Carol Vernallis Music Video Theory
Carol Vernallis Music Video Theory by Joseph The Anglotalian
Similar to the theory purposed by Andrew Goodwin Carol Vermallis in her books "Experiencing Music Video (2004)" and "Unruly Media: YouTube, Music Video, and the New Digital Cinema (2013)" she considers editing, continuity, their meaning and the role they play within music videos. The effect of sound and imagery synchronization as the lyrics line up with visual elements of mise en scene and the general impact of editing within a music video affects the audience.
Her theory can be broken down into four main areas that have a significant effect on the final music video product.
Narrative
Music videos are a visual adaptation of the narrative, meaning we see the reflection of the music (typically the lyrics) visually. This narrative can be left unfinished which is very common in music videos and it will allow the audience to apply their own meaning to it. Music videos usually have a force that keeps the audience's engagement with the video, this doesn't necessarily mean that the narrative is the main momentum driving the video forward, it can be many different elements such as the music itself the editing, etc.
The narrative of a music video Carol Vernallis explains has many different conventions that are used and recycled in music videos.
Conventions:
The video uses imagery to respond to the music
No needed balance between narrative and performance
Common for incomplete narrative
The structure may be unorganised from the audience's perspective
Something keeps the video's momentum moving forward which isn't the primary narrative, this can be music, performance or other elements.
It may not have an easily understood meaning for the ending of a music video and typically lacks closure within its narrative.
Questions are posed to the audience but do not answer them and these questions
Example/Breakdown
The Killers - Mr Brightside (Official Music Video)
Mr Brightside by The Killers was released in 2004, directed by Sophie Muller the video follows the narrative of teh lyrics which display a man longing for the love of a woman and despite looking on the Brightside he cannot be with her.
Lead vocalist Brandon Flowers describes the woman he loves in his mind having her dress taking off by another man and him saying "I Just Can't Look it's Killing me" as he feels sick and jealous further by the lines "Jealousy turning saints into the sea", showing the hurt this love has put him through that he is contemplating suicide (jumping into the sea) but him saying this is the "price he pays" showcases his devotion to her.
However, as the music video goes on the director uses the dis-organized structure of the narrative as we go back and forth between the stadium performance of the band and the narrative of Brandon losing the girl to another man in a game of checkers this break continuity is a common convention in music videos and this use of 1700's style of dresses mixed with early 2000's fashion makes the story feel like a period piece like the star crossed lovers of Romeo and Juliet and then it ends, with an unfinished story of a man losing the woman he loves to another man. This videos consistent use of conventions outlined by Veranillis theory on Narratives, like unfinished narratives and a continuity breaking mixed order that uses the longing narrative of the protagonist as the driving force to keep the audience engaged with the visuals, this overall supports Veranillis theory on music videos.
Editing
Music video editing is one of the most important elements of a music video, it can break or follow conventions it can disregard continuative editing and can be a background effect or the main idea the video is based on rather than a usual narrative style and according to Vernaillis its 4 most distinguished methods/techniques are the use of Jump Cuts and Juxtaposing Frames/imagery, Breaking the 30 Degree Rule, use of cutting lyrics to the beat of the music.
Conventions:
Editing style may match the musical language and the pace/beat of the song itself
Videos dismantle/disregard the many rules of continuity editing
Editing is not subtle as they want attention rather than immersion
Example/Breakdown
M.I.A. - Paper Planes
Directed by Bernard Gourley for the 2009 music video of the 2007 song, this video showcases the conventions of editing within music videos. The song follows the artist of M.I.A as we see her walking around London and working in the back of a food truck, the use of conventions like the use of matching the beat of the song with the edits on the screen. This is especially present when the song uses the sounds of gunshots and imagery of a cash register sliding open to the lyrics "take your money" this use of obvious imagery including closeups on pound notes drives home to the audience the themes of poverty present in the song, as both the lyrics and the imagery showcase the struggles of working-class life in the UK.
The editing also follows the troupe of disregarding continuity as the location of M.I.A appears back and forth between locations and sequences in a non-linear narrative, possible emphasizing the endless rhythm of working-class poverty that the song highlights. As M.I.A is trapped in a loop of earning money to survive. This use of editing follows the conventions I listed above as it keeps the engagement of the audience by using rhythm based editing style and obvious imagery sending a clear message and theme to the audience as it disregards the rules of continuity editing.
Camera Movement and Framing
According to Vernallis, "the establishing shot is one of many main elements used in music videos" (2013) as highlighting the subject typically the artist is the main feature of music videos by using master shots, as well as camera movement that goes in time with the music. Depending on its genre how the artist is framed is subject to change to best fit the style of the piece and the artists brand/image.
Conventions:
The camera language of a music video is used more extremes than other visual mediums like film.
Framing and camera language is consistent throughout the video, often being an original concept to that video. Especially with the use of frames within frames.
Cameras are in time with their music especially with their movement
Frequent use of longshots showcasing all the artists performing (master shot) and intimate close-ups
Example/Breakdown
Directed by Alex Guerin and released in 2020, this video for Thee Sacred Souls "Weak for your Love" is a great example of the Camera Movement and Framing conventions of music videos as it consistently uses longshots to display the performances of the band as we see the lead vocalist Josh Lane dance and sing to a woman in a window. This lack of fear of the extremes of cinematography with these consistent extreme longshots/master shots to highlight performances along with the use of Technicolour style aspect ratio (2.35:1) declares this a clear example of Vernallis's theory as this original concept of framing within the video stays consistent throughout. Along with the pace of camera movement perfectly mimicking the rhythm of the song, this is a textbook example of the conventions of camera movement/framing in music videos according to Carol Vernallis.
Diegesis
Diegesis is another essential element to music videos according to Vernallis as it acts as the overarching meaning to a music video separate from the main plot/narrative, it often is created/emphasized using repeated imagery. However, unlike in other mediums, the action used to create the diegesis is often left unfinished, this is usually to give room for audiences to create their own opinions on the diegesis's meaning.
Conventions:
Revealed slowly in pieces rather than all at once
Actions/Sequences may not be complete
Individuals and inanimate objects move in time to the music
There are gaps within the audience knowledge/understanding of the Diegesis
Repeating techniques and methods to showcase the Diegesis
Example/Breakdown
Lily Allen | Not Fair (Official Video)
Directed by Melina Matsoukas and released in 2009, the music video for the song "Not Fair" by Lily Allen uses the conventions of the diegesis. The main narrative of the music video follows a performance of Lily Allen on a stage at what appears to be a parody of country music performances in the 1950s, the song is about a selfish lover who puts his needs above her own. While this music video and the lyrics might be thought of as being surface level about the bitterness about an ex-lover, the conventions of the diegesis are used to imply deeper overarching meaning to the music video and the song as a whole. It is revealed slowly throughout the video as we begin to see the reactions via closeups on the male band members to the lyrics of the song as it seems each male member thinks that she's talking about them as we fill in the gaps with our lack of knowledge.
Lily Allen and the director create a diegesis of a message about sexism towards women as the use of the conservative country music setting applied to the confidence of Lily Allens performs as she is dismissed by her bandmates as they roll their eyes and shake their heads in combination with the robotic emotionless of the found footage presenter shows how not fair it is for a woman in the entertainment industry and society as the men disregard the issues she is singing about in the song.
This slow reveal using repeated methods to highlight the diegesis by looking at the performances makes this a clear example of Vernallis theory on diegesis.
How will this Affect my Own Music Video?
This has affected my music video by expanding my knowledge on the expectations of the music video genre, I think for my music video I will lean into the disorganized/unstructured use of narrative, as I think this will be easier to achieve than having a fully realized story with my limited resources. I also think I should have a focus on the Diegesis of my music video and try and break down what I want my music video to say and what I want to give my audience to the intended meaning of it. As I think this will lead to more engagement as my audience wants to figure out what it all means and still allows me to create more experimental imagery and use unorthodox techniques.
Reference List:
"Carol Vernallis Music Video Analysis" written by Steven Brazier, 25 Sep 2013 Available (Online) at:
http://chchsmediasbraziera2.blogspot.com/2013/09/carol-vernallis-music-video-analysis.html
"Carol Vernallis’ Experiencing Music Video: Aesthetics and Cultural Context" (2004), Available (Online) at:
http://www.mediafactory.org.au/fabiana-weiner/2016/01/06/carol-vernallis-experiencing-music-video-aesthetics-and-cultural-context-2004/
"HNC Creative Media Production - Will Barlow, Carol Vernallis - Music Video Theory (The Kindest Cut)" written by Wil Barlow, 13 February 2019, Available (Online) at:
http://willbarlowhnccreativemedia.blogspot.com/2019/02/carol-vernallis-music-video-theory.html
"Experiencing Music Video" Written by Carol Vermallis, 2004, Available (Online) at:
https://www.amazon.co.uk/Experiencing-Music-Video-Aesthetics-Cultural/dp/023111799X
"Unruly Media: YouTube, Music Video, and the New Digital Cinema" Written by Carol Vermallis, 2013, Available (Online) at:
https://www.amazon.co.uk/Unruly-Media-Youtube-Digital-Cinema/dp/0199767009
The Killers - Mr. Brightside (Official Music Video)
M.I.A. - Paper Planes
Thee Sacred Souls - Weak for your Love (Official Video)
Lily Allen | Not Fair (Official Video)
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