Industrial Context

Industrial context of Music Videos from AyaahBachri

Richard Dyer Star Theory

 

Andrew Goodwin Music Video Theory

 

Applying Andrew Goodwin’s theory, I intend to base some of the visuals illustrating the lyrics of the song. Also, there could possibly be the reference to the notion of looking through screens within screens which would be portrayed by shots of a television screen to demonstrate how the audience would be viewing a collective of memories of the couple. As well as this, I intend on incorporating some intertextuality through either band t-shirts or buy distributing vinyl covers in the set locations of the music video. 

Music Industry Streaming Services

Major Players in the Music Video Industry:

•         Universal Music Group, owns 29.85% of the market
•         Sony Music. Entertainment, owns. 29.29% of the market
•         Warner Music Group, owns 19.13% of the market
•         Independent Labels, owns 12.11% of the market
•         EMI Group , own 9.62% of the market 

This info graphic shows how streaming services have become more popular overtime. Therefore, it is explaining how technology has changed the way audiences consume media products. In this case 45% of audiences use digital streaming services with YouTube being the most popular platform, having 820 million followers. This suggests in order for music videos to be relatively successful, music companies such as the UMG and Sony Music distributing their products through online platforms would allow for maximum profit for both the artist and the company. 

From viewing this info graphic, producing a music video and uploading it to YouTube would be the most accessible place for the target audience to view the product. As well as this, audiences would be able to produce feedback through the comments section and the like button, which reinforces Shirky’s end of audience theory of how audiences are now becoming more active on the internet.  

Timeline of Music Videos

1926

The talkies were introduced, this involved musical short films featuring bands, vocalists and dancers 

 

1930

Screen songs ere introduced. This clouded a series of cartoon films which encouraged audiences to sing along by following a marker 

 

1963

The first appearance of music videos. One of the earliest videos of a top 40 hit, was Jan and Dean’s “Surf City”

 

1964

The Beatles became one of the most famous boy bands in the world with their modern music video for ‘A Hard Days Night’, which was shot in black and white 

 

1975

The long running British TV show Top of the Pops began playing music videos in the late 1970s. Therefore, a good video would increase a song’s sales as viewers hoped to see it again the following week. The band Queen ordered Bruce Gowers to make a promo video for their new single ‘Bohemian Rhapsody” to shoe it in Top if the Pops; this is also notable for being entirely shot and deities on videotape 

 

1981

The music channel MTV was created. This enabled music videos to play a central part in music marketing by mid 1980s. It began an ear of 24 hour a day music on television

 

1984

Michael Jackson released his music video,‘Thriller’ which proved to be a big hit. It was the most successful, influential and iconic music video of all time. It was nearly a 14 minute long video.

 

1985

The music channel VH1 was launched. This featured a range of soft music to suit an older audience helping to broaden the audience of music videos. Music videos grew to play a central role in popular music marketing. Many important acts of this period such as Madonna and Adam and the Ants, owed a great deal of their success to the skilful construction and seductive appeal of their videos

 

1988

Hip Hip music began to increase in popularity 

 

1992

MTV began to show the director names in the credits of music videos, reflecting the fact that music videos has increasingly become an auteur’s medium. Directors such as Michel Gondry, Spike Jonze and Hype Williams all bought unique visions and style to the videos they directed 

 

1995

Michael Jackson’s music video ‘Scream’ becomes one of the most expensive music videos, costing a total of 7 million dollars to create 

 

2005

iTunes opened allowing people to download their favourite tracks from the computer. The online entertainment website ‘YouTube’ was created enabling music lovers to access their favourite music videos online. This resulted in an increase of new artists. MTV and many of its sister channels had largely abandoned showing music videos in favour of reality tv shows, which were more popular with its audience 

 

2010

The number of music videos viewed online begins to massively increase. Lady Gag’s music video ‘Poker Face’ reaches one billion views 

Audience Research: Audience Profile

 

Audience Research: Focus Group

Primary Audience 

AMAYA CONWAY 

Age: 16

Gender: Female 

Race: Hispanic White 

Location: Thorpe Bay, England 

Psychographic: Mainstreamers and Succeeders 

Interests: Reading, Baking, Singing 

How often do you watch music videos: A lot 

What do you like most about music videos: The story that’s shown 

What platform do you listen to music on: Spotify 

MITCHELL ROGERS

Age: 17

Gender: Male 

Race: White 

Location: Eastwood, England 

Psychographic: Explorers, Strugglers, Reformers    

Interests: Music, Rugby, Parties, Superheroes 

How often do you watch music videos: From time to time 

What do you like most about music videos: Give more of an insight to the lyrics of the song and what they may represent to the artist. They 

show how the artist feels when writing a song or what they

went through to create their song

What platform do you listen to music on: Spotify 

ASHNA KHODABUX 

Age: 20

Gender: Female 

Race: Brown 

Location: Exeter, England 

Psychographic: Explorers and Reformers 

Interests: Art, Jewellery Making, Shoes

How often do you watch music videos: Rarely 

What do you like most about music videos: When there is a story line

What platform do you listen to music on: Spotify 

WILL WILSON 

Age: 20

Gender: Male 

Race: White 

Location: Wales 

Psychographic: Reformers and Mainstreamer 

Interests: Rugby, Gym, Cars 

How often do you watch music videos: Never 

What do you like most about music videos: Does not 

watch music videos 

What platform do you listen to music on: Spotify 

ADNAAN KHODABUX

Age: 22

Gender: Male 

Race: Brown  

Location: Southend-On-Sea, England

Psychographic: Reformer 

Interests: Gaming 

How often do you watch music videos: Rarely 

What do you like most about music videos: Girls

What platform do you listen to music on: iTunes 

ANWEN SLEATH

Age: 20

Gender: Female 

Race: White 

Location: Exeter, England / Wales 

Psychographic: Succeeders and Explorers 

Interests: Documentaries, Fashion, Art, Socialising 

How often do you watch music videos: Not Often, only watch them if they are popular or if it’s the music I like  

What do you like most about music videos: The aesthetics, likes to visualise the song 

What platform do you listen to music on: Spotify 

Secondary Audience 

NABIL BACHRI

Age: 44

Gender: Male 

Race: Brown

Location: Southend-On-Sea, England 

Psychographic: Succeeders

Interests: Music, Sports and Cars 

How often do you watch music videos: From time to time 

What do you like most about music videos: The storyline and the outfits 

What platform do you listen to music on: YouTube

JAMIE VINCENT 

Age: 13

Gender: Male

Race: British White

Location: Southend-On-Sea

Psychographic: Mainstreamer

Interests: Gaming and Drawing 

How often do you watch music videos: Never 

What do you like most about music videos: The Music

What platform do you listen to music on: Spotify 

Planning: Reflection on moderators report

Music Video:

1. Clear focused research, detailed planning, attention to detail and a strong, sustained central concept based solidly on the requirements and details of the brief, as reflected in focused, unambiguous Statements of Intent

2. Make sure there is an excellent level of convergence and synergy across both products

3. Follow conventions and create messages through by example the costumes 

4. There had to be a clear sense of branding across the two elements of the cross-media production

5. The best work emphasised the performance aspect, filming the artist performing the track a number of times in different locations with different mise-en-scene and utilising a variety of camera shots and movement

6. Make sure editing matches the pace of the track

7. Show clearly how two social groups are represented

8. Don't use simplistic narratives, consider the content/mood/tone of the track 

9. Videos of actors holding hands walking away from the camera should be avoided 

10. Vertical mobile footage should be avoided at all costs 

Online Products:

1. Go beyond the brief, in terms of the amount of material included, in visuals and copy 

2. Best sites exhibited effective, bespoke photography and copy, often capturing a tone appropriate to the needs of the intended audience, with a degree of sophistication being clear (as well as a wide range of representations)

3.  Original backgrounds and layout elements that showed a degree of creativity

4. Consistent Branding 

5. Build the website around the artist, not the song

6. Links between the two products needed to be stronger than just placing the product on the website and listing social media in order

7. Examples of tweets, or Instagram posts, a newsletter, examples of merchandise for the brand, or discussion of other products available to buy such as tracks, tour books, subscriptions 

8. Even pages with visible menu bar 

9. Relevant media industry context in this case, Universal Music Group 

10. Produce own contents 

Digital Convergence: 

1. Mention the website 

2. Link it directly to other products 

3. Logo on website must match those on other products 

4. Use the same actors/models in both products

5. Mention the features of for example to website in the other product 

6. Coherent branding and synergy effectively engaging and giving sustained and insightful meaning for the audience across both products 

7.  Use of imagery/ logo/ models/ colours/ themes across products clearly demonstrated that the overall branding had been considered 

8. Use of cross-media links

9. Consideration of how to interact with the target audience 

10. Develop further than shared fonts and colour schemes 

NEA Brief : Music Video