When considering the key features of a music video, Andrew
Goodwin, Dancing in the Distraction Factory (1992) identified a number of
conventions which can be applied to the music video ‘Celestine’ by Spector, directed
by Jed Cullen & High 5 Collective in 2012.
Firstly he stated that music videos demonstrate genre
characteristics. This video could be categorised as being in the indie rock
genre. It is conventional in that it used a fast cutting rate in the introduction
and choruses, often in time with the music. These quick shots often showed
close ups of the band members playing their instruments, as well as long shots
of the entire band. Both of these shots are used repeatedly throughout the
video, as well as mid and long shots of the individual band members. This is
another technique used in many indie rock videos. The costume and non-verbal
language of the artist are fairly conventional for an indie rock video. For
example, each band member is wearing smart-casual style costume in dark colours
throughout all of their different costumes during the video. The long shot of
the entire band and individual members performing includes little movement and
they generally remain fairly static. Both this and their costumes are
conventional traits of indie music videos. Finally, the majority of the video
shows the performance of the song and does not have a clear narrative. Throughout
the video, shots of a dog the band are used to break up the performance,
although no clear story is presented in the video.
Goodwin discussed the relationship between lyrics and
visuals. In relation to ‘Celestine,’ it is clear that there is a disjunctive
relationship between the lyrics and visuals. The video is mainly made up of the
performance of the song, but the narrative aspect of the video includes the
lead singer sitting in a chair combing his hair as well as shots of the band
playing with a ribbon and a dog. As well as having no story, these shots have
no relevance to the lyrics in the song meaning the relationship between the
lyrics and video is disjunctive. He also considered the relationship between music and
visuals to be an important convention. In ‘Celestine’ the cutting rate of the
video is often in time with or reflective of the music. For example, the
introduction shows a fast cutting rate in time with the music, similarly to the
chorus which also uses a fast cutting rate. In contrast to this, the verses and
bridge section use a slower cutting rate, which is representative of the music
at these points of the song. Also, at points where the music builds up or get
louder, such as before each chorus, a short sequence of quick shots is used. This
proves that there is a illustrative or amplified relationship between the music
and videos.
He made reference to the notion of looking. There are
regular shots throughout the video of each band member performing on their
instrument whilst watching themselves in a mirror. In these shots, the other
band members can often be seen in the mirror by the band member, positioning
them and the audience as though they are watching them. The notion of looking
is also used as the lead singer often looks into the camera as he is singing.
Music videos are a postmodern form which implies that they
often borrow and rework ideas from other texts and forms. The video for
‘Celestine’ used intertextuality in the form of pastiche as the props used in
the video are 1950s style, for example the comb the lead singer uses and the
band’s hair styles. Other props such as the mirror shown throughout the video
are also dated.
Firstly he stated that music videos demonstrate genre
characteristics. This video could be categorised as being in the indie rock
genre. It is conventional in that it used a fast cutting rate in the introduction
and choruses, often in time with the music. These quick shots often showed
close ups of the band members playing their instruments, as well as long shots
of the entire band. Both of these shots are used repeatedly throughout the
video, as well as mid and long shots of the individual band members. This is
another technique used in many indie rock videos. The costume and non-verbal
language of the artist are fairly conventional for an indie rock video. For
example, each band member is wearing smart-casual style costume in dark colours
throughout all of their different costumes during the video. The long shot of
the entire band and individual members performing includes little movement and
they generally remain fairly static. Both this and their costumes are
conventional traits of indie music videos. Finally, the majority of the video
shows the performance of the song and does not have a clear narrative. Throughout
the video, shots of a dog the band are used to break up the performance,
although no clear story is presented in the video.
Goodwin discussed the relationship between lyrics and
visuals. In relation to ‘Celestine,’ it is clear that there is a disjunctive
relationship between the lyrics and visuals. The video is mainly made up of the
performance of the song, but the narrative aspect of the video includes the
lead singer sitting in a chair combing his hair as well as shots of the band
playing with a ribbon and a dog. As well as having no story, these shots have
no relevance to the lyrics in the song meaning the relationship between the
lyrics and video is disjunctive. He also considered the relationship between music and
visuals to be an important convention. In ‘Celestine’ the cutting rate of the
video is often in time with or reflective of the music. For example, the
introduction shows a fast cutting rate in time with the music, similarly to the
chorus which also uses a fast cutting rate. In contrast to this, the verses and
bridge section use a slower cutting rate, which is representative of the music
at these points of the song. Also, at points where the music builds up or get
louder, such as before each chorus, a short sequence of quick shots is used. This
proves that there is a illustrative or amplified relationship between the music
and videos.
He made reference to the notion of looking. There are
regular shots throughout the video of each band member performing on their
instrument whilst watching themselves in a mirror. In these shots, the other
band members can often be seen in the mirror by the band member, positioning
them and the audience as though they are watching them. The notion of looking
is also used as the lead singer often looks into the camera as he is singing.
Music videos are a postmodern form which implies that they
often borrow and rework ideas from other texts and forms. The video for
‘Celestine’ used intertextuality in the form of pastiche as the props used in
the video are 1950s style, for example the comb the lead singer uses and the
band’s hair styles. Other props such as the mirror shown throughout the video
are also dated.
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