Star Image Change- Azealia Banks

From Azealia Bank’s first music video ‘212’ she appears to be a very down to earth artist. The use of the mise-en-scene is very urban. By using a brick wall as the background and the having the star wearing casual clothing it makes her seem as though she is relatable. The lack of drastic makeup or hair styles also helps to create this image. The use of the almost jokey dancing, looks as though the artist is just having fun as opposed to making a serious music video. As this is her first music video this all works together to create her star image.  The use of the black and white also gives it a more stylistic look but also helps create the urban feel. The majority of the music video is filmed with close-ups or medium- close ups with the occasional medium long shot. This creates a more personal direct link with the audience.

Azealia Bank’s second music video for ‘Liquorice’ has a very different feel. This contrasts to her previous music video as this has a dramatic mise-en scene and a much more staged feel. It is clear that this music video has a much higher budget as the costumes and locations are extravagant. She artist also appears to have a much more sexualised approach as well as being more serious. This shows a complete change from her star image created by ‘212’. The majority of her music videos since ‘Liquorice’ have also seen this new star image be shown and maintained. Many artists do not normally have this much of a drastic star image change from one video to the next. One reason for this dramatic change could have been the success of her first single.

Voyeurism- Kanye West

The voyeurism seen in Kanye West’s ‘Gold Digger’ is different to that seen in Rihanna’s music video. The main reason for this is the difference it artist gender. In Rihanna’s music video she is seen is being sexually desirable and the central focus of the men in the video. However, in Kanye West’s video the women are seen as sexual objects as he is the main focus throughout. The use of the mise-en-scene helps to create this voyeuristic view of women. The use of minimal clothing that highlights the sexualised features and exaggerated makeup makes the women appeal to a male audience. The camera is also shot as if from a male perspective, which highlights these features. The use of fragmented shots of body parts also adds to this sexualised approach to the music video. Paralinguistic features have also been used to highlight this sexually desirable appeal to men. The use of the seductive looks and the poses also accentuates certain body parts. The female characters also often look directly into the camera through their lashes which is often seen as very sultry, flirty behaviour. Attention is also drawn to their lips which has sexual connotations. The men in this video are often very stationary which draws more attention to the female characters. This also shows they are more dominant as the women dancing around them. It is almost as though they are aiming to please the men. 

Chase and Status- Let You Go

There is clear intertextuality in the Chase and Status music video for ‘Let You Go’. The references are made to the TV chat show, ‘The Jeremy Kyle Show’. This video presents a spin off show called the ‘Patrick Chase Show’. We do not see the identity of the main character until he is revealed as the chat show host. This is a narrative based music video with no performance scenes. At times the sounds there are sound bridges from the narrative heard over the music.  The camerawork and framing used is very cinematic throughout.The artist isn’t seen throughout the music video. This is common for Chase and Status but it also means that their star image is not affected.

As the tension on stage builds so does the music until a fight finally breaks out on stage. This supports Vernallis’ theory of the video matching the music. The lyrics are also amplified by the visuals as they add a new meaning to them.  

Throughout the video the use of drugs is implied which is also hypocritical of the characters morals as he despises these on his show. The use of the canted angle and jolty movements is use to signify that the character is drunk or disorientated. The various disorientated shots also help to portray the lack of control over his body and actions. As the music builds the edits become quicker to match the beat..  The use of contrasting colours is very obvious. The bright colours on the show contrasts with the dull colours in the flat, car and club which signifies that these actions are wrong.  The use of the red lighting also signifies that these actions are immoral or forbidden. Once the character has carried out these actions he then shows up to the studio has his makeup done then goes back on stage. This could signify that we never really know what happens behind the scenes of these shows and after the camera stops rolling.

Beyonce- Naughty Girl

Beyonce’s music video for ‘Naughty Girl’ supports the ideas of Vernallis. The use of the cuts on the beat and the fragmented actions are shown throughout the music video. The actions are often disjointed which drives the video forward. This is a performance based music video with very little narrative. The dated style with a modern twist on the 1920’s style.

The use of voyeurism is also very clear. This is shown by the dance moves, with the use of mirrors and silhouettes and also by the use of slow motion. The lighting is also placed very carefully to accentuate certain features adding to her sexual appeal. The camera and framing also adds to the voyeuristic nature. The use of fragmented shots of body parts combined with the flirty and seductive actions gives Beyonce the sex appeal. Her slow exaggerated actions as she removes the coat also help to illustrate the lyrics. Although there is voyeurism it appears Beyonce still remains in control. Throughout the video everyone is focused on her and they are all situated below her. This has symbolises that she is more important. The use of the red dress and coat also stands out from the dull colours of all the other characters clothes. This also adds to Beyonce being the centre of attention throughout the video. . Beyonce is always seen as being very glamorous in all her music videos. This music video is no exception to this. Even when she is seen in soapy water she still looks very glamorous.

From the very beginning of the music video Beyonce has the male attention focused of her. During the dance routine she then takes control. When the men try to ‘show off’ on stage they manage to fail and fall over. This is all working together to create a powerful representation of women and a weak representation of men.  The men in the music video also appear as accessories to the star. An example of this is when a man lifts her off the piano.

Throughout the music video Beyonce makes direct eye contact with the audience. This creates a direct link with the audience. I also noticed that no other characters look directly into the camera; they all look slightly off stage. This means that there is no link between them and the audience. Their attention is then fully engaged by the artist. 

Pink - Please Don't Leave Me

The camerawork and editing in Pink’s music video for ‘Please Don’t Leave Me’ is very similar to that seen in a film. To begin with there is an extreme long shot which is used as the establishing shot; used to show the audience the setting. The use of seamless editing for the majority of the music video helps to portray the linear narrative. Although there are various fade transitions used to show the male character slipping in and out of consciousness. The wide range of shots and angles helps to show both the action as well as the emotions of the characters. This wide range, including the use of POV shots also makes the music video seem more like a film. This music video does not always edit on the beat which is less common in music videos. 

The linear narrative for ‘Please Don’t Leave me’ is very clear and amplifies the lyrics. This narrative based music videos shows Pink’s desperation and almost psychotic behaviour to not be left by her boyfriend. The narrative is almost like a nightmare as it begins normal and sane but soon begins to spiral into an almost surreal dreamlike nightmare. The setting and props also add to the surreal nightmare to help create the eerie feel to the music video. The music video is not purely narrative based it has some performance throughout which is important to have in a music video.

Pink’s performance is almost theatrical towards the end of the music video. She has exaggerated actions, which enhances the desperation and despair at the thought of him leaving. The use of the various ways to keep him seems almost immature and childlike but also adds a comic element. The use of marbles and dressing up also reflects this childlike immaturity which helps to show the extremes she will go to. 

Throughout this music video there is evidence of voyeurism. Her costumes show this as she is wearing revealing costumes throughout the music video. Her dancing when she is dressed as the nurse also adds to her sexual appeal. Although she is sexualised she is still shown as being in control. This is common when there is a female artist, it is used to make them seem more important and in power. 

Pink's star image has a very unique style and edge to it, this is reflected in this music video. Throughout many of Pink's music videos she is presented as being very rebellious, masculine and overpowering. This particular music video shows the rebellious and overpowering side. The costumes contradict the masculine approach often taken in her music videos. 

There is evidence of intertextuality in this music video. The first reference is to the 1990 film, ‘Misery’. The storyline of a woman breaking a mans legs so he cannot escape, can also be seen in this music video. There has been a twist on this storyline though as in the film it is an old lady however Pink has been sexualized.

The second reference is to the 1980 film ‘The Shining’. The use of Pink chasing the man down the hall with an axe as he hides in the bathroom has been taken from this film. When Pink cuts through the door and then looks through the door is also from this film. The use of this intertextuality makes the music video more interesting and also helps to enhance the narrative.

Intertextuality

Madonna- Open Your Heart

Intertextuality is when one media text makes a reference to another. A music video that is an example of this is Madonna’s ‘Open Your Heart’. It makes reference to the 1972 film ‘Cabaret’. The use of the blue background with the chair makes reference to a performance made my Liza Minnelli. The use of the black wig also links to this film however by her removing this wig adds a twist to it. The cabaret style performance also reflects a very similar dance to the one seen in the film. The use of the spotlight also makes it seem more like a performance which links back to themes throughout the film. The black, very revealing costume is also similar to the one from ‘Cabaret’. Although this is a reference to the film the end of the music video is very different as she is wearing slightly more boyish clothes and is a lot more covered up and looks more masculine. 

There is also the use of voyeurism during the beginning of the video. Madonna’s costume and dance routine as well as the fragmented, close up shots of her body; for example her legs and chest. Although she is very sexualised she is also very in control as all the men are positioned on a lower level from her which makes her appear as superior to them. All the men in the video seem captivated by Madonna which also makes her seem more important. Although she is very sexualised her image changes towards the end of the music video. She changes costumes to a boyish cut suit and hat which makes her appear less sexually attractive but also adds a different side to her star image.  

Voyeurism - Rihanna

An example of a music video showing the idea of voyeurism is Rihanna’s ‘Rude Boy’. Rihanna is well known for her sexual approach to her music videos and music. Although Rihanna is the artist she is still often shown as very sexually objectified in her music videos. In most music videos the main artist is shown as being powerful however she is still sexualised to appeal to a male audience.

Rihanna is wearing very little clothing in this music video, which often shows a lot of skin and reveals a lot. In some shots she is wearing more clothes however these are still very tight and revealing. The wide use of the colour red also has connotations of lust which reflects the sexual nature of the video. The bright red lipstick also reflects this theme and draws attention to them and makes them stand out.

Rihanna is seen throughout the video dancing seductively and shaking her hips and bum. In various shots she is flaunting her bum which draws the audience’s attention to it. She looks straight into the camera through her lashes which is often seen as sultry and flirty behaviour. This also links her directly to the audience. Her exaggerated lip movements as she sings makes them very noticeable to the audience and leads to sexual thoughts due to the connotations. During various shots throughout the video there are men admiring her as she is flaunting herself, this shows that she likes the attentions and is very sexually attractive. Although there are men in the video they are viewed as unimportant and she is shown as being dominant and powerful.

The camera movement and editing also reflects the theme of voyeurism. Various close ups of her lips and long shots showing her whole body as she dances are used to show her as a sexual object. The editing has lots of effects where there are multiple copies of Rihanna as she is dancing. Towards the end of the video there is a close up of her chest which links to the idea that many videos are often shot from a ‘man’s gaze’.  The lyrics are also reflecting the sexual theme shown throughout the music video.