For our coursework, we have decided to create a music video, with an Indie/Folk style genre. We decided upon this because this is where we feel our group will excel the strongest.
The plot for our music video is currently very vague, as we have decided that our video will be experimentally based. Together we have devised a list of locations for the setting(s) of our video, once filmed we will then devise a plot throughout the period of editing.
Originally, we were going to start the video with slow paced editing, showing quick shots of all our locations, although after looking into the lyrics and the meaning behind them, we feel that beginning the video with an abrupt and sudden start will link in a lot better.
A lot of music videos tend to follow the typical narrative theme of a beginning, middle and end. For example, JoJo – Too Little Too Late (see video below), this is a video that starts with the artist telling the story through the lyrics i.e. the girl has been cheated on and messed around, the story then progresses i.e. we find out what happened between the couple and then the video ends i.e. the boy is rejected and the girl gets satisfaction – with the moral being ‘Too Little Too Late’. I recognize this because the video follows the typical narrative structure.
An example of a music video that doesn’t follow the typical narrative structure and is very similar to something that we are looking to create is A & E by Goldfrapp. This video is very strange and doesn’t follow a particular order, or even link in with the lyrics. It is experimental and doesn’t consist of a firm beginning, middle or end.
Narrative = the way events are put together to be presented to an audience.
There are various theories that we could potentially follow regarding the narrative structure of our video:
Propp – a formalist scholar who analyzed the basic plot components of texts to identify their simplest irreducible narrative elements. He was a strong believer in that the narrative of most media texts always consist of 8 main characters;
1. The villain — struggles against the hero.
2. The donor — prepares the hero or gives the hero some magical object.
3. The (magical) helper — helps the hero in the quest.
4. The princess and her father — gives the task to the hero, identifies the false hero, marries the hero, often sought for during the narrative. Propp noted that functionally, the princess and the father can not be clearly distinguished.
5. The dispatcher — character who makes the lack known and sends the hero off.
6. The hero or victim/seeker hero — reacts to the donor, weds the princess.
7. [False hero] — takes credit for the hero’s actions or tries to marry the princess.
Todorov – another whom suggests that all narratives follow a three part structure. They begin with equilibrium, where everything is balanced, progress as something comes along to disrupt that equilibrium, and finally reach a resolution, when equilibrium is restored. This simple formula can be applied to virtually all narratives - it is a more formal way of thinking about the beginning, middle and end, and it takes into account Aristotle's theory that all drama is conflict i.e. there is a disequilibrium at the heart of every narrative.
Barthes' (Enigma Code) – The narrative will establish enigmas or mysteries as it goes along. Essentially, the narrative functions to establish and then solve these mysteries.
Levi-Strauss' (Binary Opposition) – Narrative tension is based on opposition or conflict. This can be as simple as two characters fighting, but more often functions at an ideological level – e.g., in Westerns, what do the cowboys and Indians each represent?
After researching into all the various theorists and types of narrative, we have come to the conclusion that we won’t be following any of these structures, as our video will all be Experimental.
By Lauren Widdop
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