Music video analysis - part two

Catfish and the Bottlemen - Twice. In this music video, we see a very simple but effective video. This video is most effective in the way that it uses multiple camera movements to eccentuate the location of the camera in relation to the band performing. Through the use of pans and zooms, the audiences view of the band performing is much more intimate than it would have been if the video was solely focused on medium shots and close ups. Therefore, these camera movements bring in Bulmer and Katz's theory of uses and gratifications. Due to the real sense of realism in this video, audience may use this video to feel as if they are part of the band's performance. In doing this, the band create a much more personal and intimate feel to their overall appearance. Moreover, what makes this video even more interesting is the use of fact that it is completely performance based. Subsequently, the video is much representative of the band's ability to perform live.





Ed Sheeran - Don't. In contrast to Twice, this music video by Ed Sheeran contains a mixture of both performance and narrative. In comparison to other videos, the performance side of this video does not include the artist. Instead, there is an actor playing the part of a dancer. The video follows the dancer throughout the video on a journey through his life's problems. In showing a distinct dancing style throughout the video, audiences become enticed with his every move. As a result, the video proves to be very engaging and interactive with the audience in the sense that every thought expressed by Ed in his lyrics is emphasized in the dancer's performance which not only creates a distinct feel to the song as well as an innovative music video.





 Duck Sauce - Barbra Streisand.  This video creates a great deal of camaraderie around the people of New York. This is done through a compilation of  50 or so different New Yorkers singing along to the song. The use of medium shots throughout the video give a clear indication that each and every person in New York is on the same level - hence, no close ups are used to represent someone as more important than someone else. What makes this video most interesting is the variety of people we see on camera. From young children to an 80 year old man, the song is clearly admired and adored by everyone in the city. As a result of this, the video achieve two main goals. One, it creates a standout feature to the song - i.e. it becomes memorable. And, secondly, it ensures that the video keeps to the positive tempo of the song itself.



Martin Solveig - Hello. In Martin Solveig's video for 'Hello,' we see clear a following to Vladamir Propp's 'character types.' With the whole video being based on a narrative, the distinguished character types are a focal point to the video as a whole. For example, we see Novak Djockovic represent the 'hero' in the way that he saves the tennis match finishing from an incorrect call. As a result of this, and many other character types represented, the video has a clear narrative structure to it. In the footage presented above, we see the 'resolution' take place as the protagonist begins to fight back. Overall, this makes a terrific music video as it takes the audiences on a journey of the underdog and will certainly make sure that they remember the song in years to come.


Skrillex and Diplo - "Where Are Ü Now" with Justin Bieber. This music video is predominantly performance based in the way that Justin Bieber is most often pictured singing or dancing for the camera. The reasons for doing this are quite obvious. In respect of the female attention Bieber usually attracts, the lengthy duration of himself on camera are quite simply to attract female audience. This opposes Shuker's theory of 'male gaze' that states women are often subject to objectification. So, by doing this in the video, the audience is primarily female based. The slight narrative structure, however, attracts male audiences through the use of on-screen graphics and a heavy theme of art. As a result, the video is therefore aimed at a wide range of audiences stretching across both genders. This is a key convention of pop music that needs to be aimed at a wide range of audiences given its generic genre.