When considering the key features of a music video, Andrew Goodwin, Dancing in the Distraction Factory (1992) identified a number of conventions which can be applied to the music video Celestine by Spector directed by Jed Cullen and the High 5 Collective in 2012.
Firstly he stated that music videos demonstrate genre characteristics. This video could be categorised as being in the indie rock genre. It is conventional in that there is a relationship between lyrics and visuals. The music is synchronous to the cutting rate within the sequence; the shot changes at the same pace as the tempo as the music, when the tempo becomes quicker, the cutting rate gets quicker. What we see on screen can be thought of as conventional of the indie genre, although perhaps disjunctive i.e. the use of a large dog, and repetitive display of the European Union flag. Moreover, the use of costumes such as suits and thick frame glasses accompanied by performance style iconic to that of the genre i.e. minimalistic and effortlessly playing instruments can be seen more strongly and gets more prevalence on screen than the other aspects, reinforcing the lyrics of the song and helping create repeatability because the viewer focuses more on these visuals than the other more disjunctive ones.
The video could be seen as unconventional of this genre however due to the use of flashing text and somewhat subliminal messaging throughout, whether this is done purposely by the director to make the piece more unique or carry a deeper meaning is unclear. This hint of unconventionality is also accompanied by odd motifs such as the use of a comb in freezing water and a stuffed eagle on a perch. Although this may be seen as disjunctive, the video has more illustrative and conventional forms within it that unconventional, for example many close ups of the artists face during singing, as well as large emphasis on the performance of the band in the desert – enhanced by the many different camera shots and techniques used to show this conventional element.
Music videos are a postmodern form which implies that they often borrow and rework ideas from other texts and forms, Celestine uses intertextuality in the form of parody of the 1950s style i.e. the artist’s costume and hairstyle to add humour to the video and perhaps even mock the group or their celebrity image.
The way Goodwin talks about features of music videos does apply strongly to this piece. It promotes the band and the director via the use of text and clear visuals of their costume and performance. The video also falls under a clear category/genre and includes material conventional to this, as talked about earlier. It also involves what some may call art forms, although they may seem perhaps initially unconventional and disjunctive, but these elements of the production may have a deeper meaning behind the lyrics and visuals.
He made reference to the notion of looking and voyeurism however there is no display of these elements within the music video.
Well done Dan, this is thoughtful analysis. There is evidence of notion of looking and music videos are conventionally voyeurstic in that in constructing the artist as star (in particular the lead singer), the camera lingers on their faces in CU, other shots promote them as competent musicians, dancers. As you say though, this is voyeurism that doesn't take itself seriously....
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