After textually analysing a number of existing music videos - both within and external to our genre - there were many prominent characteristics which were common amongst the dance styles. For example, the use of bright colours and movement. We incorporated these aspects strongly throughout our visual, for instance, our main motif was the use of powder paint which we maintained by intertwining it with the use of movement in the form of having a powder paint fight, smashing plates with paint on them and splashing paint at the actors' faces, creating an abstract effect. This is where we really use the current conventions of dance music videos to our advantage, as the audience are able to identify it as such due to the recognisable features. Additionally, these constructions support Firth's 1998 theory in that they follow his 3 categorisations; concept, performance and narrative. An example of a concept music video is 'Here It Goes Again' by 'Okay Go' through their concept of treadmills and routine.
An example of a narrative music video is Taylor Swift's 'Everything Has Changed':
An example of a performance video is 'Love on Top' by Beyoncé:
Our concepts are colour and movement, which link to the performance element within our video - the lip-synced shots and the narrative which binds this together follows a love/relationship theme. It is clear to see from the examples above, as well as our finished product that we successfully combine all three of categories proposed by Firth.
Additionally, with reference to Goodwin's music video theory, our music video conforms to many of the features he posited as essential for a strong music video. For example, the relationship between the visuals and the lyrics were very strong in that the entire narrative was based around the central question in the song, 'can you love me again?'. Further to this, the relationship between the visuals and the audio clearly linked together through the employment of quick, choppy cuts when the pace of the music was upbeat and fast, for example, the quick-fire mash-up of close-up shots we used in the build up to the main chorus. When the music slowed down or thinned out we would use quieter cuts and softer transitions accordingly, so within our music video, the bridge is softer which meant we used slow motion and over-layed shots (shown in the screenshot to the right below). This was a convention of dance music videos that we definitely wanted to maintain rather than develop or challenge, as it means the action within the video always matches the pace of the song and is therefore easier for the audience to engage with.
Furthermore, we also developed some of the more generic trends of dance music videos, putting our own twist onto them. A specific example of this within our production was the underlying theme of love and relationships, of which the development of which was inspired by the generally reckless way love has been represented in modern music videos, for instance, through two strangers kissing in a club or a group of girls dancing around a male figure. These kinds of representations have emerged in many mainstream artist's music videos; Robin Thicke's, 'Blurred Lines' created much controversy surrounding its voyeuristic attitude to women and the links it made to dominance of men over the female body.
Another example comes from Beyoncé, which is surprising granted the messages she usually puts across in her songs are to do with independence and not needing a man to rely on. However in her video 'Single Ladies' she clearly undertakes many sexualised movements.
These attitudes perhaps reflect the effect the music can have on the audience, giving you a sense of new found energy and drive. However, this was not something we wanted to pursue due to the negative effects surrounding the topic, however we still wanted to employ love as a theme somehow. Consequently, we developed this form by demonstrating how a young couple work through their difficulties, highlighting qualities including forgiveness and perseverance. We constructed this idea using our concepts, but ultimately it was the narrative we mostly developed as a convention; it helped provide a structure in which we could template the rest of the project around.
Finally, as well as using and developing existing forms and conventions of real media texts, we additionally seized opportunities to push the creative boundaries and challenge the above. One way we did this was through the idea that within our genre, young people are often associated with alcohol, drugs, parties and a general lack of care or control. As a result, we decided not to include any of the former within our piece and instead find more artistic ways in which we could move away from these negative connotations. This allowed us to focus on constructing a more light-hearted, metaphoric representation of growing up rather than reckless escapism.
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