERTEXTUALITY

How do music videos use intertextuality?

Refer to one of the music videos you have studied in your answer [10]

This one is only nasty because it forces you to write about Titanium

Since the very earliest music videos presented on MTV, the form has been well known for its postmodern sensibilities. Most music videos presuppose a self-aware and increasingly media savvy audience who find pleasure in the way they connect with the artist through shared socio-political values, but also through shared cultural understanding. The use of intertextuality in David Guetta’s Titanium functions in this way, with intertextual references used to construct a variety of different forms of connection to fans of the artist.

A generic convention of music videos to imply that artists share their audience’s appreciation of other artforms, most commonly involving sophisticated filmic narratives or high production values.  Titanium is very obviously using this generic convention by intertextually referencing the sci-fi genre as a whole, but also acknowledging the growing nostalgia for 1980s science fiction. The video implies shared experience and shared enjoyment of artforms with which the target audience would be familiar. Moreover, the use of Steadicam shots, the dolly zoom during the bicycle scene, the carefully constructed mise en scene intended to capture the 1980s diegesis (the two joggers are an excellent example of this) and of course the final pyrotechnic effect are all examples of high productions values. While this clearly demonstrates a shared appreciation of cinema, it also arguably demonstrates an appreciation of the fan base by virtue of the clear effort used to construct the central ideas within the video.

A common convention used in music videos is the use of intertextuality in a way that promotes value alignment with the artist. We might argue that the entire narrative forms a socio-political message about the way that young people are misunderstood by society and treated as outsiders. The intertextual references to the science fiction genre constructs a diegesis that features a shadowy government body that are persecuting a teen boy who is coming into his powers. This trope is a common device in science fiction and symbolises the dangerous nature of adolescents becoming capable and rebellious and of the way that the adult world rejects the possibilities that they entail. This is perfectly exemplified in the frightened facial expression of the teacher and the shadowy paramilitary costumed figures seen chasing the young boy in the forest. Here then the video is arguably promoting value alignment, either with the young adolescent audience who feel supressed by the adult world, or with older listeners familiar with that feeling having experienced it themselves.

Another way that producers promote alignment with the audience is through the use of avatars of the audience in the form of idealised representations of the audience seen interacting with the artist (think the young woman on a date with Michael Jackson in Thriller). Clearly, this is not possible in this music video as there is no representation of the artist. However, a similar processes happens with the inclusion of intertextual references that only ‘super fans’ are likely to notice. The first is a hand drawn poster featured on the school wall, which eagle eyed fans would notice, especially upon multiple viewings. A second is another intertextual reference to the Italian superhero movie ‘Superargo and the faceless giants,’ which can be seen as a film poster on the wall of the child’s living room. Superfans of Guetta will be aware that he is a fan of Italian pulp movies and will feel closer to the artist as they have exclusive or privileged insight as a result of this intertextual easter egg. The shared cultural reference will promote deeper connection with the artist.

MUSIC VIDEO - NASTY QUESTIONS 01 - GENRE

Compare the way that music videos use genre conventions to promote their artists.

Refer to BOTH the music videos you have studied in your answer [15]

Music Video producers employ a variety of codes and conventions to promote artists to their target audience. Often they represent the artist as a skilled/compelling performer; frequently, they represent the artist as an aspirational figure; often they attempt to promote connection with the target audience; and at times, they suggest that the artist values other artforms beyond music.

Stop Where You Are (SWYA) and Titanium are very different music videos. While SWYA is not a performance video, it does contain elements of performance that are interspersed with vignette’s of narrative. Titanium presents an extended narrative, but does so without featuring the artist. Given their difference it is not surprising that they include the features of music video conventions in very different ways.

One generic convention used in music videos is promoting the artist as a passionate and skilled performer: e.g. choreographed dance routines, performance with a band, concert footage and direct mode of address. In SWYA the producers represent the artist in a series of low angle close ups and mid shots, which are back lit to give a halo like quality to her appearance and employ direct audience address. Her facial expression (mise en scene) constructs the representation of her passion as a performer. The connotation of this representation is of a passionate and spiritual musical artist, which positions the target audience to want to see her perform live. Titanium entirely misses this element from the music video, but artist David Guetta is not known as performer in the same style as Bailey Rae, rather he is a D.J. and producer, so the video functions more like an extended advert, capturing the audience with interesting visuals and ideas rather than implying performance prowess.

I WOULD OMIT THIS PARAGRAPH, BUT IF YOU HAD TIME YOU COULD INCLUDE IT

Another generic convention is to represent the artist as an aspirational figure. e.g. constructing a representation of their lavish lifestyle or of them as a fashion icon for their target audience. Of course, we can already say that this doesn’t happen in Titanium, but it is also not obviously present in SWYA. We could argue that Bailey Rae is being represented as a fashion icon; shot two is a close up at ground level, showing her expensive shoes (mise en scene). She is also featured wearing a designer dress, a possible signifier of her wealth. However, it seems unlikely that the producers intend this to be aspirational in a capitalist sense because the socio-political theme of the video is not about aspiring to wealth, but rather aspiring to spiritual contentment.

Another generic convention is to create connection between artist and audience: e.g. interacting with idealised representations of the target audience, or by promoting value alignment with their socio-political perspectives. In one sequence of SWYA, Bailey Rae is represented walking through a dark alleyway; the forbidding mise en scene is emphasised by the low-key lighting. She is confronted by a stereotypical representation of a young black thug, and in a shot reverse shot sequence the narrative implies that he is going to pursue her. However, a series of shots establishes that he is a breakdancer who goes on to perform for and with the artist. This vignette, typifies the progressive value transfer between Bailey-Rae and her audience as it challenges stereotypes about race by establishing a counter typical representation of a young black man.

 THIS PARAGRAPH IS AN ALTERNATIVE TO THE PREVIOUS ONE

Another generic convention is to create connection between artist and audience: e.g. interacting with idealised representations of the target audience, or by promoting value alignment with their socio-political perspectives. One set piece features a homeless woman seemingly being ignored by a white collar worker. The framing of the shot using low key lighting and deep shadow to create a frame within a frame, positions the audience to focus on the anger of her facial expression. After a cut to Bailey Rae performing, the sequences cuts back to a high key lit shot of the white-collar worker returning with a hot drink before sitting down in a two shot medium close up that emphasises their equality by developing a matching eyeline. This narrative promotes Bailey Rae’s progressive moral perspective on homelessness by constructing a narrative that features a counter typical relationship between homeless people and the middle classes, which appeal to a younger, left-wing target audience.

We might argue that the entire narrative of Titanium forms a socio-political message about the way that young people are misunderstood by society and treated as outsiders. The intertextual references to the science fiction genre construct a diegesis that features a shadowy government body that are persecuting a teen boy who is coming into his powers. This trope is a common device in science fiction and symbolises the dangerous nature of adolescents becoming capable and rebellious and of the way that the adult world rejects the possibilities that they entail. Here then the video is arguably promoting value alignment, either with the young adolescent audience who feel supressed by the adult world, or with older listeners familiar with that feeling having experienced it themselves.

Another generic convention is to imply that artists share their audience’s appreciation of other artforms, most commonly involving sophisticated filmic narratives or high production values.  There is little filmic narrative on display in “Stop Where You Are” and no use of intertextuality or similarly sophisticated story telling techniques. However, the video does imply that she has an appreciation of two urban artforms, Parkour and Breakdancing. Extreme slow motion is used in wide shots to emphasise the artistic prowess of the traceur, and in one wide shot, she is shown interacting with the breakdancer; he has his legs in the air forming a Y shape and her facial expression shows elation as she mirrors his body shape with her own raised hands. This promotes the idea that Bailey Rae is connected to the urban art scene, indicating that she is intending to appeal to a younger, left-wing target audience, who value urban artforms over what may be considered elitist artforms like film. Titanium is very obviously using this generic convention by intertextually referencing the sci-fi genre as a whole, but also acknowledging the then growing nostalgia for 1980s science fiction. The video implies shared experience and shared enjoyment of artforms with which the target audience would be familiar.

SELECTED SHOTS

 This is by no means an exhaustive approach to Stop Where You Are, but it should allow you to quickly run through the video and have something to say about most questions. Do look carefully at this section of the textbook as well. 

And here is the same for Titanium. You may/will notice that there is not quite so much on this video. That is because there is not so much to say for it. I do recommend that you use Stop Where You Are for most questions. But there are some for which only Titanium will work.

PAST PAPER QUESTIONS

Sample:     No Music Video question.

Practice:    Explain how representations in music videos are chosen to promote the artist(s). 

                  Refer to one of the music videos you have studied to support your answer. [10]

2019:         Explain how media language in music video incorporates viewpoints and ideologies. 

                  Refer to one of the music videos you have studied to support your answer. [10]

2020:         Explain how and why stereotypes are used in music videos. 

                  Refer to one of the music videos you have studied to support your answer. [10

2021:         No Music Video question.

2022:         No Music Video question.

Possible Nasty Questions:

Nasty 01:   Compare the way that music videos challenge genre conventions.

                   Refer to both the music videos you have studied in your answer [15]

Nasty 02:   Compare the way that music videos use representations to promote artists.

                   Refer to both the music videos you have studied in your answer [15]

Nasty 03:  Compare the way that music videos incorporate viewpoints and ideologies.

                  Refer to both the music videos you have studied in your answer [15]

A SAMPLE RESPONSE

 How do music video producers use generic conventions to promote artists to their target audience?

One generic convention used in music videos is promoting the artist as a passionate and skilled performer: e.g. choreographed dance routines, performance with a band, concert footage and direct mode of address. In “Stop Where You Are,” producers represent the artist in a series of low angle close ups and mid shots, which are back lit to give a halo like quality to her appearance and employ direct audience address. Her facial expression (mise en scene) constructs the representation of her passion as a performer. The connotation of this representation is of a passionate and spiritual musical artist, which positions the target audience to want to see her perform live.

Another generic convention is to represent the artist as an aspirational figure. e.g. constructing a representation of their lavish lifestyle or of them as a fashion icon for their target audience. We could argue that Bailey Rae is being represented as a fashion icon; shot two is a close up at ground level, showing her expensive shoes (mise en scene). She is also featured wearing a designer dress, a possible signifier of her wealth. It seems unlikely that the producers intend this to be aspirational in a capitalist sense because the socio-political theme of the video is not about aspiring to wealth, but rather aspiring to spiritual contentment.

Another generic convention is to create connection between artist and audience: e.g. interacting with idealised representations of the target audience, or by promoting value alignment with their socio-political perspectives. In one sequence, Bailey Rae is represented walking through a dark alleyway; the forbidding mise en scene is emphasised by the low-key lighting. She is confronted by a stereotypical representation of a young black thug, and in a shot reverse shot sequence the narrative implies that he is going to pursue her. However, a series of shots establishes that he is a breakdancer who goes on to perform for and with the artist. This vignette, typifies the progressive value transfer between Bailey-Rae and her audience as it challenges stereotypes about race by establishing a counter typical representation of a young black man.

OR

Another generic convention is to create connection between artist and audience: e.g. interacting with idealised representations of the target audience, or by promoting value alignment with their socio-political perspectives. One set piece features a homeless woman seemingly being ignored by a white collar worker. The framing of the shot using low key lighting and deep shadow to create a frame within a frame, positions the audience to focus on the anger of her facial expression. After a cut to Bailey Rae performing, the sequences cuts back to a high key lit shot of the white-collar worker returning with a hot drink before sitting down in a two shot medium close up that emphasises their equality by developing a matching eyeline. This narrative promotes Bailey Rae’s progressive moral perspective on homelessness by constructing a narrative that features a counter typical relationship between homeless people and the middle classes, which appeal to a younger, left-wing target audience.

Another generic convention is to imply that artists share their audience’s appreciation of other artforms, most commonly involving sophisticated filmic narratives or high production values.  There is little filmic narrative on display in “Stop Where You Are” and no use of intertextuality or similarly sophisticated story telling techniques. However, the video does imply that she has an appreciation of two urban artforms, Parkour and Breakdancing. Extreme slow motion is used in wide shots to emphasise the artistic prowess of the traceur, and in one wide shot, she is shown interacting with the breakdancer; he has his legs in the air forming a Y shape and her facial expression shows elation as she mirrors his body shape with her own raised hands. This promotes the idea that Bailey Rae is connected to the urban art scene, indicating that she is intending to appeal to a younger, left-wing target audience, who value urban artforms over what may be considered elitist artforms like film.

Genre, Representation, Audience, Media Language

SEE BELOW FOR MORE DETAIL:

Music Video producers employ a variety of codes and conventions to promote artists to their target audience. Almost invariably, they represent the artist as a skilled/compelling performer; frequently, they represent the artist as an aspirational figure; often, they attempt to promote connection with the target audience; and at times, they suggest that the artist values other artforms beyond music, especially film.

A generic convention of music videos is that producers construct representations of the artist(s) which emphasise their prowess as a performer. This allows fans who may never have the opportunity to see their favoured artist live to see them perform.

-          Choreographed dance routines

-          Performance with or as part of a band (instruments being played)

-          Concert footage

-          C.U. to Mid Shot of artist performing the song – passionate performance (lip-syncing)

Another convention in music videos is the representation of the artist as a personality with whom the audience can connect. This might include ideological elements. 

-          Videos may contain idealised representations of the target audience

-          Narrative features may promote socio-political perspectives that suggest value transfer/ideological alignment with the target audience

-          Narratives may also present counter cultural perspectives, especially when targeting younger audiences

Another convention in music videos is the representation of the artist as an aspirational figure for the target audience.

-          Videos may show artists living a lavish lifestyle that may be aspirational for the audience.

-          Costume and makeup may be aspirational, with fans perhaps mimicking the fashion/style choices of their idols.

Another generic convention is the use of high production values to suggest that the artist values other art forms beyond music. 

-          This may include sophisticated filmic narratives

-          It may feature special effects, elaborate camera movement and use of racking focus.