1401764
Descrição
Mapa Mental por danielbruce22, atualizado more than 1 year ago
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Criado por danielbruce22
mais de 9 anos atrás
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Narrative and Performance
- Narrative in songs, as in poetry, is rarely complete and often fragmentary (David
Bowie is renowned for writing words and then jumbling them up sporadically to
create his lyrics). The same is true for music promos , which tend to suggest
storylines or offer complex fragments in a non-linear order, leaving the viewer
with the desire to see them again.
- Often, music videos will cut between a narrative and a performance of the
song by the band. Additionally, a crefeul choreographed dance might be a
part of the artist’s performance or an extra aspect of the video designed to
aid visualisation and the ‘repeatability’ factor. Sometimes, the artist
(especially the singer) will be a part of the story, acting as a narrator and
participant at the same time. But it is the lyp sync close-up shots and the
miming of playing instruments that remains at the heart of music videos.
- The video allows the audience more varied access to the performer
than a live stage performance can. The close-up, allowing the eye
contact and close observation of facial gestures, and role play,
within a narrative framework, present the artist in a number of
ways not possible in a live performance. The mise en scene in
particular can be used:
- As a guarantee of ‘Authenticity’ of a band’s musical
virtuosity by showing them in a stage performance or a
rehersal room
- To establish a relationship to familiar film or TV genre in a
narrative based video.
- As part of the voyeuristic context by suggesting a setting associated with
sexual allure, such a s a sleazy night club or boudoir.
- Or as John Stewart from the Oil Factory
suggests, to emphasise an aspirational lifestyle.
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