Treatment (My ideas)

Song title: “Say it isn’t so ”
Genre: Alternative rock

Lyrics

Say it isn’t so
Oh how you love to come to me
Never let it go
Take it all away from me

I see you
And I feel you

Say it isn’t so
Oh how you love to make me cry
Gonna go and leave this
I’m not even gonna say goodbye

I see you
I miss you

Say it isn’t so
You can let me go

I smell you on my clothes
I feel you on my skin
I see you where I go
I see you from within

Say it isn’t so (x4)

Ideas/concepts

In my opinion the lyrics (as seen above) of my chosen song are somewhat ambiguous and therefore open to interpretation. I perceive the song to be about a destroyed relationship where the speaker is expressing his emotions towards a lover who has betrayed him.

It is evident that the speaker is in denial as highlighted in the undisclosed rhetorical question: “Say it isn’t so”. I believe that the speaker is tormented by his memories of his lover as connoted in the lines: “Oh how you love to come to me”, “I see you”, “I smell you on my clothes”, “I feel you on my skin” and “I see you within from within”. Although, the speaker gives the impression that he does not desire to be haunted by his lover (“You can let me go”), in my opinion , the use of the word “can” gives his lover the power to choose whether to free him from his psychological turmoil. This is very revealing as the speaker could have simply commanded his lover to “let” him “go” – perhaps the speaker may not want to be completely freed from his memories as they are all he has.

In my music video, I plan to incorporate the suggested connotations of psychological conflict that are embedded in the lyrics of my chosen song. I hope to achieve this by utilising flashbacks in the narrative of my music video, where, I will purposely create contrasting atmospheres by juxtaposing the speakers past memories that occur before he is betrayed (happy) and the speaker’s current emotions of anguish, frustration and emptiness. In my music video, the ambiguous betrayal will take the form of the speaker’s lover cheating on him - the ultimate betrayal. This provocative narrative component as well as the psychological conflict alluded to in the lyrics of the song, will aide me in creating a gritty and emotionally captivating music video - fulfilling my artistic vision as highlighted in my brief.

I may also incorporate a dream sequence at the beginning of my music video which will depict the speaker (protagonist) and his lover being separated, with his lover ultimately abandoning him for someone else (a figure who resembles the person that his lover had an affair with in reality). This powerful structural device where the protagonist’s metaphoric dream mirrors his reality will add a symbolic dimension to my music video. I believe the inclusion of the described dream sequence (see above) will simultaneously allow me to address two key concerns identified in my audience research. The first of which was a criticism of alternative rock music videos, where approximately 33% of my respondents (see graph 4 in my “Graphs denoting the results of my questionnaire....” post) felt that music videos rooted in this genre were not depth filled enough to warrant multiple viewings. The second issue raised by my audience research related to my audience’s preferences where approximately 17% of my respondents stated that they had an expectation regarding the presence of symbolism (see graph 7) in an alternative rock music video.

Furthermore, I feel that the dream sequence will not only add symbolism and hence depth to my music video, but the surreal aspect of the dream sequence will highlight my protagonist’s psychological conflict. In summary, the inclusion of a dream sequence will allow me to address my audience’s concerns (as already discussed) and fulfil my brief by dramatising my protagonist’s turmoil, thus ensuring my music video is emotionally captivating (a key aim identified in my brief).

My mood board

The most prominent themes that my music video will focus on include: past happiness, the present loneliness/ isolation and the subsequent psychological turmoil resulting in anger, pain and anguish. I feel these themes are embedded in my mood board (see below). Please note that it is possible to enlare my moodboard by a simple mouse click.



Other Inspirational influences

Edgar Wright





I find Wight’s innovative, refreshing and unconventional approach to filmmaking very inspiring. Wight’s defined style juxtaposes contrasting genres and elements in order to create a unique brand of hybrid films. In the same vein, I hope to juxtapose traditional conventions found in alternative rock music videos with the unconventional surreal elements which I plan to incorporate in my symbolic dream sequence.

I will draw particular inspiration from specific scenes in Wright’s 2010 film: “Scott Pilgrim Vs the World”, where the character of Romana Flowers is portrayed through a metaphoric entity in various dream sequences. The vibrant eye popping colours used in the dream sequences firstly, established that these dream sequences are not part of the “reality” of the film and secondly, enforced the narrative element that this girl is literally the girl of his dreams. Similarly, I will try to use my dream sequence to emphasise the fact that the speaker’s lover has abandoned him (a key narrative component). I believe that the use of vibrant colour in the dream sequence (at the beginning of my music video) will instantly capture my audience’s attention.

A key characteristic of Wight’s style is his use of both fast cuts and jump cuts which may prove useful as an editing style; especially during the breakdown in my chosen song, where the instrumentation becomes fast paced, in which an electric guitar is overwhelmingly prominent. In my opinion, the combination of fast cuts and jump cuts in conjunction with the overwhelming presence of an electric guitar (during the breakdown of my song) will allow me to provide my audience an insight into the psychological turmoil of my protagonist.

Furthermore, the experimental style of Wright’s artistic approach is not dictated by commercial expectations. Likewise, my music video will also not be shaped by mainstream attitudes as suggested by my method of distribution (online) meaning that my artists and I can create a music video with a good degree of artistic freedom.

Tim Burton




I am also influenced by the dark, morbid and haunting imagery employed by Tim Burton. I plan to draw inspiration from Burton’s provocative style in order to fully capture the loneliness, isolation, anguish and desperation of my protagonist.

I feel my music video’s use of “Wright-like” elements (vibrant eye popping colour) and “Burton-like” elements (dark and provocative imagery) will create a contrast thus fulfilling Levi Straus’ theory of “Binary Opposition”. This contrast will further highlight my protagonist’s psychological dichotomy.

Michael Jackson



I believe that Michael Jackson was the most innovative force that the music industry has ever witnessed in relation to music video production. Jackson is synonymous with elaborate and depth filled music videos which were not only driven by complex narratives, but were also intertwined with symbolism. Jackson’s employment of sophisticated narrative elements meant that his music videos could be classified as short films. I plan to draw inspiration from Jackson’s narrative approach to music videos by including a symbolic dream sequence (as already mentioned) as well as flashbacks in order to effectively communicate my intended narrative.

John Keats



One could argue that my interpretation of my chosen song (a tortured lover who is haunted by the memories of his lover, who has betrayed him) has many parallels with Keat’s 1819 poem “La Belle Dame Sans Merci” (the beautiful lady without mercy). I believe that keat’s poems is very multilayered and ambiguous, where although many readers adopt an anti-feminist approach, leading them to interrupt the poem’s narrative to detail a knight who has been seduced and abandoned by a temptress , I feel that a psychoanalytical reading is equally as valid. When applying a psychoanalytical perspective, one could interrupt the “La Belle Dame” (the beautiful woman) of the poem to actually be an extended metaphor examining the human imagination – a key Romantic concern. If one adopts this approach, the knight’s obsession with the “lady” in the poem, becomes an obsession with an imagined experience, a lady who is essentially a symbol of the knight’s perception of perfect a love. The fact that the speaker describes the lady as a “faery child”, combined with Keat’s use the of supernatural imagery (“elfin grot” and “faery's song”), as well as the fact that once the speaker wakes up (after being “lulled” into a sleep by the lady), only to find that the lady is gone, suggests that the knight’s encounter with the beautiful woman in the poem was an imagined experience (a dream) and not reality.

In a similar manner, I want my music video to be multilayered, where many different readings are equally plausible. I also plan to explore the Romantic concern of the human imagination through my incorporation of flashbacks and a dream sequence (as previously discussed). I believe this would add to the psychological nature of my music video, where one could argue that my protagonist (who I am planning to represent as an alcoholic) cannot be relied on to provide an accurate account of his failed relationship. One could further develop the idea of the protagonist being unreliable by suggesting that perhaps his relationship is a product of his drunken imagination and that it never existed at all. I hope the various interpretations behind the multilayered concept of my music video will add depth and ultimately warrant multiple viewing – lack of depth was a key concern highlighted in my audience research.

What will I need?

Actors

I will need three actors:

• Two male actors (the protagonist and the character with whom the female has cheated with)
  



• A female actress (the protagonist’s lover who cheats on him)
  

I have already engaged in discussions with possible actors. I am confident that these individuals are both enthusiastic and reliable and as a result should not cause me any major problems during the filming of my music video.

Props

The props I may need are as follows:

• Past Photos of the protagonist and his lover that I will use as a mis en scene element (I plan to prepare these photos with my actors before the shoot)
  



• A smoke machine that I plan to use during the dream sequence in order to enhance the surreal nature of this sequence (one of my actor’s possess a smoke machine and should be able to bring it for the shoot.
  



• A guitar that will be used as a mis en scene element (I will try and borrow an electric guitar from one of my friends)
  



• Posters will be used as a mis en scene elements which will serve as intertextual references (I will have to source/buy these before the shoot.
  



• A red rose which I may use as a symbol of the protagonists dying love (which I will have to buy the day before the shoot)
  



• I may possibly need bed/bedding depending on the final decision regarding the locations I may chose (I will source these if needed)
  



• I will most likely use empty beer cans/ bottles as mis en scene elements which depict the extent of my character’s desperation to escape his reality (I will raid the local recycling bins)
  



• I will most likely need general rubbish/clutter as a mis en scene element that will reflect the confused state of mind of my protagonist (I will have to source this rubbish but will probably be able to use some material from my household)
  
  

Other decisions that I need to make

• Where I am going to film my music video (filming locations)
  




• What clothing my characters are going to wear (costumes)

What will be the challenges and how I will overcome them?

One of the main challenges I will face stems from trying to capture my artistic vision. I realise that my inspirations (Edgar Wight, Tim Burton and Michael Jackson) are all experienced professionals who are giants in their respective industries, whose budgets are not as painfully limited as mine (a humble media students). As a result, I may not be able to create the lighting effects I fully desire; although I will try my best to create my desired lighting by looking for affordable alternatives.

However, I may be able to employ post production effects whilst editing my music video in order to achieve my desired atmospheric lighting. On the other hand, this would pose its own challenges, as although, I am using a more sophisticated editing software package this year (“Final Cut Express”), I will still need to further develop my editing skills, in order to construct the various different aspects of my music video (the dream sequence, flashbacks, dark atmosphere and the visual representation of my protagonist’s psychological turmoil).
Notably, my concept for my music video is ambitious in its complex nature and therefore will demand precision in planning and organisation in order to fulfil my artistic vision.

Justification (theory)

Levi Straus’ narrative theory of “Binary Opposition”

I plan to use Levi Straus’ narrative theory of “Binary Opposition” as a fundamental device in reinforcing the narrative of my music video. My music video will fulfil this narrative theory by aiming to establish a contrast between the speaker’s past memories (conveyed through the use of flash backs) which were filled with happiness and his current feelings of loneliness and despair.
I will further build on this contrasting dynamic by utilising bright vibrant colours (during flash-backs) and dark lighting (when depicting the present). I believe this will powerfully reflect my protagonist’s spectrum of emotions during the different times in his life, thus giving my audience a valuable insight into the extent of my protagonist’s psychological torment – he is desperate to forget his past but is unable to do so.

I may also decide to manipulate the shots of my protagonist so that they are presented as black and white images. I feel this absence of colour would effectively highlight my protagonist’s bleak situation, which I believe can only truly be appreciated when compared to the surreal colours present in the dream sequence (at the beginning of my music video). Notably, if I did decide to manipulate the images of the protagonists (into black and white images), it would allow me to establish a sharper contrast, where the juxtaposing elements of my music video would consist of vibrant colours and an absence of colour instead of vibrant colours and a lifeless colour palette (blacks and blues).This would also conveniently solve some of my lighting concerns (as mentioned above).

Laura Mulvey’s theory of the “Male Gaze”

In my music video, my representation of the protagonist’s lover would somewhat conform to Laura Mulvey’s theory of the “Male Gaze”. The fact that the female protagonist has used her sexuality to mislead the male protagonist means she could be classified as a sexual temptress – a key characteristic which would fulfil the role of the “whore” as identified in Mulvey’s theory.

However, I will not conform to the stereotypical external appearances (provocative clothing, sustained use of the colour red) of the “whore” as suggested by Mulvey’s theory. I believe such representations are not necessary as they are outdated, cliché and sexually objectify women. As a result, I believe this representation would needlessly alienate potential female viewers as it is not relevant in the context of my music video.

Goodwin’s key principles regarding music videos

My alternative rock music video will have a strong relationship between its visuals and the corresponding lyrics of my chosen song – one of the principles of Goodwin’s ideology regarding music videos. As I previously mentioned the lyrics in my song evoke connotations of a psychological dichotomy where although, the protagonist is tormented by his past, he is incapable of moving on. I plan to illustrate the speaker’s obsession with his past by employing continuous flashbacks throughout my music video. I will further amplify the psychological conflict alluded to in the lyrics visually by using atmospheric lighting and post production effects (as discussed above).

I am also planning to illustrate a meaningful relationship between the music of the song and the corresponding visuals in my music video – another feature identified by Goodwin.
I will achieve this by adopting an editing style which reflects the compositions of my song. For example, during the breakdown in my chosen song, where the instrumentation becomes fast paced, I will increase the pace of my editing by employing a combination of fast cuts and jump cuts (as discussed above).

I may also incorporate intertextual references in to my music video via posters and possibly some dialogue (I have yet to reach a decision on how to do this). Notably, intertextual references will give my music video more depth and would subsequently increase the likelihood of my music video being deemed worthy of multiple viewings (a criticism highlighted in my audience research).

Research and a deconstuction of Likin Park's "The Catalyst

Please note that the irregular spacing present in this post are due to technical inconsistencies in bloggers formatting, which I have been unable to correct.

Despite having already deconstructed Michael Jackson’s “Thriller” music video, I feel it is crucial to also deconstruct a music video which belongs to the alternative rock music genre.

Summary of research

Whilst researching and examining pre-existing rock music videos, such as Slash’s “Back to Cali” (2010), Linkin Park’s “Faint” (2003) and Grenday’s “Do you know your Enemy” (2009), I realised that all of the above music videos were entirely performance based. I also found that other music videos incorporated more sophisticated concepts that exist alongside the performance based elements of their music videos. For example: Guns N’ Roses’s 2009 music video for “Chinese Democracy”, intertwines clips denoting war and conflict alongside the performance based elements of their music video. This use of juxtaposition gives their music video a political subtext, where the music video could be interpreted as a criticism of war, thus elevating the meaning of this concept based music video far beyond that of a music video that is entirely performance based.

My research highlighted that most alternative rock music videos were either performance based or concept based (which typically comprised of thematic imagery and various shots of the band performing the song).

I am currently considering the possibility of creating a narrative based music video as my research has identified a gap in the market. Furthermore, the results of my audience research (see “Graphs denoting the results of my questionnaire” post) illustrated that my participants were critical of alternative rock music videos for either lacking a narrative or not successfully communicating their narrative. This further reinforces that a narrative based music video would prove successful.

Whilst I am considering creating a narrative based music video, I have decided to deconstruct Linkin Park’s 2010 music video “The Catalyst” as I really admire its provocative and symbolic approach. As with “Thriller”, I will once again use Andrew Goodwin’s ideologies surrounding music video production in my analysis of “The Catalyst. True to Goodwin’s beliefs, Linkin Parks, “The Catalyst” embodies various genre characteristics of alternative rock music videos. These characteristics include an emphasis on the individual where the lyrics of the song highlight the significance of the individual who ultimately has the power to act as the “catalyst”, which sparks a change in society.

The following screen shots symbolically connote the band’s anger and frustration towards the passive individuals who fail to act, as well as the corrupt governments who are engrossed in waging war, whilst their own country is on the brink of destruction.

As seen in the above screen shots “the Catalyst” displays the extremity of emotions (anger, bitterness and frustration) that are synonymous with alternative rock music videos.
Yet another genre characteristic that “The Catalyst” conforms to is the presence of performance based elements in their music video. However, I feel it is important to note that when compared to the majority of other alternative rock music videos, the performance element does not overshadow the underlying concept of the video.

Screenshots denoting the performance based elements in the music video can be seen below.





“The Catalyst” also conforms to Goodwin’s belief that in a music video there is a relationship between the lyrics of the song and the subsequent visuals of the music video. For example: when the lyrics “when I close my eyes tonight/To symphonies of blinding light /God save us everyone” are delivered, the corresponding shots of the music video concentrate on Chester Bennington (a band member) who is submerged in water as seen in the screen shot below.

In my opinion, the above screen shot represents the act of baptism where Chester Bennington is trying to purify his soul and repent his sins in order to be accepted by the “symphonies of blinding light”, which I feel one could equate to heaven. The religious connotation present in the lyrics “God save us” and the above visuals of the band member submerged in water could also symbolise that humanity is lost and drown as a punishment” For the sins of our hand/For the sins of our tongue”

The religious connotations of the lyrics are further explored through the music videos theme of the apocalypse as seen in the screen shots below.

A post-apocalyptic city which has been abandoned



People fleeing in desperation




A member of the band in a pose that parallels Jesus on the cross

The Catalyst also illustrates a relationship between the music and its visuals as suggested by Goodwin. At approximately three minutes and eleven seconds the instrumental of the song changes, becoming much slower. This change is also reflected in the visuals of the video, where the pace of the editing is decreased and the shots are manipulated so that they are in slow motion.

Furthermore, “The Catalyst” also conforms to Goodwin’s theory as it has various close ups of the band members as seen below.

Whilst Goodwin believed these close ups are a product of the demands of the music industry, I believe these close ups are not only needed to promote public awareness of the band, but in this instance the close ups are employed in order to capture the anguish in the facial expressions, and are key in communicating the overall message of the music video.

Notably, “The Catalyst” concerns regarding the state of humanity, the apocalypse and its criticisms regarding nuclear warfare are motifs which reoccur throughout Linkin Parks, 2010 album: “A Thousand Suns”. It is also worth noting that each single from the album has had a very elaborate and distinct style. “The Catalyst” visual style is dark and pessimistic whereas, their subsequent single “Waiting For The End” is still pessimistic and shares the themes of the previous single, however its experimental futuristic visuals are in contrast to the realism of the visuals present in the “The Catalyst”. The reoccurring motifs in the album “A Thousand Suns” combined with each elaborate video symbolises the journey undertaken by Linkin Park in exploring the destructive nature of humanity.

In my opinion, the notion of looking as idenified by Goodwin , is clearly apparent in “The Catalyst”, where the sustained presence of smoke could suggest that society’s vision is distorted by the corruption in the world and we, as individuals, need to look past the smoke and see the truth.

The lyrics of the “The Catalyst” are multilayered, in that many of the lyrics that can be interpreted as alluding to the biblical concept of the apocalypse, can also be interpreted as alluding to the atom bomb, where the destruction caused by nuclear war is equated to the apocalypse. For example the lyrics: “Oceans bleed in to the sky” could be seen as a sign of the apocalypse or the devastation that can be caused by the atom bomb. The album’s Title “A Thousand Suns” is taken from the Hindu scriptures which states: “if the radiance of a thousand suns were to burst into the sky, that would be like the splendor of the mighty one”. The above quotation was made famous by the J. Robert Oppenheimer, who used it to reference his invention , the atom bomb.

Interview with a dedicated fan of alternative rock music videos (more audience research)

Despite having already collected quantitive data (generated by the results of my questionnaire), I decided to also gather qualitative, as I wanted to gather a more detailed response.

This qualitative research took the form of an interview with a fan of alternative rock music. The audio from the interview can be heard by clicking here

Graphs denoting the results of my questionnaire (30 responses) with added analysis and commentary

Graph 1

please note that all the following graphs can be enlarged by a simple mouse click.



As illustrated by graph 1, the majority (90%) of the respondents stated they would watch an alternative rock music video, with only 10% stating that they would not watch an alternative rock music video. This suggests that alternative rock music videos have a wide appeal and therefore are popular amongst those that completed my questionnaire (16-26 year olds).

Graph 2



As highlighted by graph 2, the majority (90%) either disagreed (approx. 83%) or strongly disagreed (approx. 7%) with the statement that alternative rock music videos are a dead or a tired art form. This suggests that most of my respondents are content with the current state of alternative rock music videos. However, it is notable that all of the respondents who expressed a disregard for the above statement selected “disagree” rather than “strongly disagree”, which indicates that although my responds may be content with alternative rock music videos, they may not be as satisfied as initially implied by the results.

As expected the number of respondents who agreed with the above statement correlates with the number of respondents who would not watch an alternative rock music video (see graph 1). Therefore, one could infer that the respondents who do not watch alternative rock music videos may not do so as they believe that the music videos of this genre are a dead or tired art form or alternatively this genre of music video may not reflect their preference in music videos.

Graph 3



I believe that it is fundamental to research (question) why my target audience consumes alternative rock music videos. I feel this is vital in establishing what my audience desires, which will ultimately, guide me in laying the foundations for the thought processes involved in the creation of my own music video.

In my opinion, the nature of this question also supports the “Uses and Gratifications Theory” which proposes that the audience (consumer) actively chooses to consume media in order to gratify their needs. My question relies on the assumptions of this theory, as it infers that my respondents are active in that they are fully aware of their needs and therefore would be able to provide me a good insight into what gratifies them in the context of alternative rock music videos.

One could argue that audiences, particularly the youth, are more active than ever due to the emergence of the internet where audiences are not bound by the limitations of mainstream media, meaning that the musical experiences of modern audiences are no longer dictated by commercial music video channels. As alternative rock music is often described as “the voice of the youth” (a key demographic for this genre), a demographic that is composed of individuals who actively utilise the internet in order to fulfil their musical needs. Therefore, the fact that my music video is targeted towards online consumption will most likely attract the active audience of the youth (the very people who responded to my questionnaire). This further emphasizes the relevance of my question, as surely my respondents (16-26 year olds) are active in that they should be fully aware of why they watch alternative rock music videos.

As demonstrated by graph 3, when asked “why do you watch an alternative rock music video”, the most favoured response was escapism (approx. 40%). This supports the stereotype that individuals who chose to consume alternative rock music videos are more in tune with their emotions. This further suggests that emotional content which subsequently leads to an emotional connection is paramount in gratifying the needs of my target audience. Furthermore, I feel it is important to ensure that my music video has an emotional dimension which would satisfy both my target audience and my artist’s desire for his music to be relevant, where he hopes that the audience can lose themselves in the emotional journey of the music video.

When reviewing these results, the emphasis on emotion complements a key aim outlined in my brief where I stated I wanted to produce an “emotionally captivating” music video. It is reassuring that my research shows that my target audience also value the significance of emotion.

The second most selected response in relation to why my respondents watch alternative rock music videos, was directed towards their faith in the artists (approx. 37%), thus indicating that my respondents believe that their chosen artists will produce a product which is of interest to them. It could be said that “The Uses and Gratifications Theory” can be easily applied to explain this response; as one could argue my respondent’s faith in their artist stems from their past experiences, where the artist has previously gratified their needs and as a result they have become conditioned to expect this gratification.

This response also reinforces the importance of brand longevity which links to Goodwin’s belief that the music industry (record labels) will encourage the artist to develop motifs (essentially building the foundation of a brand). My results support the significance of establishing an instantly recognisable product, that if liked will lead to a loyal fan base and subsequent profit thus confirming the importance of developing a defined musical experience (as previously discussed in my brief).

The remaining responses, which accumulate to (approx.23%), and comprise of personal identification (10%) and self-realisation (approx.13%), clearly shows the diverse needs of my respondents. This diversity can be explained by once again applying “The Uses and Gratifications Theory”, as my respondents are individual who all have different needs which I will try to gratify when creating my music video. It is clear that the success of my music video will lie in my ability to strike the right balance between these diverse needs, as it is impossible to fully gratify everyone.

Graph 4



As denoted by graph 4, 50 % of my respondents criticised the narratives of alternative rock music videos for either lacking a narrative or failing to successfully communicate their narrative. A further 33% (approximately) of my respondents criticised the music videos of this genre for their lack of depth. In response to these criticisms, I will try to incorporate a more defined narrative with a clear beginning, middle and end which may also have elements of symbolism as well as binary opposition in order to ultimately give the music video more depth. This will hopefully ensure that my music video has longevity in that it will warrant repeated viewings from my target audience.

The remaining responses criticised alternative rock music videos for being boring or predictable (10%) and for not successfully capturing the atmosphere of the song (approx. 7%). In response to the criticism that alternative rock music videos can be boring or predictable, I will try to incorporate fresh ideas and perhaps invert some of the codes and conventions of this genre (I have yet to decide on how to best achieve this).

Unsurprisingly, the criticism of alternative rock music videos for not successfully capturing the atmosphere of their respective songs was the least popular response (approx. 7%). When applying logic, if the music video does not evoke the song’s atmosphere (what I consider the most basic requirement) then why would anyone actually want to watch an alternative rock music video?

Graph 5




As depicted by graph 5, 60% of my respondents would prefer an alternative rock music video to adopt a style which consists of both abstract or atmospheric elements as well as narrative elements. In comparison, only 20% preferred an abstract or atmospheric style and only 10% preferred a narrative driven style in isolation.

When reviewing these results, it is noteworthy that my respondents place more emphasis on the need for an atmospheric music video rather than a narrative driven music video whilst they actually prefer to have both elements infused within an alternative rock music video. This shows that modern audiences are quite demanding and as a result I will try to incorporate both of the elements in my music video in order to satisfy my audience.

In my opinion, it is surprising that only 10% of my respondents would prefer a music video to be purely performance based. This indicates that modern audiences have evolved to the point where performance based music videos have become outdated and no longer fulfil the needs of modern audiences - they are a phenomena of the past.

Graph 6



When examining the results of graph 6, 30% of my respondents selected a tortured lover, who experiences emotional turmoil as they long for their love, as what they considered the most typical narrative of an alternative rock music video. Equally, a further 30% considered a narrative which depicts an individual lost in society as the most typical narrative of an alternative rock music video.

I am somewhat surprised by the high statistic in relation to the narrative depicting a tortured lover as being the most typical of alternative rock music videos. However, this result is reassuring as the lyrical content of my song can effortlessly convey this narrative. On reflection, the narratives involving a tortured lover and an individual who is lost in society can both simultaneously co-exist, in that the first narrative (tortured lover) may eventually lead to the second narrative (lost in society). This relationship could be a very interesting dynamic to explore when constructing my alternative rock music video which would hopefully optimise the satisfaction of my target audience.

The remaining responses, which accumulate to (40%), and comprise of an uplifting narrative (20%) and a narrative depicting acts of rebellion(20%), clearly illustrates that alternative rock music videos are experimenting with new and diverse themes in order to continuously maintain their audiences interest.

Graph 7




As demonstrated by graph 7, approximately 37% of my respondents expected the incorporation of dark imagery to be present in an alternative rock music video. This suggests that my target audience desires provocative and compelling imagery, which I will try and embed in to my music video in order to fulfil my audience’s expectations.

My research also highlights that approximately 26% (second highest response) of my respondents expected the presence of guitars to be incorporated into an alternative rock music video. It is revealing that although audiences would not be satisfied with a performance based video (see graph 6), they still associate guitars as an important mise en scene element associated with rock videos and by extension expect its presence in alternative rock music videos. I believe that the incorporation of a guitar in the mise en scene of an alternative rock music video is symbolic as it acts as a homage to the rock music genre, the origins of alternative rock music. I will try to incorporate the presence of a guitar as a mise en scene element in my video, even if it is not actually played.

It is notable, that 20% of my respondents expected the presence of atmospheric lighting, whereas approximately 17% felt that symbolism was the most expected mise en scene element in an alternative rock music video.

In response to the results of my questionnaire, I believe that all of the above mise en scene elements can co-exist within the same music video. As a result, I hope to incorporate as many mise en scene elements as possible within my video so that it is depth-filled and aesthetically pleasing to my target audience.
My research further links to Goodwin’s belief that there should be a relationship between the lyrics of the song and the complementary visuals when constructing a music video. For example the lyrics of alternative rock music videos often contain dark subject matter which is visually complemented by both dark imagery and dim atmospheric lighting which justifies the inclusion of the above options in my questionnaire.

My reasons for including symbolism as an option can also be justified by applying Goodwin’s principles regarding the relationship between the lyrics and visuals. The lyrical content of alternative rock music videos is often metaphoric or philosophical where visual symbolism is employed in order to emphasise the lyrics.

Graph 8



As the graph displays, the majority (approx. 60%) preferred a setting which involved multiple locations as the backdrop for alternative rock music videos. Whilst I will try and incorporate this preference in my music video, I realise that I may have practical issues where my ability to manipulate the environment may become difficult and time consuming.

The second most preferred option was an urban setting (20%), which I feel is effective as my audience can relate to this environment.

On the other hand, approximately 13% preferred an indoor setting in comparison to approximately 7% who stated they would prefer a rural setting.

Although, I will take into account the preferences of my respondents, I will need to reflect carefully on the choice of location before making a final decision.

Audience research (my questionnaire)

I decided to use a paper-based questionnaire as a means of collecting data regarding the expectations, demands, opinions and preferences of my target audience (individuals who consume alternative rock music videos). I felt that this method of data collection was the most appropriate as it would generate quantitative data which is objective and is therefore easy to analyse. My decision to employ a paper-based questionnaire as opposed to an online poll (achieved through a website like www.polljunkie.com) lies in the fact that my peers who chose to carry out online polls received limited responses after a reasonable period of time. As a result, I deemed a paper-based questionnaire, where I have full control of the number of responses generated within a set time period of my choice was both more practical and productive.

My questionnaire can be seen below:

Alternative rock music video questionnaire

Please answer the following questions by circling your preferred response.

1. Would you watch an alternative rock music video?

A. Yes
B. No

2. How far do you agree with the following statement: “alternative rock music videos are a tired/dead art form”?

A. Strongly agree
B. Agree
C. Disagree
D. Strongly disagree

3. Why do you watch alternative rock music videos?

A. Escapism ( I want to loose myself in the emotional journey of the song)

B. Personal identification ( I relate to the lyrics of the song and therefore find the music video therapeutic)

C. I have faith in the artiest/band that I listen to and therefore believe they will create a music video which I will find interesting

D. Self realisation (by exploring the themes of the music video I am able to better understand myself as a person)

4. Which one of the following criticisms do you believe are the most relevant to alternative rock music videos?

A. They are boring/predictable

B. They lack a narrative/ the narrative is not effectively communicated

C. They are not depth-filled enough to warrant multiple views


D. They do not successfully capture the atmosphere of the song

5. What style would you prefer an alternative rock music video to consist of?

A. An abstract/atmospheric
B. Narrative driven
C. A combination of the above
D. Performance-based

6. Which one of the following narratives do you feel are the most typical of alternative rock music videos?

A. A narrative which follows a tortured lover as they experience emotional turmoil as they long for their love

B. A narrative which depicts an act or acts of rebellion

C. An uplifting narrative

D. A narrative which depicts an individual being lost in society

7. What mise en scene elements would you most expect to be incorporated into an alternative rock music video?

A. The presence of guitars
B. The employment of dark imagery
C. The presence of dim atmospheric lighting
D. Symbolism

8. Which one of the following is your preferred location for an alternative rock music video?

A. A rural setting
B. An indoor setting
C. A urban setting
D. Multiple locations

My brief

I hope to produce a dark, gritty and emotionally captivating alternative rock music video. I believe the music video that I am going to produce would be best suited for online consumption as this would give me more creative freedom. This would mean that my music video would not have to completely conform to the stereotypical alternative rock music video which mainstream audiences have been conditioned to expect.

I believe that online distribution is a beneficial consumption method that will increase my artist’s exposure especially when considering the ever rising popularity of video streaming websites such as you tube who (according to a youth music survey commissioned by Marakesh Records in 2008) has soared into pole position (38%) as the default website that 16-24 year olds turn to for checking out new artists.

Notably, I believe that the notion of producing a music video that is directed towards on line consumption is both realistic and practical when considering my time and budget restraints.

My chosen artist

Name: Ryan Mills
Genre: Alternative Rock

My chosen artist (Ryan Mills) considers himself to be “a true artist” as he is not primarily concerned with profit but expressing himself “artistically”. However he realises that sometimes he may have to compromise on his creative vision as he acknowledges “he still has to make a living”.

Ryan creates music with the goal of producing something that his listeners can relate to. This stems from his primary belief that music loses all relevance and hence is not worth making if it fails to emotionally entice his target audience. Ryan is relatively new to the music industry and is looking to establish a unique identity or style which helps him capture the attention of alternative rock music listeners and subsequently separate him from what he describes as a “very competitive” and “overcrowded” music genre.

I feel that Ryan’s desire to establish a unique identity strongly links to Goodwin’s belief that the demands of record labels will often lead to an artist developing stylised motifs that reoccur throughout their music videos which essentially builds a brand to sell. My artist is fully aware that he has to create a recognisable brand in order to generate profit and ultimately “make a living”. However, he is determined to not get “lost” in his brand as he fears he may be reduced to nothing but a caricature where the expectation of his audience would dictate his work.

When discussing visual motifs with my artist I was thrilled to discover that we have a mutual enthusiasm for powerful imagery which we felt was crucial in emphasising the emotional journey of the song.

I plan to use the information I have gained from my discussions with my artist regarding his creative vision and attitude to music to inform my audience research. I will achieve this by including questions relating to why people watch music videos, their preferred conventions of alternative rock music videos and their opinions on the current state of alternative rock music videos.

Andrew Goodwin's identified music video conventions (Michael Jackson’s “Thriller”, 1983)

1. Music videos demonstrate genre characteristics (eg stage performance in metal video, dance routine for boy/girl band).

I decided to analyse Michael Jackson’s iconic 1983 music video “Thriller”, as I thought it would be interesting to explore the relevance of Andrew Goodwin’s ideology when applied to what is often cited as the “greatest music video of all time”.

Michael Jackson’s “Thriller” was considered revolutionary for its time as it was the first music video that combined high production values with a more complex narrative. “Thriller” further developed characteristics which Jackson had previously established in his earlier music videos (“Billie Jean” and “Beat it”) such as complex choreography and a more sophisticated narrative which subsequently defined Jackson’s later work, ultimately transforming the music video from a promotional tool into an art form.

In my opinion, Jackson’s unique use of production values (special effects), his signature choreography (synchronized dancing, the moonwalk and the anti gravity lean) and multi-layered narrative, has resulted in the creation of his own sub genre where a Jackson music video is instantly recognizable. This has resulted in Jackson’s audiences holding a high level of expectation regarding the inclusion of certain motifs in his later work, especially after the release of “Thriller”.

2. There is a relationship between lyrics and visuals (illustrative, amplifying, and contradicting).

True to Goodwin’s ideology, there is a complementary relationship between the lyrics of Michael Jackson’s “Thriller” and their corresponding visuals where the visuals illustrate the song’s lyrical content. For example when Jackson sings “You feel the cold hand and wonder if you'll ever see the sun” he adopts the physicality of a zombie and places his hands on his girlfriend’s back (as denoted in the screen below).

Another example where Jackson adopts his physically in order to visually illustrate the lyrics is evident when Jackson sings “You hear the door slam and realize there's nowhere left to run”. In this instance he swings around like a door hinge and assumes a pose where his arm is raised to metaphorically communicate a barrier (symbolizing a door)- as denoted in the screenshot below.


The lyrical content of “Thriller” contains various allusions to supernatural beings (werewolves, zombies etc.) and the horror genre in general. These lyrical allusions have a literal(visual) presence in the music video as highlighted in the screen shots below.

3. There is a relationship between music and visuals (either illustrative, amplifying, contradicting).

The complex composition of “Thriller” is multi-layered where each musical element complements the visuals of the music video but in a different way.

The instrumental of “Thriller” contains an underlying bassline which perfectly complements the choreography in the music video(as seen below).

“Thriller” also employs various eerie scores which are highly reminiscent of the horror movies released in the 1950s. These scores enhance the tension during the climaxes of the music video such as Jackson’s transformation (in the film) , Jackson’s “real” transformation and Jackson(now transformed) closes in on his girlfriend.

These moments can be seen below.

“Thriller” further amplifies its horror driven visual elements by the inclusion of appropriate sound effects such as wolves howling, creaking doors and footsteps which are embedded throughout the music video.

4. The demands of the record label will include the need for lots of close-ups of the artist and the artist may develop motifs which recur across their work (a visual style).

“Thriller” conforms to Godwin’s belief that the demands of the record label will include the need for many close ups of the artist (as seen below). This is vital in increasing the artist’s exposure and subsequent recognition ultimately leading to a increase in fans and hence profits.

As previously mentioned “Thriller” was a landmark video in Jackson’s career in which he established many motifs such as elaborate choreography, high production values, and elements of the supernatural as well as extended scenes where emphasis is placed on acting in order to create a more complex narrative. These motifs made a Jackson video instantly recognisable thus establishing him not only as an artist but a brand.

Jackson’s signature “crotch grab” (popularised by “Billie Jean”) was incorporated into “Thriller” as denoted below.

5. There is frequently reference to the notion of looking (screens within screens, telescopes, etc) and particularly voyeuristic treatment of the female body.

The notion of looking is clearly embedded within “Thriller”, as the initial events in the music video do not actually occur within the "reality" of the music video but exist only as part of a horror movie which is being viewed by a cinema audience that includes the protagonists (as seen in medium shot below).

Another reference to the notion of looking can be viewed below.

This screenshot denoting the theatre where the horror film was being screened references both the title of the music video and Vincent Price who later performs a spoken rap during the music video. The title display of the movie theatre serves as a clever introduction to the music video which invites the audience to watch (look).

In my opinion “Thriller” does not include voyeuristic treatment of women as the female character is portrayed as an innocent and weak damsel in distress who needs to be protected. When applying Laura Mulvey’s theory of “the Male Gaze” the female protagonist is portrayed as a “Madonna” rather than a “whore”.

However, the actress who plays Jackson’s girlfriend, Ola Ray (seen below) was Playboy’s playmate of the month in 1980 (3 years prior to “Thriller”), possibly influencing the decision to cast her thus indirectly suggesting an approval regarding the voyeuristic treatment of women.

When applying a feminist perspective, the fact that Ola’s character is not given a name further suggests her character is primarily there to be seen thus objectifying her.

6.There is often intertextual reference (to films, TV programmes, other music videos, etc).

“Thriller” bears many intertexual references to the codes and conventions of the horror genre and therefore could be seen as a homage to horror films , especially those from the 1940s and 1950s.

Sound effects such as wolves howling, approaching footsteps, doors creaking and the employment of reminiscent eerie horror scores as well as the inclusion of supernatural beings (werewolves and zombies) are all examples of typical codes and conventions of horror films which “Thriller” incorporates successfully.

The tittles of “Thriller” are coloured red (connoting blood) which is a well established convention used in the horror genre thus preparing the audience for what lies ahead.

Further references to the horror genre are clearly evident through the presence of classic horror movie posters as denoted in the screenshot below.

Jackson hired John Landis to direct “Thriller” after watching his 1981 film “An American Werewolf in London” and as a result the transformation of Jackson’s character (in the horror movie) bears similarities to that of David’s character in An American Werewolf in London”.

Yet another intertextual reference infused into “Thriller” is the inclusion of the line “see you next Wednesday” (a reoccurring joke which is present in many of Landis’ films) which is spoken by police officers in the horror movie that is being watched by Jackson.