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.